Tag: Cameron Phillips (Page 3 of 3)

Um, this is classified as an action show, right?

For the second straight week, an hour passed in which the overall story arc – assuming there is one – was pushed forward a few inches, tops. Catherine Weaver reaches out to Agent Ellison in the hopes of seducing him into working for the dark side. That’s pretty much all that happened in the grand scheme of things. The rest of the hour was taken up by an attempt by Cromartie to lure Sarah and Derek out into Nowheresville while he attempts to take out John back in the city. Oh, and John once again put his life in jeopardy, this time to hang out with Riley. We understand that it must be hard for a teenager to be so deathly serious all the time, but damn, man, you’re the last hope of mankind. Cowboy up, punk.

Back to this whole story arc thing – do the producers even have a plan? They have to, right? Otherwise, they don’t get the green light to go on…right? Still, after watching tonight’s awesome season premiere of “Heroes,” and sifting through the dozens of story lines they unveiled, this show, by comparison, is moving like the turtle that Matt Parkman thought was talking to him in the desert. Are budgetary issues preventing them from a) adding new cast members to expand the story, or b) throwing in some splashy action sequences? Heck, this week’s episode didn’t even include a flash-forward to some post-apocalyptic wasteland. Instead it was all dark, crowded warehouses and the Santa Monica pier. Wheeee.

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Warning: spoilers abound. If you haven’t seen the episode, stop reading right now.

For as much action as there was in the season premiere for “Terminator: The Sarah Connor Chronicles,” not a whole lot happened. They set up a whole bunch of stuff to happen later, but as a stand-alone episode, it was like a Michael Bay movie: stuff gets blow’d up, and you’re entertained while it’s happening, but the minute it’s over, you think, why did they need that much time to tell that little story? There is a reason for it, of course, but it’s a cart-before-the-horse reason, as if they wrote the episode backwards and worked their way to the beginning. When they got stuck, they inserted a car chase and blew shit up.

But that ending. Man, oh man, is it awesome. The last two minutes, in particular, are of the “Hell, yes” variety. Pity there was so much chaff around that sweet, sweet, wheat.

The episode opens with a decidedly not-dead Cameron, rebooting her frazzled memory chip after surviving a car bomb. (This kind of bomb apparently does not burn hair. Must be from the future.) She finds the culprits in the process of beating Sarah and John, and dispatches with them both. Then she sees John…and her chip tells her to terminate him. Holy shit! Run, John, run! How’s that for a Sweet 16; the robot that he’s wanted to have sex with for a good month or two now wants to kill him. That’s a buzz killer.

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