Category: External TV (Page 239 of 419)

Prison Break 4.12: “Selfless”

Sometimes this show is a victim of its own format.

We’re just past the midpoint of the season, so once the gang passed Scylla off to Don and started in with all the premature celebration, it was obvious that something was going to happen to Don and/or Scylla before it reached the FBI’s (or the Senator’s) hands.

Honestly, when I saw the title of this episode, I thought Don was going to die trying to keep Scylla out of Company hands. Considering the way that Don’s boss was acting, he looked like he might very well be a Company mole. But when the General threw up his hands after being asked what his orders were, it sure seemed like he was out of options, FBI moles included. As soon as Don rendezvoused with Trish Ann – she will always, always be Trish Ann to me – I finally figured out that he was going to go rogue and try to sell Scylla on his own. The writers deserve credit for keeping things fairly unclear that long.

“Did you have onions for lunch?”

Every so often this series has an episode that spins it off into a completely new direction. Sooooooo much happened this week that it’s hard to keep track of it all. And anytime the writers try to cram this many plot points into one hour, there is bound to be some oversights.

For example, why in the world would Gretchen insist that the she and T-Bag wait in his office for Michael and the gang to emerge from the basement with Scylla? T-Bag’s office has glass walls – wouldn’t it be a little conspicuous to try to force them to give up the hardware at gunpoint when everyone at Gate could see them? Why not just wait in the closet? I’ve said before on this blog that I hate it when (supposedly) smart characters do dumb things and this is a great example. These two probably have a combined IQ of 260 and their decision to wait in T-Bag’s office created the situation with his boss, which created the hostage standoff. That is “manufactured conflict” at its very best.

Next, it was Trish Ann’s decision to yell “drop your weapons!” after Gretchen had already killed T-Bag’s boss. Did Trish really think that Gretchen was going to lay her weapons down and surrender? By yelling out, she gave up the only advantage she had – surprise.

And then there was the moment in the garage where Gretchen pulled a gun on T-Bag. A real mercenary would just shoot the guy in the back of the head and run off. Gretchen is supposed to be a major hard ass; she wouldn’t stand there and explain why she’s about to shoot him, allowing for some external event to interrupt the little chat. What does it matter to Gretchen if T-Bag knows why he’s dead?

Of course, we know that “Prison Break” isn’t going to kill off one of its most beloved characters mid-season, so even when someone is holding him at gunpoint and is telling him that they’re going to shoot him, we know that T-Bag is going to escape somehow. (By the way, I wouldn’t consider Bellick to be “beloved” – not like Theodore Bagwell.)

I have to applaud much of the interaction between the General and the gang. The hatred that Michael and Co. had for the General was palpable and it was nice to see the General get his smugness thrown back in his face on several different occasions. The twist with his daughter was a strong plot point, and Sarah Wayne Callies pulled off another nice bit of acting as her character held the daughter at gunpoint.

But I don’t understand why the gang wouldn’t take the General with them as insurance as they went to deliver Scylla. That seems like a no-brainer.

Regular readers know that I have a love/hate relationship with the ol’ switcheroo, and “Prison Break” uses that plot device early and often. When Michael put Scylla into the backpack, I smelled this week’s switcheroo coming a mile away. He took a big risk by giving Scylla to Sucre. Why would the all-powerful company only have enough manpower to follow Michael and Linc? They sent four men to follow the two brothers, not even allowing for the possibility that Sucre or Mahone might have what they want. Don’t they read this blog?!?

“Hold on. I have to stare at this backpack for a while to set up the ol’ switcheroo that I’m going to pull on you later in the episode.”

Lastly, it was kind of goofy that Don’s number would be disconnected so quickly. Why wouldn’t he just toss the phone in the garbage and buy himself more time? Because we needed to have the scene where Michael and the gang realize that they’ve been duped, that’s why. I’d rather have seen Michael put two and two together when the call to Don went to voicemail.

So now Don has Scylla and he’s going to try to use T-Bag to find another buyer. The gang is still on the run and it’s not entirely clear whether or not they should go after Don (because isn’t he the one with all the FBI contacts?) or flee to Mexico. Then there’s the matter of the $125 million that was loaded up into Feng’s truck – what are the odds that we never hear about that again? And how about that million-plus that is sitting at the bottom of the bay in Panama?

The possibilities are endless. Hopefully, the series won’t be.

Terminator: The Sarah Connor Chronicles 2.10 – I am trying to break your heart

It’s one of those moves that we felt like we should have seen coming, though we had no way of knowing, because the writers were holding all the cards. And what few cards they played before tonight’s Big Reveal were blatant misdirections that make no sense in retrospect. You know, kind of like a “Saw” movie.

Jesse finally, allegedly, comes clean to Derek. She claims to be working for the resistance to keep John on the righteous path; Future John is apparently getting too close to Cameron, and behaving erratically. Jesse’s mission: seduce Present John into taking out Cameron with live bait…live bait named Riley. Of course. That’s why we never her saw her family before now – so we wouldn’t know she was a “foster child.” Pretty sneaky, sis.

Credit must be given to genius “Terminator” commenter Eddie Offerman – seriously, read his blog on transform matrices, it’ll make your head spin – who laid out his “splintered universe” theory of time travel as an explanation for Reese not remembering Charles Fischer while Jesse did. I wasn’t convinced at first (I’m a fan of Occam’s Razor, myself), but after Jesse’s comments to Derek this week, it makes sense. Take Cameron out in the past, and get your savior back. This assumes, of course, that Jesse is telling the truth about anything, which is a bet that I’m reluctant to take at the moment.

“Hey robot, is it possible to get a blood stain out of silk?”

But now I have a new question: if Jesse and Riley’s mission is successful, what happens when Future John meets Allison, the girl that the machines duplicated and then killed to create Cameron in the first place? Personally, I’m betting that Future John locks her away the second he meets her so that she never gets caught, since she would literally be his lost childhood in the flesh. Man, what kind of splinter in time would that create, and wouldn’t that screw up Future John even worse than having Cameron around? Also, what happens to the people in the future when one of their own is sent back to change an event? How is reality altered for them? Will John just suddenly start acting differently right before their eyes? Would Future Cameron disappear if she’s terminated in our time? Help us, Obi Wan Ken-Eddie. You’re our only hope.

I’m suddenly thinking of the episode where the Connors were robbed, and it was because Riley forgot to set the alarm. Did she really forget, or was that by design? Will they even make a mention of that incident once John discovers who she really is? And if Jesse is really still working for the resistance, then I’m still perplexed why Jesse killed Future Charlie last week instead of Present Charlie. She could have undone all kinds of hurt by letting Derek kill Present Charlie (or as my wife calls him, Warren, from his days on “Buffy the Vampire Slayer”) while he was young. She put on this big dog and pony show for Derek by kidnapping both Charlies, but in the end it looks as though she was protecting a bad guy. Hmmm.

Meanwhile, in Weaverville, our child psychiatrist is found dead after Babylon, renamed John Henry by Dr. Sherman, needed the alternate power during a blackout and inadvertently killed him. To me, Ellison’s comment that “something killed Dr. Sherman but it wasn’t John Henry” could be taken two ways. The obvious answer is that he meant that John Henry just wasn’t properly coded with ethics and morals – best line in the episode: “It runs on commands. Start with the first ten.” – but with the way that Catherine was detailing Dr. Sherman’s death as Ellison was watching the video, I couldn’t help but think that the lady doth protest too much. Maybe the camera footage is bogus, and Catherine killed him with her magic tongue of death, who knows. The important takeaway from Weaverville is that a resurrected Cromartie is now the spokesperson for John Henry. That’s just all kinds of wrong, right there.

Oh, one other thing: Sarah is losing her mind down a paranoid, “Beautiful Mind”-type rabbit hole. Do the three dots mean something, or were they just the last act of a man who was bleeding to death? The Connor’s bathroom mirror hopes they find the answer to that one sooner than later. And God only knows what Sarah would do to Riley if she were to discover Riley’s true intentions while in this “heightened” state. I’m not 100% sure how she’d react, but I’m betting it would look an awful lot like a “Saw” movie.

Heroes 3.10 – The People with the Answers Won’t Tell the People with the Questions the Answers

When a music geek is handed an episode with a title like “The Eclipse,” you’re given a lot of different choices for lyrical references as the title of your blog entry. Should I go with Pink Floyd (All that you slight, everyone you fight…), or should I go with Bonnie Tyler (Once upon a time, there was love in my life…)? Instead, I went with a relative obscurity – a line from the closing track of the Beta Band’s Hot Shots II – but given the way the series has been going, it seemed rather appropriate.

Let’s split this week’s blog into two parts, shall we?

Before the Eclipse:

Arthur has just been a sketching fool since taking on the power of poor Usutu, but, wow, he’s really let his people skills drop off. Really, though, can you blame him? Thanks to his new abilities, he knows what’s coming…and, yet, he can’t seem to do a damned thing to change it.

The relationship between Sylar and Elle turned darker this week than I expected. I mean, I know I made a comment a few weeks ago about how Sylar’s so freaking wishy-washy that he’ll probably switch sides half a dozen more times before the end of the season, so I shouldn’t have been surprised that he left his touchy-feely side behind, but I just didn’t expect Elle to be the one who turned him. She’s a complex character, that one. (Her throwaway description of HRG as “Glasses himself” was hilarious.)

Mohinder really just isn’t a very good scientist, is he? “I, uh, didn’t think the eclipse had anything to do with it,” he mutters. Whoops. From there, it was back to “Return of the Fly,” unfortunately.

Matt and Daphne’s quest to find Hiro turned out to be a short one when he and Ando turned up, courtesy of their comic book intel. I loved the interplay between Ando and Daphne, not to mention Hiro and the turtle, but I’m wondering how long this whole back-and-forth thing between Matt and Daphne is going to go on. That said, once the boys followed Daphne to Lawrence, Kansas, I had to laugh at Hiro’s exclamation: “Holy crap!”

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Kitchen Nightmares: Sante La Brea

Thankfully, Fox is running out of “Kitchen Nightmares” episodes it has in the can, so they showed one repeat and one new episode last night. The new one was Sante La Brea, a “health food” restaurant in Los Angeles. Like some of the food Gordon Ramsay tastes at these places, the episode was a bit bland. But here is our recap….

Restaurant: Sante La Brea
Location: Los Angeles, California
Owner: Dean
Other Characters: Dean’s Two Sons Arthur and Sammy; manager/host Mark; and chef Aurelio
The Problem: The food sucks. Isn’t that a recurring theme here? But not only that, the chef is lazy and set in his ways, the menu is unimaginative and not really healthy, and the manager has a sweating problem as well as a desire to pay more attention to decorating the place than running it. Oh, and there is rotting food in the walk-in fridge. Yuck.
How Ramsay Gets Through To Owner: He brings him to a hilltop in the Hollywood hills, and has Dean shout out as if he is yelling at Aurelio and Mark. Dean wants to turn his restaurant around, because it’s been going downhill over the last ten years.
The Solution: Ramsay shortens the menu and re-designs the stale-looking decor. He puts more emphasis on fresh, healthy cuisine options such as grilled halibut and a green salad topped with fresh, locally caught shrimp. Ramsay also goes and buys Mark some deodorant.
The Result: It takes a while, including a meltdown from Aurelio, who drives off and then changes his mind, apologizing to Ramsay but not to Dean. The re-launch is a huge success, as customers love the food and Ramsay has turned things around. But they give no update at the end of the show, so we don’t know if Aurelio wound up staying or if Dean stayed assertive enough with his employees to keep Sante La Brea afloat.

Picking Off the TV Power Rankings One by One

If you’ve checked out the latest edition of Bullz-Eye’s TV Power Rankings (and if you haven’t, you need to go check it out right now), then you’ve seen the love we’ve given to “Eli Stone” (at #16) as well as “Dirty Sexy Money” and “Pushing Daisies” (in our Honorable Mention section).

ABC has responded to our praise…by canceling all three series.

Well, okay, they didn’t officially cancel them. According to The Hollywood Reporter, the network chose their words carefully and informed the producers of the trio of shows that no additional hours would be ordered at this time, and the series will remain on the schedule for next week. But that sure as hell doesn’t bode well for any of them to score a back nine.

With “Pushing Daises,” we can at least count on Bryan Fuller to finish the saga of his show in comic book form, and if there’s one good thing to come out of the demise of the Piemaker’s adventures, it’s that Fuller can make good on his declaration that he will return to “Heroes.” But that doesn’t mean that we aren’t sad about all three of these shows losing their fight for life.

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