We at Premium Hollywood have been dating ourselves — insert your own “isn’t that against the law” joke here — with our love for bad ’70s commercials and the opening credits to zany TV shows that were only greenlit by mountains of coke, so we thought it was only fair to show some love for a TV commercial currently airing that looks like it was also the work of someone who has done mountains of coke. Sweet, hilarious, wonderful coke. Yaaaaaaaaaaaaay!
Category: TV (Page 386 of 595)
Last week I bemoaned sweeps; this week I am grateful for them. This was easily the best episode since the pilot. The entire mythology of the series cranked up about 3 notches.
In 1999 Dan saved the life of a man who was set to testify against a gang, and in the process made his 1999 self a target of the same gang. So instead of his typical bouncing around from time to time in an episode, he’s forced to stay in one night to save himself – and his future marriage and child – with Livia aiding him for the evening.
What struck me as most noteworthy about this episode was the notion that Dan and Livia are far more suited to each other at this point than Dan and Katie. They understand one another and their lives have far more in common at this point than his “real” life, which is progressively becoming harder and harder to maintain. Katie would like to get back into the TV News game, but how can she with a child and the knowledge that Dan might disappear in a flash? Dan’s weekly assignments are to right the wrongs the timeline has massed up; what if “Journeyman” as a concept is all about righting the biggest wrongs of all? The loss of Dan and Livia’s relationship and the loss of Jack and Katie’s? For the first time in the series, I really, really liked Livia and she truly seemed to have Dan’s best interest at heart, especially in the scene where she ended up in the present, in his bedroom closet next to the moneybag – all while Katie and Jack argue footsteps away. What if Katie and Jack are actually supposed to be together? As was even demonstrated at the beginning of the episode, Jack possesses the potential to be a much better father than Dan is even capable of being at the moment. Jack’s a good man who simply doesn’t know what’s going on (although he’s getting much closer with each passing episode).
There’s something in “Doctor Who” called the Blinovitch Limitation Effect that posits “a dangerous energy discharge will result if two temporal versions of the same person come into contact”. I thought about this immediately when Dan kicked his own ass in ’99. Had this happened in “Who”, the universe would’ve exploded. Not that “Journeyman” is under any obligation to play by other time travel rules, but it was interesting to note that he was able to beat the crap out of his drunken ’99 self without too much fallout – well, um – other than screwing up his timeline anyway. The rest of the story saw Dan being forced to take the place of his ’99 self in a card game and thus he falls back into a night of gambling and drinking, all set to The Verve’s “Lucky Man”. The entire sequence punctuated by the arrival of ’99 Katie was the episode highlight.
But the FBI are closing in and next week things will get even stickier. Yes, the promise of this series is being delivered. By the way, “Journeyman” supposedly has 13 episodes in the can or at least nearing completion. No more have been ordered at the moment, but we should be good through at least the end of the year, what with the writer’s strike and all. I’m sure at the moment, studios aren’t placing season orders for anything.
Heading into this “two-hour event,” I was wondering how the show was going to take off in a new direction once the boys escaped Sona. Would they join (or chase) Whistler and Susan as they looked for whatever it is they want on the bottom of the ocean? Would they try to find the money (from the first season) that’s sitting in a bag at the bottom of the cove as they dodge the Panamanian law? Would Michael discover that Sara was dead and seek vengeance on her murderers?
What we got was four more days in Sona. Oh, and the big twist – Susan’s real name is Gretchen and she knows Whistler. Apparently, he’s her boss. Yawn.
For someone who wants her boss out of Sona safely, I find Susan to be grouchy and unhelpful. First, she kills Michael’s girlfriend, which was a really risky move. She didn’t know that Linc wasn’t going to tell his brother about her death, and if/when Michael found out, he’s just as likely to freak out and stop planning the escape as he was to keep pushing forward to try to save LJ. The best she can do on the photo is give the brothers the same one she gave them before, which is pretty sketchy considering all the resources the Company is supposed to have. I don’t know if these plot holes are intentional or just a natural part of the series, but they sure are distracting.
Apparently, the purpose of Tyge’s arrival at Sona was so that he could be killed, creating suspense around whether or not Whistler would be available for the escape. This is also a very fishy plot point. Is Tyge really just this random guy that got thrown into Sona and just happened to recognize Whistler? Come on.
I’ve got to hand it to Linc. He went almost a whole season without making a boneheaded move then, on the day of the escape, he lets it slip that “something went wrong drugging the guard, but it’s OK now” when he could have said nothing and Susan wouldn’t have known about the daylight escape attempt. Way to go, Linc! I love how he told Michael that “she figured it out.” Yeah, right. She figured it out because you told her, you dolt!
The writers are being a little heavy-handed trying to humanize Bellick. First, Tyge embarrasses him in line and then he’s devastated by the news of Sara’s death. Suddenly, he’s this compassionate, misunderstood guy. Did anyone else suspect that he was in fact Tyge’s murderer? I know Michael found the knife in Mahone’s cell, but that could have been planted. I wonder if that’s going to come up again.
Speaking of Tyge’s death, what does the betrayal of Luchero’s man (discovered via the cigar stub) have to do with Whister? In other words, why did Luchero let Whistler go after killing his man? I don’t know what one has to do with the other, especially when Luchero goes on and on about whatever justice he thinks exists in Sona. I think that the writers sometimes use shocking moments like that as misdirection so that we don’t notice them shoving a bunch of shit under the rug.
How about that brutal fistfight between Michael and Whistler where each guy lands like 10 punches yet neither guy gets a bloody lip or a black eye? I’m sure this had something to do with not wanting to give pretty boy Michael a black eye for the next five episodes, but it’s just too silly to ignore.
As you can probably tell, I wasn’t a big fan of these two episodes. Once Michael sent Whistler back up the ladder, I knew we were in for several more episodes in Sona, and it’s starting to feel a little tedious. This part of “Prison Break” is starting to drag out, and the show feels like one big tease. They tried to kick things up a notch by having Luchero’s power taken away from him, meaning that he now wants to escape, and by revealing that Susan/Gretchen really works for Whistler, but after almost two hours of teasing, it just feels like too little, too late.
First off, how cool was it to have Hiro say, “Previously on ‘Heroes,’” except in Japanese rather than English, with the logo translated accordingly as well?
Hiro’s doped up on opium back in the 1600s until his new lady love proves that women should never be underestimated. (How could that not occur to anyone? Surely that little fact was pretty well-documented even then!) Poor Hiro is still hopelessly naïve when it comes to believing in the inherent good in all people. Oh, well, at least it made for a good swordfight…not to mention a hell of an explosion! It didn’t occur to me ‘til Hiro was sorting through the rubble that Kensei had the power to heal and might well have managed to survive the explosion, but when things wrapped up, I began to think I’d been on the wrong track. (More on that in a moment.) I liked how it turned out that the final Kensei story was a metaphorical one, based on Hiro…and for as long and drawn out as I felt Hiro’s storyline in Japan was, it was still a very sad yet sweet ending. But, c’mon, how awesome was his reunion with Ando? Well, I mean, until Ando had to tell him that his dad was murdered, anyway; talk about your buzzkill.
So I’m thinking “making waffles” could be a new sexual euphemism…well, if it isn’t already one, that is. But swinging by Claire’s house for breakfast confirmed for me once and for all that AngelBoy is totally a stalker. Well, okay, maybe he isn’t, but that doesn’t mean I didn’t still relish watching him get comPLETEly freaked out when he realized who Claire’s dad was. Speaking of her pops, it looked like we weren’t going to be getting much of him this week after that scene at the beginning where HRG and Brother Voodoo were going all “burn, baby, burn” on Isaac’s paintings. My question, though, is this: was it really all that great that we got that Bennett family scene toward the end? It was pretty melodramatic and felt less like a “Heroes” moment and more like something from “Dawson’s Creek.”
Mohinder starts out sitting by Molly’s side, with Nikki…erm, Jessica…watching him every minute until Matt and Nathan show up to warn Bob about Matt’s dad. “Now is not the time to recant the past,” says Bob. Yeah? Well, when the hell is? Bob indicates that Matt might share his father’s power, even if he hasn’t exercised it to its fullest. Matt doesn’t believe it, so he goes to vent to Molly, who manages to hear him through her coma. Aw, what a “love conquers all” moment…rather the antithesis of the creeptastic moment when Jessica…erm, Nikki…was visited by her late husband. Actually, Matt’s scene with his dad looked for a second like it was going to get as melodramatic as his “I love you” scene with Molly before it took that rather dark turn toward the end…and, of course, it finally got there with the big Matt / Molly embrace which closed it. “Adam is…complicated,” sayeth Bob, during his decidedly dark conversation with Matt. Yeah, complicated and then some. So Linderman was Adam’s disciple? That little revelation spoke volumes about the dude. I’m sure a lot of people cheered when it was revealed that Nikki…erm, Jessica…oh, screw it, I’m gonna start calling her Nikica again. Anyway, when it was revealed that she was stricken with the Shanti virus, I know a lot folks were, like, “Goodbye to bad rubbish,” but, hey, lately, I’d rather see her story unfold than Claire’s.
Peter and his new Irish lass are in 2008, in a version of New York City that’s been ravaged by disease…the Shanti virus, to be specific. The government official painted a dark picture of the future, but as soon as Peter’s mother showed up, I immediately began wondering, “Is this whole thing just something that’s been constructed by Adam?” And then look who walks in at the end of the episode. Better yet, Adam is Kensei!
Yep. That right there was an “oh, shit” moment.
Who didn’t see this one coming? As previously reported, Dog the Bounty Hunter got himself into some good old fashioned trouble when a taped phone call from him to his son that was filled with racial slurs was leaked by The National Enquirer. Now, the A&E network has pulled “Dog the Bounty Hunter” from its lineup indefinitely. It’s not like Dog really had any other direction to go but down, really. D-list celebs often do. But really, never trust a dude whose betrothed looks like him in drag. Zing!
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