Tag: Summer Glau (Page 3 of 4)

Sure, it was another episode light on action and logic – but heavy on nicely realized post-apocalyptic green screens – but at long last, the show’s creators delve into Cameron’s origins, and they are interesting, indeed. Cameron, it turns out, is modeled after Allison Young, one of John’s favorite resistance fighters in the future. She’s caught by the machines and interrogated at length and in depth. After a failed escape attempt – she’s lucky she survived the jump off the aircraft carrier deck, never mind actually getting away from the machines – she discovers that her interrogator is an infiltrator Terminator that…wait for it…looks just like her. The machine was just picking Allison’s brain so she could do a convincing job of being Allison when she hit their camp and took them out.

What does this have to do with anything, you ask? Well, it looks as though Cameron’s chip is getting a little twitchy again, because after looking at a helium balloon, she goes blank – with no idea who she is and no ID to confirm her identity. She does, though, have a lot of cash, which attracts the eye of a opportunistic leech named Jody, who takes Allison – Cameron hasn’t yet remembered that she’s a machine – under her wing. The two check into a shelter for a couple days, though the catch is that they must submit to therapy. Allison is a virtual tabula rasa in her first meeting, but before long remembers what she is and vows to put John Connor’s head on a stake. The shrink, as she conveniently pointed out in their first session, must contact the authorities when someone speaks of harming another, but more on that later.

“Scout’s honor, if I had any idea you were a killing machine from the future, I totally wouldn’t have lied to you like that.”

Catherine T-1000 Weaver, meanwhile, is slowly luring Agent Ellison into her web, though the endgame on this one seems a bit fuzzy. Since she’s already a more advanced model of Terminator than the one she’s recruiting Ellison to hunt down, why would she care about Cromartie? Is there an edge that the machines would get by replacing Catherine Weaver with not just any old Terminator but a liquid metal badass? I’m still unsure how Catherine was able to convince Ellison to sign on, especially after her clumsy speech about the death of the original Catherine’s husband, and Machine Catherine’s clear hatred for all things human, but maybe it’s one of those Austin Powers things where Basil Exposition just tells us to go along with it, so we do. Ugh. Continue reading »

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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