Category: TV Dramas (Page 129 of 235)

The Shield 7.3 – Money Shot

Poor Ronnie. I mean, the guy just can’t catch a break, can he? First, his face gets a little oven burner action courtesy of Armadillo, and then, his arm becomes a giant chew toy for a fierce pit bull. If anyone deserves to walk away from this current situation involving the Armenians, it’s definitely him. In the meantime, however, he’s busy leading the Strike Team while Vic and Shane take care of their other problem. Axl, the porn shop owner from last season (you know, the “Dick in Grannies” guy), has come to Ronnie with information on a producer who pays his actresses in drugs. They bust the guy for offering blow to an undercover Julian and Tina, and convince him to give up his dealer, Demetris Harms, but when the Strike Team heads to Harms’ house to arrest him, they find it completely empty – that is, except for his guard dog. Ronnie suspects that it was Axl who warned Harms of their impending takedown, and, well, he’s right. Apparently, Axl is deathly afraid of Harms, and though this little excursion certainly gave Ronnie something to do on tonight’s episode, I’m still not sure how it fits into the big picture.

If I know Shawn Ryan as well as I think I do, we won’t hear anything about it for weeks, only to have him revisit the subplot later down the road. Whether or not we get any sort of conclusion from that case doesn’t really matter, though, because Ryan and Co. are really grooving with their main story. With Rezian out of jail, the Armenian mob boss is beginning to cash in his favors from Shane, and his first request is to recover a shipment of processed guns from the police station. Vic doesn’t like the idea of putting untraceable weapons in the hands of killers, but when he discovers that Aceveda has destroyed any leverage he might have access to by moving the blackmail box, he agrees under one condition – that Rezian only get three favors, and when they’re all cashed in, Vic, Shane and both of their families are left alone for good.

With all that sorted out, Vic and Shane plot a way to sneak into the police compound where the guns are being held. They mentioned that there was only one guard on watch, so I figured they would just sneak in without him noticing, but Vic’s eventual plan is much smarter. He pulls over a former CI named Burnout and takes him back to the Barn, leaving his brand new Escalade to be temporarily seized and taken to the very same police compound holding the guns… only Shane is hiding in the back. With the lone security guard left to fend for himself, Shane loads up the SUV with the guns and hightails it out of there. When he meets up with Rezian and Vic at the drop-off point, he’s unaware that Vic has an ace up his sleeve. In order to prevent the guns from landing in the hands of the Armenians, he’s informed Agent Murray about the takedown, allowing just enough time for him, Shane and Rezian to get away before the feds come in to break up the brouhaha. In doing so, Vic also comes off looking like he just saved Rezian’s ass, and to solidify that feeling, the trio heads back to Rezian’s office where Vic plants a bug to make it look like it was the Armenian’s number two who sold him out.

Meanwhile, in what may just be his most interesting case in quite some time, Dutch teams up with Danny to work a missing persons case involving an Asian girl whose mother refuses to admit she’s actually missing. When he goes back to check in on her a day later, he discovers that the girl is indeed at home, but she looks the worse for wear. When he takes her back to the Barn to investigate, Danny suggests she should talk to her instead, and after opening up about her recent encounter, the girl tells Danny that she was kidnapped and sexually assaulted. As it happens, that’s not exactly the case. When the family discovered that the girl was engaged in a lesbian relationship, her brother hired a man who got some boys to literally “rape the homosexual” out of her. Um, yeah. This is the kind of stuff you can only find on “The Shield,” and while it sucks that Dutch is still in the background, at least they’re finding more interesting things for him to do.

Nevertheless, the real revelation of the night was when Ronnie told Vic that he was sick of ignoring the fact that Shane had killed Lem. Not only that, but he admitted to Vic that he’s not going to drown for either them. I’m not sure what this actually means for Ronnie (would he really turn them in to save his own skin?), but Vic and Shane do seem like they’re on the road to forgiveness. Shane even gives Vic his only copy of his back-up plan, while Vic tells Shane that he’s beginning to understand why he had to do what he did. Are either of them telling the truth? Probably not, but with more than half of the season left, can you really expect any less?

Old Show, New Season: “House M.D.”

Although my esteemed colleague Ross Ruediger may have disagreed with me in his review of “House: Season 4,” as is his God-given right as a TV critic, I have to say that, personally, I probably enjoyed the fourth season of “House” as much as any season of the show to date. After ending Season 3 with the members of House’s team so infuriated with their fearless leader that they were moving on to greener pastures, I think just about everyone figured that Season 4 would’ve begun with them saying, “Okay, we were wrong, we’ll come back.” But they didn’t. Instead, we were treated to House playing his own version of “Survivor” as he selected a new diagnostic team, thereby giving America’s grouchiest doctor the opportunity to interact with a whole new crowd of characters, but we were also still provided with occasional visits from the original team. It was win-win, as far as I was concerned.

It was the two-part season finale (“House’s Head” / “Wilson’s Heart”) that really got me, though. The unfolding of the secrets locked within House’s memory, the tragic ending to the romance between Amber and Wilson, and the realization that the events which led to Amber’s death never would’ve been set into motion if House hadn’t been attempting to take advantage of Wilson for the umpteenth time…it was gripping drama, to be sure. But how on earth can the relationship between House and Wilson ever recover from something like that?

Based on the Season 5 premiere, it’s very possible that it may not…but, then, this is where the optimistic and cynical sides of my brain begin to do battle with each other.

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Prison Break 4.4: “Eagles and Angels”

Given the number of times that Michael and Sara used the phrase, the name of this episode should have been “One Day,” but obviously the writers are trying to make a point about how the series should eventually end – the carrot on the proverbial stick, if you will. And in this scenario, the audience is the mule/horse. Sometimes being a fan of this show feels like being a beast of burden, but this episode was relatively headscratcher-free, aside from Sara’s ponderous decision to have her credit cards exposed for the skeezy barfly to conveniently swipe, which (apparently) is the only way that Morpheus would be able to find the gang. Sara gets a pass since she wasn’t thinking straight, mourning the death of her friend and all. Heck, I give her credit for not downing that double bourbon, though the bartender gets an assist. (That bar scene was a nice piece of acting by Sarah Wayne Callies, by the way. It’s good to have her back in the fold.)

I also question the convenience of Gretchen being held somewhere in L.A. That’s a little contrived. She’ll eventually escape and cause a ruckus, no doubt.

Speaking of obvious future plot twists, with the death of Don’s whistleblower, it’s clear that the gang will eventually need to enlist the aid of T-Bag, since he (ponderously) is risking life and limb to infiltrate the Gate Corporation posing as the company’s top salesman. Apparently, this is somehow a part of the Scylla puzzle; methinks that the corner office is important so that the gang can either drill up or down into an adjacent floor.

Back to T-Bag – I was really looking forward to his first meeting with his supervisor, but that was fairly anticlimactic. However, I’ll give you three to one that he’s sliding up next to that well-endowed secretary in the next episode or two.

There was a nice moment between Linc and Bellick after the two had clashed earlier in the episode over Bellick’s constant naysaying. Bellick stepped up and stabbed the Company henchman, effectively saving Linc’s life.

We had another taste of foreshadowing with Michael’s bloody nose. He’s clearly suffering from some illness and it will either come up later in this season or at the end, when they’re setting up Season Four. Whatever the plan, I hope Fox allows the series to end on its own terms, or at least gives the creators enough notice so that they can end the show properly. I know it’s premature to talk about this, as the show is considered a “hit,” but it has happened time and time again to other series, and the conclusion of “Prison Break” needs to be protected. We’ve invested too many goshdarn hours in this show only to have them pull the rug out from underneath us.

Anyway, two cards down, four to go, and Morpheus is hot on the gang’s trail.

Terminator: The Sarah Connor Chronicles 2.2 – Boring, Sarah, Boring

“Oh, this isn’t cool.”

Those are the words I uttered when the beginning-of-episode recap came and went this week with neither a glimpse nor even a mention of the sexy T-1000 who made such a memorable appearance in the final moments of the season premiere. And I can’t imagine I’m the only one. When Shirley Manson transformed from a urinal into a liquid-metal killing machine last week, it was – to paraphrase David Medsker – a moment of the “hell, yes” variety, and to follow that up with an episode which mostly acts like it never happened…?

Frankly, it verges on the unforgivable.

So yet another guy from the future comes back to send a message to the Connor clan, barely surviving long enough to spit out his message that they should go to their friendly neighborhood nuclear power plant. We get a brief flash-forward…we’re talking about five seconds long…so that we can get an idea of the importance of this plant, but while glimpses of the future always look awesome, you can’t help but look at the brief scenes and think, “Well, that was nice. Too bad they probably blew 95% of this week’s special-effects budget on that sequence.” In this case, it was apparently more like 99%, since the FX otherwise remain at a bare minimum this week…but I digress. Sarah and Cameron quickly get jobs at the plant, with Sarah almost managing to act more suspicious than Cameron in her attempts to ingratiate herself to the boss man, Carl. (It’s bad enough when she does it in the office, but when she turns up at the local watering hole, it’s even worse.)

John’s freak-out at the end of last episode apparently wasn’t as profound as it might’ve looked from his haircut, but he’s clearly still a changed (young) man. Although it was done a little heavy-handedly, his return to school made a very good point: how do you just go through the motions when you already know what the future holds? With the help of a new female friend, apparently. It’s funny that Busy Phillips should play the very pregnant realtor who shows Sarah Connor their new digs, since even before she made her appearance, I was already thinking that Riley (Leven Rambin), totally reminded me of Kim Kelly in “Freaks and Geeks.” At the moment, though, there’s not much to the character of Riley, aside from the fact that she’s kind of cute and she clearly thinks John is, too.

There was an ungodly amount of conversation in this episode, much of it stupefying in its banality. The worst offenders were the conversations between Sarah and Carl, of course, though the drivel being spouted between John and Riley wasn’t much better. The scenes with Agent Ellison and Charley Dixon were interesting in a let’s-get-all-the-loose-ends-from-last-season-wrapped-up kind of way, but they weren’t overly satisfying, mostly because Charley was a great character. I’m sure we’ll see him return, because I refuse to believe that he won’t eventually kick his wife to the curb in favor of Sarah, but it was a shame to see him go nonetheless.

This may well have been the most boring episode of “The Sarah Connor Chronicles” to date, and after the success of last week’s season premiere (granted, I liked it better than David did, but, still, even he admitted that there was plenty of action to be had), it could prove to be a momentum-killer of gargantuan proportions. Virtually nothing of real note happened until the final quarter of the episode, and when things finally did get rolling, with the near-meltdown of the power plant, it still wasn’t very exciting. Even the one moment which should’ve been creepy – the shot of Carl’s body hanging from the ceiling of his living room – was ineffective, since the “Carl” at the plant was acting so mechanical and robotic that you already knew he had been replaced by a Terminator.

When Shirley Manson finally reared her head at the very last second to make a liquid-metal appearance that was even shorter than last week’s, it felt like a slap in the face to those who had just sat through the previous 50+ minutes waiting for her arrival. Better she should never have showed up at all.

Another fine excuse to hype ABC Family

I’ve indicated on several occasions that I’m a big fan of the ABC Family Channel, which went through many permutations before finally coming up with a format that has been providing some really solid family-safe series for the past few years. While I can’t claim that I’ve followed “Lincoln Heights” as closely as some of the other shows on the network, I hate to miss out on any opportunity to give ABC Family’s programming some love, so I just wanted to mention that the series’ third-season premiere is available for viewing over on Fancast.com.

“Lincoln Heights” follows the lives of the Sutton family, led by Eddie (Russell Hornsby), an ambitious police officer who moved his wife and three kids to the inner-city neighborhood where he was raised, with hopes of cleaning it up and making a difference. The cast includes Hornsby, Nicki Micheaux, Erica Hubbard, Mishon Ratliff, Rhyon Brown, Robert Adamson and Michael Reilly Burke, and the show has been nominated for multiple NAACP Image Awards and NAMIC Awards since its premiere on ABC Family in 2007.

If, God forbid, you miss catching the premiere on Fancast, fear not: it will make its format network premiere on Tuesday, Sept. 16, at 8 PM. But if you’ve got the time, then why not take advantage of the opportunity to start the season early?

In the meantime, enjoy this preview of the series…

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