Category: TV Dramas (Page 120 of 235)

The Shield 7.13 – Family Meeting – Series Finale

Another one of television’s great dramas has come to a close, and if I were to rank the series finale compared to some of the other big ones from the past year or so, it would probably fall somewhere between the disappointing conclusion to “The Sopranos” and the pitch-perfect ending to “The Wire.” It wasn’t great, but it was certainly satisfying, and it wrapped up just about every loose end other than Aceveda’s bid for mayor. Fans of the series have been following these characters for seven years now, and instead of just running through the episode as usual, I’ve decided to take this opportunity to discuss the fates of each character one at a time.

Vic Mackey:

For as much bad shit that happened throughout the episode, this was probably one of the more shocking of the bunch. A lot of people didn’t think it was possible for Vic to get his comeuppance without death or incarceration, but when you consider the kind of person that he really is, it made sense. Vic only needs a few things in life – family, friends, and a badge – and the fact that he no longer has any of them is kind of like sentencing him to his own personal hell. Olivia said it best after Vic begged her to tell him where his children were: “You said goodbye to them the minute you shot another cop in the face.”

All of Vic’s friends are gone, Corrine has put his kids into witness protection, and his new gig at ICE is a boring desk job typing up weekly analysis reports on gang activity in the city. Some might say he’s got it good compared to what could have happened (after all, he’s only obligated to work at ICE for three years and he’s a free man), but the look on his face when he was being shepherded through the mandatory tour of the facilities said enough. That last moment when he grabs his gun and walks out of the office seemed to indicate that he might actually be okay with the cards he’s been dealt, but if that’s the case, then it doesn’t seem like he’s really paid for his crimes at all.

Shane Vendrell:

I’d like to say that I didn’t see Shane’s suicide coming, but it’s been building to this for the past few weeks. In fact, Shane has been in a downward spiral longer than it may seem, and this isn’t the first time he’s contemplated killing himself either. It’s been so upsetting to see him become this way over the last few seasons (as he was one of my favorite characters when the show debuted), and it’s even more upsetting that the writers decided he was such a selfish person that he would kill Mara, Jackson and his unborn baby girl as well. Shooting yourself is one thing, and you could even make an argument as to why he killed Mara as well (though that’d be a hard argument to make considering she was pregnant), but what about poor Jackson? Shane certainly deserved to die, but not on his own terms, and most certainly not after he’s just murdered his own family. With that said, Walton Goggins has never deserved an Emmy nomination more. His performance throughout this season has been nothing short of spectacular, but the scene with him talking on the phone with Vic was some of his best work yet.

Ronnie Gardocki:

Poor, poor Ronnie. He might not have been as innocent as Lem, but he also wasn’t as bad as Vic or Shane either. The chances of him escaping arrest, however, were pretty slim after Vic hung him out to dry last week. There was always the chance that Vic had a backup plan to help Ronnie escape, and I even thought at one point that he might make a deal with Claudette to renege on his deal with the feds in exchange of letting Ronnie go free, but that became less and less likely as the episode went on. And when Claudette ordered Ronnie back to the Barn after he helped Vic take down Beltran, you just knew it was only a matter of time before he’d be arrested. It’s too bad it had to come to this, as I’ve really grown to appreciate Ronnie over the course of the series, but what I don’t understand is how it’s even possible? Can they really take Vic’s confession and use it to prosecute Ronnie, because if so, that sucks.

Dutch Wagenbach:

Not everyone had an unhappy ending, and if there’s one person that deserved it the most, it’s Dutch. Sure, he wasn’t able to put Lloyd away himself (which was kind of bittersweet not only because that was Dutch’s main storyline for the season, but also because we never actually got to see Lloyd confess to murdering his own mother), but at least he managed to score a date with Billings’ lawyer. Plus, after Claudette eventually does retire (which will probably happen sooner rather than later), he’s probably the top candidate to take over as captain. It’s just too bad it didn’t happen in tonight’s episode, because it would have been the perfect topper to one of the best TV characters of the last decade.

David Aceveda:

After taking all of the credit from the Beltran bust, Aceveda appears to be a shoo-in for mayor. But is that really the end of his story? I was left wondering whether or not Aceveda had any involvement in the death of Andre Benjamin’s character. It seemed too much like coincidence that he’d be shot the same day that he challenged Aceveda at a community meeting (and was doing a darn good job of winning supporters), but at the same time, there wasn’t any real evidence that supported that theory. You’d think Ryan would have at least hinted at it if was true, and I don’t recall Aceveda acting suspicious in his final scene with Claudette. Then again, I wouldn’t put it past Aceveda to take such precautions, and it’s just one of the many questions left unanswered after tonight’s finale.

Now, I know that I said I was going to discuss each character one at a time, but the truth of the matter is, it’s getting late and there isn’t a whole lot to say about the rest of the cast. Claudette has finally cleansed the Barn of all things Vic Mackey, and that seems good enough for her, especially now that she’s accepted the fact that she’s dying; Billings won his case against the city and was rewarded with a whopping two days of pay; Julien, Danny and Tina seem poised for promising careers within the department; and Corrine finally got free of Vic’s control.

All in all, not too shabby for a series finale. From the looks of the comments pouring in on last week’s blog post, however, not too many fans are as content with it as I am. Still, even though it wasn’t perfect, Shawn Ryan deserves credit for being able to wrap up as the series as well as he did. It’s always difficult to say goodbye to the shows you love – especially ones as good as this – and though you could debate for hours on how the show should have ended, at least we got a real ending and not some freaking black screen of death.

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.

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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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.

10 Vampire Films That Should Be Made In The Wake Of The Success of “Twilight”

“Twilight” is shaping up to be a full-fledged film phenomenon…and whenever there’s a phenomenon, you can count on Hollywood trying to reproduce it quickly and in sub-par fashion, so prepare for a huge glut of new vampire-themed movies in the very near future.

The good news in this case, however, is that there’s a lot of great source material out there already, so let’s hope at least a few of the suits have good taste when it comes to buying up the rights to adapt certain books to film form…but since we have a really bad feeling that they don’t, we figured we’d throw a few suggestions their way for vampire flicks we’d like to see made. And, yes, we know that our #1 pick isn’t a book, but it’s so far ahead of the pack when it comes to the must-make vampire movies that we put it there, anyway.

(P.S. The movie adaptation of Darren Shan’s “Cirque de Freak” is finished and due for release in February 2009, or else it’d be on this list for sure.)

10. “Bloodsucking Fiends,” by Christopher Moore. Not only is this a solid mixture of horror and humor, focusing on a hot young redhead who moves to San Francisco, is promptly bitten by a vampire, and has to learn to adapt to her new lifestyle, but it already has a sequel ready to roll. Better yet, it’s called “You Suck”!
9. “Fevre Dream,” by George R.R. Martin. Are you kidding? I’m a fan of pretty much anything written by the guy who created the “Wild Cards” series, but this novel about vampires on a steamboat has earned reviews which feature the phrase “Bram Stoker meets Mark Twain,” which is high praise by most people’s standards.
8. “Lost Souls,” by Poppy Z. Brite. Maybe it’s just because I enjoy pretty much any film revolving around a band, but I’d love to see the adventures of Lost Souls? make it to the big screen.
7. “Jonathan Barrett, Gentleman Vampire,” by P.N. Elrod. It’s set during the American Revolution, with Barrett on the side of the British. Surely the success of HBO’s “John Adams” has made history cool again, and what better way to make it even cooler than to add vampires to it?
6. “Riley Jensen, Guardian,” by Keri Arthur. A half-vampire, half-werewolf in Australia who works for Melbourne’s Directorate of Other Races. “Underworld” meets “Torchwood,” anyone? I’m sold already.
5. “Anita Blake: Vampire Hunter,” by Laurell K. Hamilton. It’s already got a huge fan base between the sixteen novels and various comic books, but for those who don’t know Ms. Baker, she can re-animate the dead, licensed vampire hunter/executioner, and she has a lot of sex. I’m simplifying, of course, but, hey, it got your attention, didn’t it?
4. “They Thirst,” by Robert R. McCammon. The dastardly Prince Vulkan, master of the vampires, is hell bent on taking over Los Angeles as part of his quest to transform the entire population of the planet into the undead. Their opposition? A police captain, a comedian, a reporter, a junior high school student, and a Catholic priest who’s a former heroin addict and has just been diagnosed with Lou Gehrig’s Disease.
3. “Carrion Comfort,” by Dan Simmons. Actually, this is such an epic tale that it might warrant a full-fledged mini-series rather than just a film.
2. “Vampire Academy,” by Richelle Mead. Rose Hathaway is a half-vampire / half-human teenager who’s simultaneously finishing high school and training to fight evil vampires determined to destroy the Moroi vampire race, a.k.a. the good vampires. Bonus superhero-ish aspect: each Moroi can control an element, either fire, earth, water, air, or – on rare occasions – spirit.There are two other books in the saga, with a fourth set for release next year. Surely someone has already started work on a script, because it seems tailor-made for a film.
1. “Angel.” Come on, Joss, you and I both know that the time couldn’t be more right. The kids love the vampires, and although David Boreanaz is on his fourth season of “Bones” and has now officially escaped permanent typecasting, he ain’t getting any younger, so if he’s going to play the immortal undead, it’s time to make your move and make an “Angel” movie. In fact, while you’re at it, you might as well go ahead and make it a big ol’ epic that incorporates “Buffy the Vampire Slayer” as well. We’re really excited about “Dollhouse,” Mr. Whedon, but, c’mon, it’s Fox. Your schedule will be free and clear within a few weeks of its premiere, so let’s go ahead and get this ball rolling right now.

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