#503: 'Free To Be You and Me'
Wr: Jeremy Carver
Dr: J. Miller Tobin
Synopsis: Sam decides to stop hunting but has a hard time after he receives a surprise visit. Dean and Castiel try to find the Archangel Raphael in their bid to stop the Apocalypse.
Review: A truly superlative episode that takes a fresh conceit and runs about seventy miles with it. Separating Sam and Dean is one of the bravest decisions that the writing staff have ever made it pays dividends. The juxtapositionary nature of the plot is rarely overstated and makes for some highly potent comparative drama. Counterpointing Dean's search for Raphael (and hence, God) with Sam's desperate desire to remain hidden away lends a sort of tragedy to the whole thing; if 'Free to Be You and Me' had a posture, it would be shoulders haunched, gaze down cast. The respective denouements are fantastic too. Castiel and Dean's confrontation with Raph is a genius piece of writing, utterly bombastic, revelling in its own grandiosity. The actor is wonderfully spooky and the production values lend the sequence the gravitas it requires - this Armageddon, baby! We're talking about the big guns here. The only slightly regrettable element is the music, which feels just a tad too OTT but given the brilliance of just about everything else, I think we can forgive it.
Sam's moment is much more understated but it works all the better for it. While the angry hunters come across a little cliched (why isn't anyone reasonable apart from Ellen?), Jared saves the whole thing with a truly impassioned performance that really demonstrates how far both he and his character have come. And then, just to exacerbate its own stupendousness, Jeremy Carver throws a phenomenal encore at us in the final act, juxtaposing a heartbreakingly quiet, honest, reflective moment between Dean and Cas where he confesses that he feels 'free' in Sam's absence with a tour de force between the stellar Marc Pellegrino and Mr. Padalecki that strikes just the right level of understatement to be truly sinister. The revelation that Sam is Lucifer's host is completely logical and thankfully, isn't played with overt dramatics. Pellegrino's Lucifer looks set to be just about the best villain Supernatural has ever thrown at us, precisely because he doesn't play him as one. All of this helps to make Carver's script an absolute beauty. Really, they don't come much better than this. 9.5
#504: 'The End'
Wr: Ben Edlund
Dr: Steve Boyum
Synopsis: Dean refuses Sam's efforts to help him battle the Devil, and then wakes up to find himself five years in the future, in a wasteland where Lucifer has begun his endgame by unleashing a virus that transforms humans into zombies.
Review: It seems to be hard for the Supernatural writing staff to do any wrong these days. Even when they're operating outside of their comfort zones, they still knock classic after classic out of the park. Ben Edlund is known for his comedic streak ('Monster Movie', 'Hollywood Undead' et al are all his) but here he tries something fairly straight and it works an absolute treat. Okay, so he also wrote last season's 'On the Head of a Pin', which is probably the show's greatest and most horrifying episode ever, so perhaps 'The End''s success isn't such a big surprise. The concept is actually something of a bog-standard one: hero gets a glimpse of the future as a lesson from his benefactor (A Christmas Carol, anyone?) but Edlund makes it seem so much more original than that. The inclusion of future Dean is an inspired decision and Jensen does a fantastic job of illustrating the subtle differences between the characters. Misha Collins is ace as a humanised Castiel too, never making his transformation into new age hippy seem too absurd. It's also somewhat pleasing to see the Croatoan virus rear its ugly head again, as it seemed doomed to the scrapheap as a throwaway season two stand alone. Thankfully, its inclusion doesn't feel at all gimmicky and its effects are superbly depicted: the scene with the little girl is absolutely terrifying, while Dean's execution of his compatriot is completely shocking in its brutality.
And then, of course, we have Sam as Lucifer. Well, if Jared is this good now, I can't wait to see what he has in store for us in the future. Like Pellegrino, Padalecki plays it completely straight, without any bombast and it's so much eerier for it. It's the little things that make this scene so superb: Jensen's tears, Sam standing over Dean's dead body, the white suit... it's all thoroughly unnerving. Naturally, it's good to see the brothers reunited at hour's end and also for Dean to make the less expected decision by still rejecting Michael, but really, the best thing about this episode is the meat of its central narrative. This season just keeps getting better and better and continues to prove why Supernatural is the greatest thing on TV right now. The apocalypse never felt so darn good. 9.5
#505: 'Fallen Idols'
Wr: Julie Siege
Dr: James L. Conway
Synopsis: Sam and Dean head to a small town where people are murdered by famous dead icons. However the brothers come to a dead end when two teenagers reveal they saw Paris Hilton kidnap their friend.
Review: You've gotta love a show that has the balls to get Paris Hilton to guest star in an episode as herself, and then gives her dialogue that basically states that she's a poor excuse for an idol for the younger generation because, well, she's an airhead... and then brutally hacks her head off in one of the most gratuitously bloody scenes this side of a Sam Peckinpah movie. It's a surprise that she actually goes along with it, but then, maybe that's a testament to her sense of humour, to how good a sport she is. Even more wonderfully, the fact that Hilton can't act her way out of a paper bag doesn't seem t matter, since she's playing a demi-God, playing the celebrity. Any woeful delivery can be chalked up to mere character traits of the person that the beast has adopted. Sheer genius.
This is a delightfully playful episode, a sure-fire sign that the Supernatural writing staff are having the time of their lives, confident in the strength of their material and their ability to turn it into some of the best, and most fun, television you've seen in years. Julia Siege must have had a ball writing this: from the apprehension and fear that shoots through the absurd sequence between Dean and James Dean's 'car' to the mysterious, utterly OTT appearance of a poor man's Abe Lincoln in the professor's office, the entire production has a cheekiness about it, as if the narrative is actually winking, knowingly, at you. It's a far cry from the ultra-serious mythology-fests that we've been treated to for the past few weeks but therein lies its strength. 'Fallen Idols' feels original; it takes us to a place that we didn't really expect to revisit and it does it with gleeful aplomb. It's a hugely enjoyable ball of fluff, a much welcome diversion that allows you to sit back and laugh, while also offering up some delicious scares and lovely character moments.
By virtue of its narratalogical minutiae, the episode is never going to make the list of 'all time greatest Supernatural episodes' but at this stage in the game, it's just the sort of self-referential, intertextual, comedic minefield that we need. 8.7
#506: 'I Believe the Children are our Future'
Wr: Daniel Loflin & Andrew Dabb
Dr: Charles Beeson
Synopsis: Sam and Dean investigate reports of fairy tales come to life and find the young boy who is responsible, and has a power to create real creatures from fantasy. However, the brothers disagree when Castiel tells them to kill the boy because of the power he possesses.
Review: If there's one thing that Supernatural does better than absolutely any other television show on air these days, it's amalgamate genres. 'I Believe the Children are our Future' is the perfect example of how to marry two fairly antithetical models of storytelling without compromising the viewer's enjoyment of the episode. Dabb and Loflin's script is expertly crafted: it starts out as one thing and becomes something entirely different by hour's end, but the transition is barely noticeable, so organic is the narrative. When we begin, it appears that the show is trying to throw another slice of humour at us with a story that seems to function as nothing more than a simple stand alone. Of course, it's all perfectly enjoyable stuff: there are some absolutely priceless moments amongst the litany of parental fibs that come true, not the least of which is Dean's appropriately hairy palm. This is to be expected from these two writers; they did pen 'Yellow Fever', last season's howl-fest, after all.
Refreshingly, however, it isn't long before the essential mystery is solved and things acquire a far greater, and much more sinister, significance. The comedy gives way to more weighty moral issues and rather epic set pieces that feed into the ongoing narrative. Once we discover that the boy is the Antichrist, the entire tone of the script changes dramatically and we are thrust head first into the horror of the situation, as first Castiel tries to do away with the child and then his 'mother' comes after him, trying to win his poor soul over to Lucifer's side. The gravitas of the child's power is superbly handled, with some suitably chilling dialogue and off-hand gestures (it takes just a flick of the wrist and/or a word or two to bend others to his will) to paint him as a key player and thankfully, the actor playing him is absolutely spot on, never descending into the mawkish or the unnecessarily hyperbolic. The whole story resonates well with Sam and Dean's respective issues too, and there's even a suitably satisfying pay-off as the child chooses not to make the obvious decision and magics himself to Australia.
This really is delectably crafted stuff, a solid example of exactly how to marry comedy with good, powerful drama and keep your audience on their toes. With so many different flavours to sample in the space of a meagre forty minutes, this feels like something of a treat. As ever, absolutely top notch. 9.2
#507: 'The Curious Case of Dean Winchester'
Teleplay: Sera Gamble
Story: Sera Gamble & Jenny Klein
Dr: Robert Singer
Synopsis: Bobby risks his life by betting 25 years of his life on a poker game run by a witch. Dean tries to save Bobby but ends up drastically aging.
Review: Curious by name and even curiouser by nature, this exercise in moralistic pontification really is one of the most bizarre episodes that Supernatural has ever thrown at us. Gamble's script is less a linear, traditional 'case', the teleological quest towards a resolution, and more the audio-visual equivalent of a prolonged stroke of the chin or, indeed, an intellectual debate. The substance of the hour is essentially the question of immortality... or rather, the perpetual hunger for youth. Such a topic is hardly original, sure, but the script comes at it in a fairly interesting way by introducing a poker shark who plays for your years, or to hand some back to you if you happen to beat him. In a suitably murky move for the character, but one that seems completely believable, Bobby tries his hand at the game and loses, causing Dean to give it a go and lose even more spectacularly, which subsequently forces Sam to play the sweet-talking Irish guy.
Ultimately though, the minutiae don't seem to matter too much, since it's the places that these events take the characters that provides the meat of the episode. With Bobby, we are able to see just how broken he is as a result of his new-found incapacitation, as he believes it renders him 'useless.' Jim Beaver is all too often underused in the show, appearing to lend a helping hand to Sam and Dean and maybe throw in the odd surrogate father figure remark here and there. We sort of take him for granted, but here, thanks to some top notch writing, we are reminded that he is just as flawed a human being as either of the brothers, able to be a victim of his own emotional pride. Dean, meanwhile, is forced to see how the other half lives when he is aged, which leads to some nice moments of understanding with Bobby, and also some appreciation of the benefits of his usual state. And perhaps most importantly, the plot provides Sam with his own personal brand of redemption as he is finally able to save his brother meaningfully, without any outside influence or risk to his own well-being. While his success in the game is never in question, the realisation of the moment doesn't feel like a let down because it's the character beat that's most important; it is immensely satisfying to see the younger Winchester finally get the upper hand.
There are a few problems with the episode, however, and they largely centre on its narratalogical deviation. While the fresh approach is certainly commendable, it is also somewhat lethargic at points. Occasionally, the plot seems to grind to an almighty halt, and what fills the gap is not necessarily engaging. There's a little too much finger-pointing and bellyaching at the perils of being old as Dean is seen moaning at his lack of breath, bad back and any number of other things, every time he turns a corner. It's rather excessive and the joke begins to lose its comedy after only a handful of occurrences. The poker plot is also rather mundane for those who aren't fans of it or even aware of its rules; some of the more dramatic moments in play lose their edge when you haven't a clue about what's going on. Generally though, this is considerably enjoyable episode with a great deal to say, that works by virtue of its own wonderful weirdness. 8.4
#508: 'Changing Channels'
Wr: Jeremy Carver
Dr: Charles Beeson
Synopsis: Dean and Sam find themselves mystically trapped in a series of real-life "TV shows" and there appears to be no escape. They believe their old enemy the Trickster is responsible, but discover someone or something else is involved.
Review: Effectively a living, breathing, self-reflexively mindboggling advertisement for intertextuality, 'Changing Channels' is the sort of television that hundreds of thousands of poor, toiling screenwriters have wet dreams about penning. Jeremy Carver's script practically bounces off the page with reckless abandon, full of knowing winks, outrageously fourth-wall-shattering concepts and some of the most down right cheeky comedic moments this side of an episode of Monty Python's Flying Circus. In fact, the story is so self-aware that you half expect Sam and Dean to clamber out of your television set and start playing Happy Days in your front room. Except they don't. Obviously.
What they do do, however, is have the absolute time of their lives with a plot that couldn't be more outlandish if it tried. Padalecki and Ackles are in their comedic element in the episode's lighter first half, mastering the arts of underplaying and the all important comedic timing. The glances that they shoot the Grey's Anatomy, sorry, Dr. Sexy M.D. (how ridiculously awesome is that title?) doctors when they start emoting are absolutely priceless; and then, of course, there's the Banzai ripoff, where their utter cluelessness is a scream, the CSI imitation with obligatory croaky voices and sunglasses in the dark and, my personal favourite, the genital herpes advert which... well, the idea speaks for itself really.
Wonderfully, though, Carver's script doesn't stop there. It isn't satisfied with being a distinctly astute and bloody hilarious parody of the most mundane of contemporary American television, oh no. It goes and turns all serious and, get this, relevant on us in the final act. Like the superb 'I Believe the Children are our Future' before it, the 360 degree genre swerve emboldens the episode, providing additional layers and giving the viewer a much welcome surprise. The revelation that the Trickster is an angel could've been an almighty mis-step but thankfully, it's treated with the necessary sincerity and seriousness to make it work. It's quite impressive how easily Richard Speight Jr. makes the transformation from cheeky upstart to sinister deity and it's credit to Carver's ability as a writer that his dialogue never seems forced or hokey. You immediately buy into it - well, frankly, it does make sense - and it provides the arc plot with some refreshing new dimensions. Plus, that ring of fire in the abandoned warehouse just looks freaking cool, man. Absolutely awesome. Again. 9.4
#509: 'The Real Ghostbusters'
Teleplay: Eric Kripke
Story: Nancy Weiner
Dr: Jim Conway
Synopsis: Sam and Dean are tricked into attending a Supernatural convention by their super-fan Becky. Sam and Dean are in for a shock when many of the fans are dressed up like them.
Review: There's a danger with all fictional media that once the fourth wall has been broken, things may begin to fall apart. While it is undoubtedly a great deal of fun for writers to abandon their self-imposed restrictions and mess around with things like intertextuality and self-reflexivity, there is always the risk of running slightly amock, of going so far over the line so often that it's no longer visible, and your audience becomes tired of being forced to watch you disappear up your own arse week in, week out. Fortunately for Supernatural, that has yet to happen, which is largely thanks to the considerable talents of the script writers, but with 'The Real Ghostbusters', the fifth, yes, fifth achingly self-aware episode of the show in a row, you'd be forgiven for thinking that it is perhaps time to stop playing clever and get on with the business of writing a fantasy drama show.
The problem, essentially, is that there isn't enough here that's truly impressive. 'The Real Ghostbusters' has a distinctly postmodern concept at its core - the metatextual levels are off the scale, seriously: Sam and Dean attend a fan convention? About them? As fictional characters? Christ on a bike! - and this certainly raises a few eyebrows and stokes sufficient intrigue within the first ten minutes or so, but when it becomes apparent that this is the only thing that the plot really has to offer, the script begins to have trouble keeping everything afloat. Kripke just about manages it (yes, this is the creator's effort, an odd departure for someone so engrossed in the mythology, but then, perhaps it was nice for him not to have to deal with the arc plot for once), but occasionally, it's touch and go.
Becky is as annoying a caricature now as she was when she was first introduced in 'Sympathy for the Devil' and stretches credulity to its absolute limits. Come on guys - this is a completely unbelievable exaggeration, created entirely to enable the writers to have a good giggle at those unfortunate, overly dedicated fans. It feels a little cheap and just a tad insulting. There's also the LARPing, which seems neat at first, when the joke's fresh, but after umpteen instances of Sam and Dean imitation, it quickly becomes stale. There's the substance of the story itself too, which, frankly, is a little scant. Sure, it's nice to get back to basics every once in a while, and the trope is sufficiently creepy, we'll give it that (those kids give me the willies!), but it does feel rather like a retread. Hell, one well-informed 'fan' even balks at the idea of using children 'again'... it's a risky business guys, acknowledging the flaws in your scriptwriting within the dialogue. Tough one to pull off.
Ultimately, it's the little things that save 'The Real Ghostbusters', the less important intricacies that add up collectively to give the impression of a story chock full of delicious moments and containing a considered attention to detail. Chuck's speech, his appearance as the guest of honour, is just genius, a work of brilliantly understated comedy that perfectly reflects the absurdity of the whole experience. His ad-libs at episode's end are priceless and continue to make an already fantastically likeable character even more endearing. Then there's Sam's complete indifference to Becky (a response probably mirrored by the audience), Dean's disgust at the activities and behaviour of the LARPers, whikch generates some awesome dialogue, and the 'alternative' Sam and Dean themselves, who manage to transform from irritating stereotypes (your usual nerds) to well-rounded, rather insightful human beings by the time the credits roll. They make some highly astute observations on the nature of Sam and Dean's relationship and the beauty of what they have together, which genuinely comes as something of an epiphany following the bleak miserablism of the last season or so. Plus, they turn out to be a pair of homos without displaying one iota of a conventional signifier, so bravo Supernatural, bravo!
On the whole, 'The Real Ghostbusters' stands up to scrutiny and provides some good, wholesome, self-referential entertainment. It's just that, after five episodes, it would be nice if the writers put down Postmodernism for Dummies, stepped away from the 'humour' button and concentrated squarely on their mythology... or at least, if they have to be metatextual, to do it without lapsing into repetition or, worse still, irritation. It hasn't disappeared up its own arse yet, but it seems like it's having a very brief think about it. 7.9
Friday, 20 November 2009
Television reviews: Desperate Housewives #601 - #608
#601: 'Nice is Different Than Good'
Wr: Marc Cherry
Dr: Larry Shaw
Synopsis: Mike Delfino's bride is finally revealed, and whereas one woman of Wisteria Lane is struck by happiness (yet again), another woman's world falls appart. In the meantime, Lynette tries to cope with her new pregnancy, and develops some unexpected and horrifying feelings towards her unborn babies. Bree begins a reluctant affair with Karl Mayer, and Gabrielle has to deal with raising a rebellious teenage girl. Meanwhile, a new family with a dark past, headed by new housewife Angie Bolen (new castmember Drea de Matteo), moves to the street.
Review: When we left Desperate Housewives at the end of last season, the show was in dire straits. Cherry's narrative going into the sixth year looked to be one of the worst ever - a selection of half-baked regurgitations and ludicrous character swerves. It didn't seem like there was much hope for the show; it was burning out, lacking the spark that once made it must see TV. Now, as it returns to our screens, fresh faced after a cool Summer break, the jury's still very much out but thankfully, there are shafts of light shining through.
Bree's much lamented affair with Susan's smarmy ex-husband seemed like an act of desperation at the end of last year, an attempt to breathe fresh air into a character that had become a little stale. While it is still difficult to believe that she would ever contemplate bonking the man, at least Cherry acknowledges this here, giving her more of a road towards the man. Her cleanliness obsession is completely in character and is a very good way of demonstrating, and reiterating, her morality. Gabrielle and Carlos's intake of Ana, their upstart niece, actually works rather well to begin with. The dialogue in the kitchen is completely believable, feeling just like the sort of scene you'd see in your own house at seven in the morning. Unfortunately, it descends into utter farce once Gaby infiltrates the club and the audience start lifting the girl over their heads... but we'll forgive Cherry his excesses just this once.
Lynette's narrative looked to be a complete eye-roller when it began in the season five finale - do we need to see her pop a sprog or two again?? Ack! - but at least Felicity Huffman gets some interesting beats to play; the moment when she confesses that she is unable to love her new babies is just heartbreaking and is played to absolute perfection. There's even some good stuff for Mrs McLuskey (a new beau that she's hanging out with? Yummy!) and the new family adds a suitable level of intrigue, as well as some HAWT eye candy to replace Shawn Pyfrom with in the form of Danny, uber-sexy brooder extraordinaire. Shame he seems to be a dirty straight... maybe Cherry could mix things up a bit and get him snogging Preston? No? Okay, just get his top off then. Ahem. It seems fairly obvious that he isn't the one responsible for strangling Julie, although this is the same show that had Mike Delfino be the subject f yet another mystery last year so... who knows?
Speaking of Mike, this is where the episode really falls down. While the other narratives manage to salvage something enjoyable out of their crappy conceits, the Susan/Mike/Katherine triangle is just so tired that nothing even remotely enjoyable can ever come out of it. It really doesn't matter who the guy ends up with, because the story is always going to be the same. The other party will over-react, have an attack of the green eyed monsters and there'll be friction and tension for a while. Then, when all of that settles down, the writers will feel like they have to 'spice things up', so they'll split the couple up again before spending another year getting them back together. It's an endless bleeding cycle and it's utterly infuriating. Get this cack off my screen now, please. It's bloody insulting. At least Katherine has a fairly human reaction to the whole debacle. I think I'd be a bit ticked off if my lover said something along the lines of, "hey, I was going to marry you but actually, I've changed my mind and I'm gonna marry my ex instead. Have a nice day!" How rude! Sadly, her anger cannot rescue what is ultimately a horrorshow of a storyline. Honestly, cull these characters and Housewives would be ten times better. As it is now, every six or seven minutes, I just want to throw things at the TV. 7.0
#602: 'Being Alive'
Wr: Matt Berry
Dr: David Grossman
Synopsis: As the citizens of Fairview try to make sense of a recent attack in their neighborhood, Lynette withholds a secret from Susan. Gabrielle gives niece Ana advice on how to get a guy's attention, whereas Bree worries how her affair with Karl will affect her friendship with Susan, and Angie is determined to protect her son and her family's past.
Review: So, has The Ballad of Mike, Susan and the Mayfair improved any this week? Does the Pope listen to 50 Cent? Of course it bloody hasn't. If anything, it's managed to get progressively worse, as now it's mired in the ratings-grabbing, admittedly mildly interesting Julie strangulation story. Katherine comes on to Mike while he's returning home to get some things for Julie, basically degrading herself by throwing her wiles all over his oh-so-masculine frame. And just to make matters worse, we get a delightful scene between she and Orson in which she claims Mike wants her back! How are we supposed to react to this? Laugh at its absurdity? Pity her complete loss of sensible perception? Worry that she's flying off the rails? Feel annoyed that she's getting in the way of Susan and Mike's happiness? All of the above? I honestly don't know... but whatever the answer is, the whole thing is so damn cringeworthy that it's hard to feel anything other than irritation.
On the plus side, at least this narrative strand doesn't feature too heavily in the episode. Instead, we get some fairly interesting intrigue on the part of the Larry Moss family to sink our teeth into, which obviously means plenty Danny, which is absolutely fine by me (shirtless! Shirtless! Now!), the chance to see elderly super-stud Roy for the first time, which is adorably sweet, further progression in Lynette's pregnancy story that continues to impress - it's a stroke of genius to have her reveal Julie's scare in the hospital, completely out of the blue, which makes it all the more believable - although the way in which the abortion angle is swept under the rug after a few scenes is somewhat disappointing, and, of course, there's Bree and Karl's ever-burgeoning relationship, which comes to a temporary halt in the wake of Julie's attack. This strand adds an interesting dimension to the story, bringing Susan's feelings on the matter of a friend sleeping with Karl into the equation, as well as giving Richard Burgi a chance to show an emotional side of Karl that hasn't really been touched on before. It works very well and further strengthens the backbone of the plot, disguising the fact that, at first, it all seems rather absurd.
Generally, this is a fairly good episode that nudges the separate strands forward and compounds the intrigue inherent in the season's arc plot. Now if we can just get rid of the triangle from hell, things will be back on track. 7.4
#603: 'Never Judge a Lady by her Lover'
Wr: Bob Daily
Dr: Andrew Doerfer
Synopsis: After a chance encounter with John Rowland (former main castmember Jesse Metcalfe), Carlos begins to suspect that his wife still has the hots for him, and allows his niece Ana to be hired by John to test Gabrielle. In the meantime, the Scavos tell their kids they are expecting twins, and Lynette hides her pregnancy from Carlos in order to get a big promotion. Bree realizes Karl is more serious about their affair, but she doesn't want to put much effort into something she does with a man she does not love... or does she? The intensity between Susan and Angie grows as the latter tries to defend her son, but Susan is determined to warn everyone that Danny Bolen is a dangerous kid.
Review: Patently contrived and about as believable as your average L. Ron Hubbard novel, 'Never Judge a Lady by her Lover' tries oh so desperately (hah! What a pun!) to impress but sadly, falls flat on its sorry behind. Repeatedly. And with increasing kerfuffle. Yet again, Jesse Metcalfe is rolled out of cold storage to 'spice things up in', nee 'drive a stake right through' Gabrielle and Carlos's story, making his apparently obligatory once-a-season appearance as the owner of a fabtabulous new restaurant that's just opened in town. Naturally, this leads to a consideration of all the 'possibilities' down the road not taken, Gabrielle spending half the episode in some sort of wistful trance, reminiscing longingly about the time he banged her in her husband's bed, or perhaps the incident with his naked touche in the bushes (well, we all remember that one well... some of us have yet to get over it. Ahem.) We've seen it all before, endured the 'what if' pontification far too many times to be even remotely interested, and even the pay-off, her realisation that she prefers what she has with Carlos, threatens to bore you to tears, it's that unnecessary and down right obvious.
Elsewhere, Bree's narrative continues to feel like it's being played for shock value, trying so hard to do something that hasn't been tried before that it sacrifices all that's enjoyable about her character. Felicity Huffman does her best with a truckload of bad material for poor Lynette, who decides to hide the truth about her pregnancy from her boss, in spite of the fact that she should know far better than to conceal absolutely anything whatsoever, given her history, and as for Susan, well, words really don't do justice to the absurdity of this one. Yes, sure, she'd be distraught over the attempted murder of her daughter and okay, maybe this would lead her to jump to some hasty conclusions. We can all cope with her unwarranted suspicions of super hot, uber sexy, looks-far-too-good-in-a-pair-of-jogging-bottoms-for-it-to-be-legal Danny Bolan, but attempting to crush him with his friend's car? Um, sometimes you really do go far too far, Desperate Housewives. It's all played for laughs, obviously, but it just isn't funny; in fact, it reads as a plot device, not a naturally arising development, which makes it difficult to engage with the story. Disappointing, really; with a little more attention, this show could be a whole hell of a lot better. Still, at least we got that scene with the Scavo kids, eh? Now that was a scream. 5.2
604: 'The God-Why-Don't-You-Love-Me Blues'
Wr: Alexandra Cunningham
Dr: David Warren
Synopsis: As Katherine unravels, revealing how much of a toll losing Mike has taken on her, Bree comes to her aid. Gabrielle grows weary of John's intentions towards her niece, and, during the second trimester of her pregnancy, Lynette's breasts become bigger. In the meantime, Susan learns Julie has been harboring some secrets, and Angie gets Porter to throw a party for her son.
Review: An improvement on last week's disappointing effort but problems still remain. Gabrielle's story is the biggest offender, refusing to let Jesse Metcalfe and his rippling pectorals just lay down and die. No, instead, we have to endure yet another run through one of the parties regretting that they ever parted ways, trying to rekindle a long lost flame and being well and truly spurned. Look, it was old hat when it happened in season three; three years later, it really doesn't feel any fresher, and wrapping it up in Ana's storyline doesn't do anything to help matters. Metcalfe doesn't even show us so much as a cheeky nipple, for God's sake! Speaking of hotties, it is certainly good to see Shawn Pyfrom back but sadly, he's fully clothed too, and gets little more than a bit-part in the teaser sequence. You can't really blame him for wanting to distance himself from the show, given how poorly Andrew has been treated over the last few seasons, but you can't help feeling that he's one of the most interesting characters milling around. Certainly more so than bloody Katherine Mayfair, whose descent into stark-raving-lunacy is just plain embarrassing. The writers have turned her into a cipher, spewing the most extreme and ludicrous of objections to Mike and Susan's wedded bliss week in, week out, and now, as if unsatisfied by this complete and utter hammering of her character's integrity, they see fit to make her deluded enough to believe that Delfino still harbours any semblance of feeling for her whatsoever. Her dialogue is so hyperbolic and her scenes so unbelievable that she just becomes irritating, which does a great disservice to what was a markedly sophisticated and multi-layered creation only a couple of seasons ago.
Thankfully, other aspects are better. Lynette's narrative, despite having too great a whiff of the old 'rampant male sexism' about it, actually manages to pull off a few genuinely amusing moments, - particularly the initial conversation with Carlos about the supposed implants - Bree benefits from being mostly removed from her ongoing car crash of a story with Karl and showing some genuine and quite moving compassion for her compatriot, and the ongoing mystery of the identity of Julie's attacker takes some genuinely interesting twists and turns as first Susan learns a few choice facts about her daughter's recent activities and then we discover that Larry Moss is the mystery man with whom she has been having an illicit affair... which, to be honest, became obvious the moment Pyfrom mentioned that the guy was married, but still, at least they're doing something interesting with a character that we really know far too little about. Quite a few shafts of light then, but not enough to completely pierce the encroaching darkness. Housewives, you're not out of the dog house yet. 6.9
#605: 'Everybody Ought to Have a Maid'
Wr: Jamie Gorenberg
Dr: Larry Shaw
Synopsis: Gabrielle is deemed a bad mother during her daughter Juanita's playdate, and she tries desperately to prove to others that she is a responsible parent. Bree gets defensive when she's judged by a motel maid (guest star Aisha Hinds) for having an affair with Karl Mayer, and Lynette is put off by her new handyman, Roy Bender (guest star Orson Bean), when he defers to Tom for approval on all things, whereas Susan and Katherine come to blows over Mike. Meanwhile, a lapse in judgment on Danny's part leads to a terrible mishap that Angie and Nick must cover up.
Review: What's the best thing about this episode, ladies and gentlemen? Is it the distinctly insightful, and rather moving, conversation between Tom and Roy about Lynette's inherent need for control? Could it be the wonderfully astute observation by one of the Solis children that 'the monkey's killing the clown'? Or perhaps the continued inclusion of the ludicrously attractive young Danny Bolan, who needs to wear less clothes pronto? Well, frankly, no. It's none of these things. The best thing about 'Everybody Ought to Have A Maid' is Aisha Hinds, one of the best character actors in the business right now, who manages to knock the pants off of pretty much everyone else in the episode in her minor role as the observational hotel maid. She's cropped up in Prison Break and True Blood of late (and in the later, she was bloody fantastic as the kooky Miss Jeanette) and now she's here, providing Marcia Cross with the springboard that she needs to give Bree Hodge some of the most in-character moments she's had in one hell of a long time. The final conversation that the two have is just superb, brash and to the point but loaded with meaning. Finally guys, something to get excited about in this otherwise rather contrived storyline.
The aforementioned highlights are also, obviously, worthy of praise, but a nod should be given to the ongoing mystery surrounding the Bolans for ramping up the tension and the intrigue with the inclusion of the dreaded firearm. Unfortunately, this being Desperate Housewives, the episode wouldn't be complete without a thoroughly contrived slice of out-and-out farce and, lo and behold, good old Susan and Katherine can be relied upon, once again, to come up trumps. Honestly guys... shooting her? Really? And that Neighbourhood Watch meeting... ack! Do we really need to be hammered over the head with Mayfair's incessant lust for her ex and comedy-villain hatred of his lover? It's just tiresome. Get these two out of this thoroughly unenjoyable rut and into some interesting narratives, stat. Then we'd have something good on our hands. 7.4
#606: 'Don't Walk on the Grass'
Wr: Marco Pennette
Dr: David Grossman
Synopsis: When Bree begins to fall for Karl, she decides it is time to break things up before they get way too serious. However, Karl isn't willing to let her go that easily, and makes her a proposition. In the meantime, Juanita says a bad word during a school play and Gabrielle is attacked by the school's principal (guest star Marianne Muellerleile), which leads her to respond and ultimately get her daughter out of the school, whereas Lynette learns her husband is cheating during mid-term. Katherine pretends to be on Susan's side to get to Mike, and Angie hides some secrets regarding her mother.
Review: Another week, another round of cringeworthy storytelling from the Desperate Housewives writing staff. After having endured ridiculous propositions, contrived shootings and really, really irritating bouts of disillusionment from the walking caricature that now is Katherine Mayfair, this time around, we're forced to embrace deceptive sweetness, faux friendliness and a mindbogglingly ridiculous run in with a bathtub. Oh come on, calling Mike to get him to 'fix your pipes' late at night, when he's blatantly at home with Susan? Why wouldn't you think she'd get a little suspicious and want to pay you a visit? The subsequent mad dash to extinguish all of the candles and remove the rose petals is so hopelessly devoid of any comedic value that it makes the eyes roll... honestly, can we have the gal that obsessed over Dylan's safety back now, please? She was a heck of a lot more interesting than this one dimensional waste of space.
The remaining storylines, thankfully, continue the upward trend that began last week... or they do for the most part, at any rate. It's good to see the writers doing something a little different with Gabrielle; the inclusion of the children into the mix in season five really helped to enliven things, and once again, they prove to be the source of something actually quite interesting here. Forcing the former model to home school her child could be something that adds whole new dimensions to her character, and it's certainly refreshing to see that Jaunita doesn't automatically forgive her mother at episode's end, just because the denouement's rolling round. Tom's story is complete fluff but it certainly raises a few smirks, and it seems that Bree has at least learned something from her encounter with Miss Jeanette last week, forcing Karl to back off a little and see whether they can date, rather than simply fuck. It's a shame that the brooch trope is so utterly ridiculous though; please, I don't buy for one second that Karl would just conveniently 'forget' that he ever gave the thing to Susan. Honestly, these problems are so easy to straighten out... a little TLC guys, that's all it really takes. 7.4
#607: 'Careful the Things You Say'
Wr: Peter Lefcourt
Dr: Bethany Rooney
Synopsis: Susan is in desperate need of help to figure out if Katherine was responsible for strangling her daughter, and the detective who agrees to help her, Denise Lapera (guest star Kathy Najimy), shares some history with her that they both would rather forget. In the meantime, Lynette learns about Julie's past affair with Nick Bolen, which leads her to have her own theory as to who may have strangled her. The Hodges are invited over for dinner by the Bolens, and Nick proposes to Bree that she hire Angie to work for her at the catering company. Meanwhile, Gabrielle takes advantage of her housekeeper (guest star Anna Katarina) by making her play the role of Juanita's tuitor.
Review: 'Careful the Things You Say' is a game of two halves, where one is replete with interesting new character pairings and the other is full of stale retreads of former glories. With Lynette and Bree's stories, the episode is able to hold its head up high and lay claim to still being one of the sharpest and most underhandedly humorous drama-cum-soap-operas on television. Coupling Mrs. Scavo up with Julie Mayer was a fantastic idea right from the get go, way back in the season's second episode, and it's really refreshing to see the pair engaged in a heart-to-heart, delivering some meaningful and believable discourse that edges forward this year's arc plot without a great deal of contrivance. Lynette's effective voicing of her suspicions to good old Larry Moss plays wonderfully, despite being somewhat reminiscent of Tom's encounters with Dave last year, and Felicity Huffman caps it all off by selling his unspoken threat with just the right level of unease. From the Hodges, meanwhile, we have a lovely piece of comedic theatre, set around a dining table, that manages to incorporate Bree's infidelity, Orson's cluelessness, the couple's woeful marital problems, Nick's infidelity, Angie's maneouvering and, indeed, this couple's woeful marital problems simultaneously, allowing the humour to arise naturally out of a perfectly ordinary, and yet highly charged, situation. It's a shame that Bree resorts to stealing Angie's recipies, and that it takes a few stern words for the pair to end up where they should be - in the kitchen together - but at least we get some honesty from our favourite gun-toting conservative and the makings of what could be a most enjoyable friendship. It's worth mentioning, actually, that the Bolens continue to be distinctly intriguing week in, week out. There's some mighty fine acting chops on display here, particularly when Angie reveals that she's aware of Nick's affair, and the writers keep things just the right side of oblique and mysterious not to provoke frustration.
Sadly though, there's that pesky second half to contend with and it really drags the episode down. Susan's visit to the police station is practically the epitome of lazy writing, fit to burst with half-arsed stereotypes and predictable dialogue. The fact that she and Denise have some unfortunate history is telegraphed from the moment they first clap eyes on each other, so the reveal fails spectacularly, but how on Earth did anyone think this would be even remotely entertaining in the first place? Oh yes, Susan's being harrassed by Katherine and having trouble getting through to the police... well, wouldn't it be even funnier if the police turned out to be on Mayfair's side, and proactively hindered Susan? Yeah yeah, that'd be great. It's a screamer... write it down! Except don't. It's unbelievable, it's old hat and it's just plain uninteresting. Same goes for you, Gabrielle's-housekeeper-cum-Physics-expert. We've had this story before, and it came in the form of the maid that Carlos had his wicked way with in season two. Granted, she wasn't helping any children with their maths homework, but still... Gabrielle shirking her responsibilities and palming them off to someone less fortunate? How original!
What Desperate Housewives needs right now is consistency. It needs to find a writer or two who can embelish everyone's narratives with creativity and derive comedy and drama organically from the characters, instead of grafting it on with the heaviest of hands. In its current state, it's far too hit and miss, and sooner rather than later, it's going to come a cropper because of it. 6.7
#608: 'The Coffee Cup'
Wr: David Flebotte
Dr: Larry Shaw
Synopsis: Susan and Katherine are both sentenced to community service by picking up trash, and in the meantime Katherine finds a way to let Susan know she and Mike once had sex five times in a day, which annoys Susan, as her sexual ratio with Mike was never that high, leading her to believe he was closer to Katherine. Meanwhile, Gabrielle goes out of her way to get her daughter into Catholic school, and the only way to do so is by having Carlos send one of his employees, and Lynette's trainee, to Florida, much to Lynette's dismay, as she was training him to cover for her during her soon-to-come maternity leave. Angie refuses to make small talk with Julie Mayer, and Orson lets on that he is suspicious his wife might be cheating on him.
Review: A thoroughly hopeless episode that feels like it's been written on the back of one of the coasters that adorn the tables in the quaint ol' 'Coffee Cup.' Honestly, is anyone bothered about what happens in this show any more? Is there a single soul left who actually cares about which tired scraps of plot that it's going to pilfer this week? Who looks forward to seeing just how many of the episode's narratives that they can predict the outcome of after the first five minutes? Well, I guess the answer to that can be found in the ratings, which continue to impress so I guess someone out there's satisfied... but not this cantankerous old get, oh no. He's too bloody irritated by the idiocy that runs rampant throughout the script, that seems to suggest that the writers don't think that their viewers have a shred of intelligence between them. Just look at that teaser, for God's sake. Susan is sentenced by a judge with a warped sense of humour? Who seems to have something of a callous disregard for what makes the law what it is? Well, of course! It just wouldn't be crazy old Mrs. Delfino's life if she wasn't being hampered by absurd circumstance at every turn. But wait - there's more! Katherine gets to parade around the courtroom in the most ridiculous of outfits, firing accusations and generally acting the fool, as if she's in some black and white dramedy from the 40s, playing the duplicitous femme fatale and painting herself into a stereotype. No, this isn't going a tad overboard at all guys. Really.
Things get steadily worse as the narrative careers onwards. The pair end up doing community service together, picking up rubbish, which manages to be resolutely unfunny, before a connivingly plotted remark from Mayfair about her proactive sex life with Mike results in Susan completely abandoning every one of her senses and trying to lay the poor bugger at every possible moment, and probably every which way too. It's silly and it's completely predictable - it is absolutely guaranteed from the moment the craziness begins that Mike will utter a few calming 'I love yous', Susan will regret what she's done and they'll end the episode snuggled up together, watching The Bachelor. Which they do. Huzzah! Except really, really not. No huzzahs at all. Just yawns. Lots and lots of yawns. Yawns compounded by just about everything else in the episode; Gabrielle's woefully over-the-top attempts to get her daughter into Catholic school being the next best offender, closely followed by the complete gumf that goes on in the Scavo household as they hound that wonderful employee of Carlos's and dissuade him from moving to Florida. Honestly, if I was that guy, I'd be asking why the hosts were taking such a great interest in my movements... their behaviour absolutely screams 'ulterior motive' and would be called out almost instantly. As it is though, the couple are blissfully blind to all of this and coast along, lapping it all up, just so that the plot can move forward another few paces. Frankly, it's bloody ludicrous. Hell, even the arc plot's losing its grip... if it turns out to be Angie, to be that bleeding predictable, I might just pitch a fit.
There are occasional flashes of improvement: the grossly underused Orson finally claws his head out of the sand and catches a clue, giving Kyle MacLachlan something interesting to do for once, and the moments with both Bree and Angie while he's listening to Madame Butterfly are genuinely touching. It's nice to see Bree acknowledge the depth of her conflict too; it seems that things aren't as simple as having fallen completely out of love with her husband. Lynette's impending conundrum regarding work is also a brave move, and her 'reveal' scene with Carlos is distinctly well written. Unfortunately, these are mere snippets and they aren't enough to paper over the deep, deep cracks made by the whole. The ship's sinking guys... somebody better think of something fast. 5.0
Wr: Marc Cherry
Dr: Larry Shaw
Synopsis: Mike Delfino's bride is finally revealed, and whereas one woman of Wisteria Lane is struck by happiness (yet again), another woman's world falls appart. In the meantime, Lynette tries to cope with her new pregnancy, and develops some unexpected and horrifying feelings towards her unborn babies. Bree begins a reluctant affair with Karl Mayer, and Gabrielle has to deal with raising a rebellious teenage girl. Meanwhile, a new family with a dark past, headed by new housewife Angie Bolen (new castmember Drea de Matteo), moves to the street.
Review: When we left Desperate Housewives at the end of last season, the show was in dire straits. Cherry's narrative going into the sixth year looked to be one of the worst ever - a selection of half-baked regurgitations and ludicrous character swerves. It didn't seem like there was much hope for the show; it was burning out, lacking the spark that once made it must see TV. Now, as it returns to our screens, fresh faced after a cool Summer break, the jury's still very much out but thankfully, there are shafts of light shining through.
Bree's much lamented affair with Susan's smarmy ex-husband seemed like an act of desperation at the end of last year, an attempt to breathe fresh air into a character that had become a little stale. While it is still difficult to believe that she would ever contemplate bonking the man, at least Cherry acknowledges this here, giving her more of a road towards the man. Her cleanliness obsession is completely in character and is a very good way of demonstrating, and reiterating, her morality. Gabrielle and Carlos's intake of Ana, their upstart niece, actually works rather well to begin with. The dialogue in the kitchen is completely believable, feeling just like the sort of scene you'd see in your own house at seven in the morning. Unfortunately, it descends into utter farce once Gaby infiltrates the club and the audience start lifting the girl over their heads... but we'll forgive Cherry his excesses just this once.
Lynette's narrative looked to be a complete eye-roller when it began in the season five finale - do we need to see her pop a sprog or two again?? Ack! - but at least Felicity Huffman gets some interesting beats to play; the moment when she confesses that she is unable to love her new babies is just heartbreaking and is played to absolute perfection. There's even some good stuff for Mrs McLuskey (a new beau that she's hanging out with? Yummy!) and the new family adds a suitable level of intrigue, as well as some HAWT eye candy to replace Shawn Pyfrom with in the form of Danny, uber-sexy brooder extraordinaire. Shame he seems to be a dirty straight... maybe Cherry could mix things up a bit and get him snogging Preston? No? Okay, just get his top off then. Ahem. It seems fairly obvious that he isn't the one responsible for strangling Julie, although this is the same show that had Mike Delfino be the subject f yet another mystery last year so... who knows?
Speaking of Mike, this is where the episode really falls down. While the other narratives manage to salvage something enjoyable out of their crappy conceits, the Susan/Mike/Katherine triangle is just so tired that nothing even remotely enjoyable can ever come out of it. It really doesn't matter who the guy ends up with, because the story is always going to be the same. The other party will over-react, have an attack of the green eyed monsters and there'll be friction and tension for a while. Then, when all of that settles down, the writers will feel like they have to 'spice things up', so they'll split the couple up again before spending another year getting them back together. It's an endless bleeding cycle and it's utterly infuriating. Get this cack off my screen now, please. It's bloody insulting. At least Katherine has a fairly human reaction to the whole debacle. I think I'd be a bit ticked off if my lover said something along the lines of, "hey, I was going to marry you but actually, I've changed my mind and I'm gonna marry my ex instead. Have a nice day!" How rude! Sadly, her anger cannot rescue what is ultimately a horrorshow of a storyline. Honestly, cull these characters and Housewives would be ten times better. As it is now, every six or seven minutes, I just want to throw things at the TV. 7.0
#602: 'Being Alive'
Wr: Matt Berry
Dr: David Grossman
Synopsis: As the citizens of Fairview try to make sense of a recent attack in their neighborhood, Lynette withholds a secret from Susan. Gabrielle gives niece Ana advice on how to get a guy's attention, whereas Bree worries how her affair with Karl will affect her friendship with Susan, and Angie is determined to protect her son and her family's past.
Review: So, has The Ballad of Mike, Susan and the Mayfair improved any this week? Does the Pope listen to 50 Cent? Of course it bloody hasn't. If anything, it's managed to get progressively worse, as now it's mired in the ratings-grabbing, admittedly mildly interesting Julie strangulation story. Katherine comes on to Mike while he's returning home to get some things for Julie, basically degrading herself by throwing her wiles all over his oh-so-masculine frame. And just to make matters worse, we get a delightful scene between she and Orson in which she claims Mike wants her back! How are we supposed to react to this? Laugh at its absurdity? Pity her complete loss of sensible perception? Worry that she's flying off the rails? Feel annoyed that she's getting in the way of Susan and Mike's happiness? All of the above? I honestly don't know... but whatever the answer is, the whole thing is so damn cringeworthy that it's hard to feel anything other than irritation.
On the plus side, at least this narrative strand doesn't feature too heavily in the episode. Instead, we get some fairly interesting intrigue on the part of the Larry Moss family to sink our teeth into, which obviously means plenty Danny, which is absolutely fine by me (shirtless! Shirtless! Now!), the chance to see elderly super-stud Roy for the first time, which is adorably sweet, further progression in Lynette's pregnancy story that continues to impress - it's a stroke of genius to have her reveal Julie's scare in the hospital, completely out of the blue, which makes it all the more believable - although the way in which the abortion angle is swept under the rug after a few scenes is somewhat disappointing, and, of course, there's Bree and Karl's ever-burgeoning relationship, which comes to a temporary halt in the wake of Julie's attack. This strand adds an interesting dimension to the story, bringing Susan's feelings on the matter of a friend sleeping with Karl into the equation, as well as giving Richard Burgi a chance to show an emotional side of Karl that hasn't really been touched on before. It works very well and further strengthens the backbone of the plot, disguising the fact that, at first, it all seems rather absurd.
Generally, this is a fairly good episode that nudges the separate strands forward and compounds the intrigue inherent in the season's arc plot. Now if we can just get rid of the triangle from hell, things will be back on track. 7.4
#603: 'Never Judge a Lady by her Lover'
Wr: Bob Daily
Dr: Andrew Doerfer
Synopsis: After a chance encounter with John Rowland (former main castmember Jesse Metcalfe), Carlos begins to suspect that his wife still has the hots for him, and allows his niece Ana to be hired by John to test Gabrielle. In the meantime, the Scavos tell their kids they are expecting twins, and Lynette hides her pregnancy from Carlos in order to get a big promotion. Bree realizes Karl is more serious about their affair, but she doesn't want to put much effort into something she does with a man she does not love... or does she? The intensity between Susan and Angie grows as the latter tries to defend her son, but Susan is determined to warn everyone that Danny Bolen is a dangerous kid.
Review: Patently contrived and about as believable as your average L. Ron Hubbard novel, 'Never Judge a Lady by her Lover' tries oh so desperately (hah! What a pun!) to impress but sadly, falls flat on its sorry behind. Repeatedly. And with increasing kerfuffle. Yet again, Jesse Metcalfe is rolled out of cold storage to 'spice things up in', nee 'drive a stake right through' Gabrielle and Carlos's story, making his apparently obligatory once-a-season appearance as the owner of a fabtabulous new restaurant that's just opened in town. Naturally, this leads to a consideration of all the 'possibilities' down the road not taken, Gabrielle spending half the episode in some sort of wistful trance, reminiscing longingly about the time he banged her in her husband's bed, or perhaps the incident with his naked touche in the bushes (well, we all remember that one well... some of us have yet to get over it. Ahem.) We've seen it all before, endured the 'what if' pontification far too many times to be even remotely interested, and even the pay-off, her realisation that she prefers what she has with Carlos, threatens to bore you to tears, it's that unnecessary and down right obvious.
Elsewhere, Bree's narrative continues to feel like it's being played for shock value, trying so hard to do something that hasn't been tried before that it sacrifices all that's enjoyable about her character. Felicity Huffman does her best with a truckload of bad material for poor Lynette, who decides to hide the truth about her pregnancy from her boss, in spite of the fact that she should know far better than to conceal absolutely anything whatsoever, given her history, and as for Susan, well, words really don't do justice to the absurdity of this one. Yes, sure, she'd be distraught over the attempted murder of her daughter and okay, maybe this would lead her to jump to some hasty conclusions. We can all cope with her unwarranted suspicions of super hot, uber sexy, looks-far-too-good-in-a-pair-of-jogging-bottoms-for-it-to-be-legal Danny Bolan, but attempting to crush him with his friend's car? Um, sometimes you really do go far too far, Desperate Housewives. It's all played for laughs, obviously, but it just isn't funny; in fact, it reads as a plot device, not a naturally arising development, which makes it difficult to engage with the story. Disappointing, really; with a little more attention, this show could be a whole hell of a lot better. Still, at least we got that scene with the Scavo kids, eh? Now that was a scream. 5.2
604: 'The God-Why-Don't-You-Love-Me Blues'
Wr: Alexandra Cunningham
Dr: David Warren
Synopsis: As Katherine unravels, revealing how much of a toll losing Mike has taken on her, Bree comes to her aid. Gabrielle grows weary of John's intentions towards her niece, and, during the second trimester of her pregnancy, Lynette's breasts become bigger. In the meantime, Susan learns Julie has been harboring some secrets, and Angie gets Porter to throw a party for her son.
Review: An improvement on last week's disappointing effort but problems still remain. Gabrielle's story is the biggest offender, refusing to let Jesse Metcalfe and his rippling pectorals just lay down and die. No, instead, we have to endure yet another run through one of the parties regretting that they ever parted ways, trying to rekindle a long lost flame and being well and truly spurned. Look, it was old hat when it happened in season three; three years later, it really doesn't feel any fresher, and wrapping it up in Ana's storyline doesn't do anything to help matters. Metcalfe doesn't even show us so much as a cheeky nipple, for God's sake! Speaking of hotties, it is certainly good to see Shawn Pyfrom back but sadly, he's fully clothed too, and gets little more than a bit-part in the teaser sequence. You can't really blame him for wanting to distance himself from the show, given how poorly Andrew has been treated over the last few seasons, but you can't help feeling that he's one of the most interesting characters milling around. Certainly more so than bloody Katherine Mayfair, whose descent into stark-raving-lunacy is just plain embarrassing. The writers have turned her into a cipher, spewing the most extreme and ludicrous of objections to Mike and Susan's wedded bliss week in, week out, and now, as if unsatisfied by this complete and utter hammering of her character's integrity, they see fit to make her deluded enough to believe that Delfino still harbours any semblance of feeling for her whatsoever. Her dialogue is so hyperbolic and her scenes so unbelievable that she just becomes irritating, which does a great disservice to what was a markedly sophisticated and multi-layered creation only a couple of seasons ago.
Thankfully, other aspects are better. Lynette's narrative, despite having too great a whiff of the old 'rampant male sexism' about it, actually manages to pull off a few genuinely amusing moments, - particularly the initial conversation with Carlos about the supposed implants - Bree benefits from being mostly removed from her ongoing car crash of a story with Karl and showing some genuine and quite moving compassion for her compatriot, and the ongoing mystery of the identity of Julie's attacker takes some genuinely interesting twists and turns as first Susan learns a few choice facts about her daughter's recent activities and then we discover that Larry Moss is the mystery man with whom she has been having an illicit affair... which, to be honest, became obvious the moment Pyfrom mentioned that the guy was married, but still, at least they're doing something interesting with a character that we really know far too little about. Quite a few shafts of light then, but not enough to completely pierce the encroaching darkness. Housewives, you're not out of the dog house yet. 6.9
#605: 'Everybody Ought to Have a Maid'
Wr: Jamie Gorenberg
Dr: Larry Shaw
Synopsis: Gabrielle is deemed a bad mother during her daughter Juanita's playdate, and she tries desperately to prove to others that she is a responsible parent. Bree gets defensive when she's judged by a motel maid (guest star Aisha Hinds) for having an affair with Karl Mayer, and Lynette is put off by her new handyman, Roy Bender (guest star Orson Bean), when he defers to Tom for approval on all things, whereas Susan and Katherine come to blows over Mike. Meanwhile, a lapse in judgment on Danny's part leads to a terrible mishap that Angie and Nick must cover up.
Review: What's the best thing about this episode, ladies and gentlemen? Is it the distinctly insightful, and rather moving, conversation between Tom and Roy about Lynette's inherent need for control? Could it be the wonderfully astute observation by one of the Solis children that 'the monkey's killing the clown'? Or perhaps the continued inclusion of the ludicrously attractive young Danny Bolan, who needs to wear less clothes pronto? Well, frankly, no. It's none of these things. The best thing about 'Everybody Ought to Have A Maid' is Aisha Hinds, one of the best character actors in the business right now, who manages to knock the pants off of pretty much everyone else in the episode in her minor role as the observational hotel maid. She's cropped up in Prison Break and True Blood of late (and in the later, she was bloody fantastic as the kooky Miss Jeanette) and now she's here, providing Marcia Cross with the springboard that she needs to give Bree Hodge some of the most in-character moments she's had in one hell of a long time. The final conversation that the two have is just superb, brash and to the point but loaded with meaning. Finally guys, something to get excited about in this otherwise rather contrived storyline.
The aforementioned highlights are also, obviously, worthy of praise, but a nod should be given to the ongoing mystery surrounding the Bolans for ramping up the tension and the intrigue with the inclusion of the dreaded firearm. Unfortunately, this being Desperate Housewives, the episode wouldn't be complete without a thoroughly contrived slice of out-and-out farce and, lo and behold, good old Susan and Katherine can be relied upon, once again, to come up trumps. Honestly guys... shooting her? Really? And that Neighbourhood Watch meeting... ack! Do we really need to be hammered over the head with Mayfair's incessant lust for her ex and comedy-villain hatred of his lover? It's just tiresome. Get these two out of this thoroughly unenjoyable rut and into some interesting narratives, stat. Then we'd have something good on our hands. 7.4
#606: 'Don't Walk on the Grass'
Wr: Marco Pennette
Dr: David Grossman
Synopsis: When Bree begins to fall for Karl, she decides it is time to break things up before they get way too serious. However, Karl isn't willing to let her go that easily, and makes her a proposition. In the meantime, Juanita says a bad word during a school play and Gabrielle is attacked by the school's principal (guest star Marianne Muellerleile), which leads her to respond and ultimately get her daughter out of the school, whereas Lynette learns her husband is cheating during mid-term. Katherine pretends to be on Susan's side to get to Mike, and Angie hides some secrets regarding her mother.
Review: Another week, another round of cringeworthy storytelling from the Desperate Housewives writing staff. After having endured ridiculous propositions, contrived shootings and really, really irritating bouts of disillusionment from the walking caricature that now is Katherine Mayfair, this time around, we're forced to embrace deceptive sweetness, faux friendliness and a mindbogglingly ridiculous run in with a bathtub. Oh come on, calling Mike to get him to 'fix your pipes' late at night, when he's blatantly at home with Susan? Why wouldn't you think she'd get a little suspicious and want to pay you a visit? The subsequent mad dash to extinguish all of the candles and remove the rose petals is so hopelessly devoid of any comedic value that it makes the eyes roll... honestly, can we have the gal that obsessed over Dylan's safety back now, please? She was a heck of a lot more interesting than this one dimensional waste of space.
The remaining storylines, thankfully, continue the upward trend that began last week... or they do for the most part, at any rate. It's good to see the writers doing something a little different with Gabrielle; the inclusion of the children into the mix in season five really helped to enliven things, and once again, they prove to be the source of something actually quite interesting here. Forcing the former model to home school her child could be something that adds whole new dimensions to her character, and it's certainly refreshing to see that Jaunita doesn't automatically forgive her mother at episode's end, just because the denouement's rolling round. Tom's story is complete fluff but it certainly raises a few smirks, and it seems that Bree has at least learned something from her encounter with Miss Jeanette last week, forcing Karl to back off a little and see whether they can date, rather than simply fuck. It's a shame that the brooch trope is so utterly ridiculous though; please, I don't buy for one second that Karl would just conveniently 'forget' that he ever gave the thing to Susan. Honestly, these problems are so easy to straighten out... a little TLC guys, that's all it really takes. 7.4
#607: 'Careful the Things You Say'
Wr: Peter Lefcourt
Dr: Bethany Rooney
Synopsis: Susan is in desperate need of help to figure out if Katherine was responsible for strangling her daughter, and the detective who agrees to help her, Denise Lapera (guest star Kathy Najimy), shares some history with her that they both would rather forget. In the meantime, Lynette learns about Julie's past affair with Nick Bolen, which leads her to have her own theory as to who may have strangled her. The Hodges are invited over for dinner by the Bolens, and Nick proposes to Bree that she hire Angie to work for her at the catering company. Meanwhile, Gabrielle takes advantage of her housekeeper (guest star Anna Katarina) by making her play the role of Juanita's tuitor.
Review: 'Careful the Things You Say' is a game of two halves, where one is replete with interesting new character pairings and the other is full of stale retreads of former glories. With Lynette and Bree's stories, the episode is able to hold its head up high and lay claim to still being one of the sharpest and most underhandedly humorous drama-cum-soap-operas on television. Coupling Mrs. Scavo up with Julie Mayer was a fantastic idea right from the get go, way back in the season's second episode, and it's really refreshing to see the pair engaged in a heart-to-heart, delivering some meaningful and believable discourse that edges forward this year's arc plot without a great deal of contrivance. Lynette's effective voicing of her suspicions to good old Larry Moss plays wonderfully, despite being somewhat reminiscent of Tom's encounters with Dave last year, and Felicity Huffman caps it all off by selling his unspoken threat with just the right level of unease. From the Hodges, meanwhile, we have a lovely piece of comedic theatre, set around a dining table, that manages to incorporate Bree's infidelity, Orson's cluelessness, the couple's woeful marital problems, Nick's infidelity, Angie's maneouvering and, indeed, this couple's woeful marital problems simultaneously, allowing the humour to arise naturally out of a perfectly ordinary, and yet highly charged, situation. It's a shame that Bree resorts to stealing Angie's recipies, and that it takes a few stern words for the pair to end up where they should be - in the kitchen together - but at least we get some honesty from our favourite gun-toting conservative and the makings of what could be a most enjoyable friendship. It's worth mentioning, actually, that the Bolens continue to be distinctly intriguing week in, week out. There's some mighty fine acting chops on display here, particularly when Angie reveals that she's aware of Nick's affair, and the writers keep things just the right side of oblique and mysterious not to provoke frustration.
Sadly though, there's that pesky second half to contend with and it really drags the episode down. Susan's visit to the police station is practically the epitome of lazy writing, fit to burst with half-arsed stereotypes and predictable dialogue. The fact that she and Denise have some unfortunate history is telegraphed from the moment they first clap eyes on each other, so the reveal fails spectacularly, but how on Earth did anyone think this would be even remotely entertaining in the first place? Oh yes, Susan's being harrassed by Katherine and having trouble getting through to the police... well, wouldn't it be even funnier if the police turned out to be on Mayfair's side, and proactively hindered Susan? Yeah yeah, that'd be great. It's a screamer... write it down! Except don't. It's unbelievable, it's old hat and it's just plain uninteresting. Same goes for you, Gabrielle's-housekeeper-cum-Physics-expert. We've had this story before, and it came in the form of the maid that Carlos had his wicked way with in season two. Granted, she wasn't helping any children with their maths homework, but still... Gabrielle shirking her responsibilities and palming them off to someone less fortunate? How original!
What Desperate Housewives needs right now is consistency. It needs to find a writer or two who can embelish everyone's narratives with creativity and derive comedy and drama organically from the characters, instead of grafting it on with the heaviest of hands. In its current state, it's far too hit and miss, and sooner rather than later, it's going to come a cropper because of it. 6.7
#608: 'The Coffee Cup'
Wr: David Flebotte
Dr: Larry Shaw
Synopsis: Susan and Katherine are both sentenced to community service by picking up trash, and in the meantime Katherine finds a way to let Susan know she and Mike once had sex five times in a day, which annoys Susan, as her sexual ratio with Mike was never that high, leading her to believe he was closer to Katherine. Meanwhile, Gabrielle goes out of her way to get her daughter into Catholic school, and the only way to do so is by having Carlos send one of his employees, and Lynette's trainee, to Florida, much to Lynette's dismay, as she was training him to cover for her during her soon-to-come maternity leave. Angie refuses to make small talk with Julie Mayer, and Orson lets on that he is suspicious his wife might be cheating on him.
Review: A thoroughly hopeless episode that feels like it's been written on the back of one of the coasters that adorn the tables in the quaint ol' 'Coffee Cup.' Honestly, is anyone bothered about what happens in this show any more? Is there a single soul left who actually cares about which tired scraps of plot that it's going to pilfer this week? Who looks forward to seeing just how many of the episode's narratives that they can predict the outcome of after the first five minutes? Well, I guess the answer to that can be found in the ratings, which continue to impress so I guess someone out there's satisfied... but not this cantankerous old get, oh no. He's too bloody irritated by the idiocy that runs rampant throughout the script, that seems to suggest that the writers don't think that their viewers have a shred of intelligence between them. Just look at that teaser, for God's sake. Susan is sentenced by a judge with a warped sense of humour? Who seems to have something of a callous disregard for what makes the law what it is? Well, of course! It just wouldn't be crazy old Mrs. Delfino's life if she wasn't being hampered by absurd circumstance at every turn. But wait - there's more! Katherine gets to parade around the courtroom in the most ridiculous of outfits, firing accusations and generally acting the fool, as if she's in some black and white dramedy from the 40s, playing the duplicitous femme fatale and painting herself into a stereotype. No, this isn't going a tad overboard at all guys. Really.
Things get steadily worse as the narrative careers onwards. The pair end up doing community service together, picking up rubbish, which manages to be resolutely unfunny, before a connivingly plotted remark from Mayfair about her proactive sex life with Mike results in Susan completely abandoning every one of her senses and trying to lay the poor bugger at every possible moment, and probably every which way too. It's silly and it's completely predictable - it is absolutely guaranteed from the moment the craziness begins that Mike will utter a few calming 'I love yous', Susan will regret what she's done and they'll end the episode snuggled up together, watching The Bachelor. Which they do. Huzzah! Except really, really not. No huzzahs at all. Just yawns. Lots and lots of yawns. Yawns compounded by just about everything else in the episode; Gabrielle's woefully over-the-top attempts to get her daughter into Catholic school being the next best offender, closely followed by the complete gumf that goes on in the Scavo household as they hound that wonderful employee of Carlos's and dissuade him from moving to Florida. Honestly, if I was that guy, I'd be asking why the hosts were taking such a great interest in my movements... their behaviour absolutely screams 'ulterior motive' and would be called out almost instantly. As it is though, the couple are blissfully blind to all of this and coast along, lapping it all up, just so that the plot can move forward another few paces. Frankly, it's bloody ludicrous. Hell, even the arc plot's losing its grip... if it turns out to be Angie, to be that bleeding predictable, I might just pitch a fit.
There are occasional flashes of improvement: the grossly underused Orson finally claws his head out of the sand and catches a clue, giving Kyle MacLachlan something interesting to do for once, and the moments with both Bree and Angie while he's listening to Madame Butterfly are genuinely touching. It's nice to see Bree acknowledge the depth of her conflict too; it seems that things aren't as simple as having fallen completely out of love with her husband. Lynette's impending conundrum regarding work is also a brave move, and her 'reveal' scene with Carlos is distinctly well written. Unfortunately, these are mere snippets and they aren't enough to paper over the deep, deep cracks made by the whole. The ship's sinking guys... somebody better think of something fast. 5.0
Sunday, 15 November 2009
Television reviews: Fringe #203 - #207
203: 'Fracture'
Wr: David Wilcox
Dr: Bryan Spicer
Synopsis: Peter, Olivia, and Walter race against time to investigate the bombing of a train station. Walter discovers something unusual about the human remains.
Review: Another week, another bog standard episode of The X Files Lite. This edition's 'curiosity' is distinctly weak: we are treated to a wafer thin story about a one-dimensional ex-army general who has a bit of a grudge against the Observers, harnessing the powers acquired by a select few of his former officers when under experimental treatment in order to blow up the parcels being sent between the bald-headed ones... which, of course, kills his compatriots in the process. This all just feels far too familiar. We've figured out exactly who is behind what by the end of the first act, so the rest of the episode just feels like water treading, stumbling around watching the crackpot Fringe division dodge the answers completely. Peter's miraculous contacts are proving to be a bit of a nusiance too; how many times is he going to 'know someone who can help.... ILLEGALLY'?!
Olivia's sub-plot with the crazy bowling alley dude also seems to drag on and on... "oh sensei, teach me to remember Spock!" Euck. I give Fringe til episode ten to get to the point when Dunham remembers every last detail and then another ten hours to actually return to the parallel universe... by which point, it'll be the end of the season again and we can start the cycle over. At least 'Fracture' begins to join the dots with the Observer and his kind, but the notion that they are in some way 'against' us poor humans is made out to be a big revelation when in fact, it feels like anything but. This notion has crossed the viewer's mind many a time before... we knew there was at least something odd about him anyway. So, again, this is a passable episode but it feels like we've seen most of it before. Surprise us Fringe, go on! You know you want to. 6.0
204: 'Momentum Deferred'
Wr: Zack Stentz & Ashley Edward Miller
Dr: Joe Chappelle
Synopsis: Agent Dunham, still recovering from her traumatic visit to the alternate reality, is given a concoction by Walter to help her remember. Another woman being experimented on by Walter is introduced. Meanwhile the Fringe team look into a series of robberies that are linked to shapeshifting.
Review: 'Momentum Deferred'! Hah! What an unfortunate pun, eh? How apt a title! Fringe has been doing exactly that for the last three weeks, kicking all the crucial narrative development to the curb in favour of delivering a load of half-arsed stand alone episodes that lack weight and feel like they've been written on the back of a beer mat. Fortunately for the somewhat ailing show, this episode doesn't live up to its title. Instead, it manages to be easily the best thing that the writing staff have done since season one's finale and in fact, it might even be better than that. Barely anything about the script feels blase or predictable, with the possible exception of Walter's encounter with his former experimental subject, which comes across as a little too tacked on, as if Miller and Stentz felt like they couldn't go an entire episode without including some sort of emotional investment for everybody. Mind, it does give John Noble an entirely new set of emotions to play around with so perhaps we'll forgive it.
Everything else, however, is fairly riproaring and beguiling stuff, and just to make things even more palatable, loaded with actual answers. The shapeshifter storyline is pulsatingly dramatic once you've got past the absurdity of it all (I mean come on, wasn't this supposed to be about 'fringe science'? Things within the realm of possibility? Mercury-blooded robotic shapeshifters from a parallel universe? Um, yeah, see that all the time!) The story moves along at a brisk pace, starting in curiosity as Curtis from 24 rummages through a bunch of severed heads and ending in the unfortunate death of Agent Francis at the hands of good old Dunham. We get a truckload of Leonard Nimoy, which can be nothing but a good thing, and his dialogue with Olivia actually offers up a whole host of explanations, as well as fresh intrigue, which is definitely refreshing to see.
More often than not, this show spends time piling on the questions rather than answering them, so this feels like something of a treat. You start to feel like your patience and persistence is paying off - writers and producers, this is what we need to see more of, and if you insist on doing hours that are independent of the central mythology, at least load them with the abundant level of intrigue and number of layers that we see here. You can do it guys... now don't let us down again. 9.2
205: 'Dream Logic'
Wr: Josh Singer
Dr: Paul A. Edwards
Synopsis: A man attacks his boss after a disturbing dream and the team travels to Seattle to investigate. Meanwhile, Broyles needs to meet with Nina Sharp.
Review: It is notoriously difficult to follow centre-piece episodes, especially when your subject matter is far, far removed from the driving force of a show's ongoing narrative. Stand alone hours are probably the bane of most writers' existence for that solitary reason: you need something truly original, really engaging, in order to compete with the heavyweights. Unfortunately, while 'Dream Logic' really tries its hardest, it just can't seem to come up with the goods. Singer's script has a nice twist, sure: making the crime's investigator and supposed victim actually be the perpetrator is a good touch, but its realisation is ultimately too illogical and, well, silly. The revelation causes the plot to sort of fizzle out and it quickly becomes apparent that there's nothing or no one left for the guy to 'feed' from; yes, it's rather admirable for him to effectively take his own life, but it sort of deflates the narrative, eradicating all the forward momentum that was generated by the intricacies of the investigation. Quite literally, we receive the epiphany one minute and the story is over in the next. It fails to pay off the rather well-handled build up and makes the episode as a whole feel a bit disappointing.
There are other problems too: the constant reliance on Peter's mysterious connections is actually referenced and even made fun of, but it's starting to be far from a joke. It seems that whenever the writers corner themselves, they whip out this convenient trope in order to move things along, and it's far beyond the point of being amusingly transparent. The premise of the episode is also a little lacking, wrapped up as it is in such a bloody predictable set of intricacies. Once again, we have some experimental scientists treating those with problems and lo and behold, it goes wrong! It was only two episodes ago that we saw this very story unfold in the rather lacklustre 'Fracture' and it really is only the minutiae, the window dressing, that differ. Consequently, the major beats of the plot lack oomph and the storytelling just feels lazy. In fact, Fringe did this plot umpteen times in its debut season so by now, we're all so anaesthesised to it that it fails to truly engage. This is why hours like 'Momentum Deferred' are so welcome, because they try something different with the formula; they deviate from the pattern (to coin a phrase.) Yes, there is a lot of good here - the acting's top notch, the genuine emotion generated by Charlie's death is quite moving - but what we need, Fringe, is for you to surprise us... not to become stuck in a rut. 6.2
206: 'Earthling'
Wr: Jeff Vlaming & J.H. Whyman
Dr: Jon Cassar
Synopsis: The Fringe team investigates instances of victims being transformed to ash by high-energy discharges, and discover a connection to Broyles' past.
Review: Two weeks away, one lengthy Pattern-orientated recap and what do we get? A bloody stand-alone, that's what, completely bereft of any shapeshifting parallel universe robots or Leonard Nimoy cameos. Still, at least Whyman and Vlaming's script is far from a duffer and contains more than enough that is sufficiently interesting to keep the viewer's ever-increasing frustration at bay... for the most part. The concept - that something is quite literally turning people to dust - is actually quite an eerie one and it's deftly handled by both writers and director alike. Jon Cassar, 24 stalwart and king of suspense, does a masterful job of ramping up the tension, making skilful use of chiaroscuro, long shot, slow camera movement and particularly, the suitably monotone and brusque underscore to construct something genuinely chilling. The scenes in the hospital, in particular, stand out as some of the most terrifying in the show's short history. Whyman and Vlaming take their time with the setup too, limiting the number of murders and making each one more methodically menacing. There's a palpable feeling of unease undercutting the whole story, magnified greatly by the unusual and largely unexplained origins of the mysterious creature.
Moreover, this is a distinctly miserable script: the Fringe Division don't really save the day, they merely keep the 'creature' at bay. Things essentially fall apart for the poor victim as Bishop realises that there is no solution; that he is as good as dead... and then, of course, his poor brother quite literally bites the dust. Hardly the stuff of feel-good TV. It's distinctly pleasing to see such brave narrative decisions being made, and it gives the episode an extra edge (well, that and its focus on Broyles, one of the most criminally underused and under-developed characters on the gogglebox!)
The only real gripe is the dubious nature of the 'explanation' which feels a little tacky and convenient, rather like the similarly themed X Files episode 'Space', which 'Earthling' seems to be based upon. For all there is an element of intrigue to be found in the lack of concrete answers, it also threatens to drive Fringe too far into conventional sci-fi territory. The last thing we all need is for little green men to start showing up, only to find that they're long lost acquaintances of Walter's or something. And no, that's not just because the show is in desperate need of less similarities to Chris Carter's baby. Still, a competent effort and a good example of how to do these pesky non-mythology episodes well. 8.4
207: 'Of Human Action'
Wr: Robert Chiappetta & Glen Whitman
Dr: Joe Chappelle
Synopsis: The Fringe Division investigates an unusual kidnapping with connections to Massive Dynamic.
Review: A considered, intelligent episode that manages to incorporate that oh-so-important ingredient that so many other stand alones choose to ignore: complexity. While the revelation that the boy is the one behind the somewhat horrific attacks is easily deduced (or, at least, it is to this writer... maybe I've become too accustomed to the type and style of swerve commonly used in American television drama), it isn't treated with an unnecessarily verbose fanfare, so we aren't left scratching our heads at exactly why we're supposed to be so impressed or surprised. Instead, the writers make the reveal and move on, taking the story in a completely different direction by using Peter as a vehicle for the necessary exposition regarding the child's reasoning. And significantly, this doesn't happen at the end of the third act, or even halfway through: no, less than twenty minutes have passed before the puzzle has been pieced together, giving the episode a chance to take a breath and try something new. It's decidedly refreshing to see; all too often this season, Fringe's plots have seemed threadbare, with basic conceits barely fleshed out, stretched painstakingly thin over forty minutes ('Night of Desirable Objects', I'm looking at you.) It's extraordinarily frustrating for the viewer, feeling rather like our intelligence is being insulted, but thankfully, this is almost entirely avoided here.
The sequences between Peter and Tyler are very nicely executed, featuring some believable, evocative dialogue that helps to both three-dimensionalise the boy's character and add some interesting dimensions to the Bishop family dynamic. For once, the child actor (Cameron Monaghan) is actually quite good, managing to pull off teenage angst and trauma pretty well. We also get a chance to peer into the deeper psychological ennui of Walter's relationship with his son: John Noble is just excellent here, delivering some deeply moving moments with the aid of very little dialogue. As per, kudos is to be given to the director and cinematography guys, this time for doing some decidedly disturbing in the execution of the 'mind control' scenes. The moment in the convenience store is perhaps the most memorable; when the poor customer pours boiling water over his head and runs straight into the glass, you just can't help but gasp at the horror of the whole thing. There's some commendable use of music too: the dissonant strings that soundtrack the police officers' suicides amplify the scare factor considerably.
The only real bugbear is the rather tacked-on ending. While it is nice to see yet another twist in the tale and one that, admittedly, isn't all that expected, it does threaten to cheapen the story somewhat. Fringe has so far managed to avoid demonising Massive Dynamic to too great an extent, and while this plot development doesn't necessarily constitute a besmerching of the organisation, if we see too many of these last minute reveals regarding their dodgy scientific experiments, it could become both repetitive and detrimental to the show's integrity. And guys, how many more times are you gonna pilfer from the X Files back catalogue? Multiple child experiments? 'Eve', much? (Look it up...) 8.6
Wr: David Wilcox
Dr: Bryan Spicer
Synopsis: Peter, Olivia, and Walter race against time to investigate the bombing of a train station. Walter discovers something unusual about the human remains.
Review: Another week, another bog standard episode of The X Files Lite. This edition's 'curiosity' is distinctly weak: we are treated to a wafer thin story about a one-dimensional ex-army general who has a bit of a grudge against the Observers, harnessing the powers acquired by a select few of his former officers when under experimental treatment in order to blow up the parcels being sent between the bald-headed ones... which, of course, kills his compatriots in the process. This all just feels far too familiar. We've figured out exactly who is behind what by the end of the first act, so the rest of the episode just feels like water treading, stumbling around watching the crackpot Fringe division dodge the answers completely. Peter's miraculous contacts are proving to be a bit of a nusiance too; how many times is he going to 'know someone who can help.... ILLEGALLY'?!
Olivia's sub-plot with the crazy bowling alley dude also seems to drag on and on... "oh sensei, teach me to remember Spock!" Euck. I give Fringe til episode ten to get to the point when Dunham remembers every last detail and then another ten hours to actually return to the parallel universe... by which point, it'll be the end of the season again and we can start the cycle over. At least 'Fracture' begins to join the dots with the Observer and his kind, but the notion that they are in some way 'against' us poor humans is made out to be a big revelation when in fact, it feels like anything but. This notion has crossed the viewer's mind many a time before... we knew there was at least something odd about him anyway. So, again, this is a passable episode but it feels like we've seen most of it before. Surprise us Fringe, go on! You know you want to. 6.0
204: 'Momentum Deferred'
Wr: Zack Stentz & Ashley Edward Miller
Dr: Joe Chappelle
Synopsis: Agent Dunham, still recovering from her traumatic visit to the alternate reality, is given a concoction by Walter to help her remember. Another woman being experimented on by Walter is introduced. Meanwhile the Fringe team look into a series of robberies that are linked to shapeshifting.
Review: 'Momentum Deferred'! Hah! What an unfortunate pun, eh? How apt a title! Fringe has been doing exactly that for the last three weeks, kicking all the crucial narrative development to the curb in favour of delivering a load of half-arsed stand alone episodes that lack weight and feel like they've been written on the back of a beer mat. Fortunately for the somewhat ailing show, this episode doesn't live up to its title. Instead, it manages to be easily the best thing that the writing staff have done since season one's finale and in fact, it might even be better than that. Barely anything about the script feels blase or predictable, with the possible exception of Walter's encounter with his former experimental subject, which comes across as a little too tacked on, as if Miller and Stentz felt like they couldn't go an entire episode without including some sort of emotional investment for everybody. Mind, it does give John Noble an entirely new set of emotions to play around with so perhaps we'll forgive it.
Everything else, however, is fairly riproaring and beguiling stuff, and just to make things even more palatable, loaded with actual answers. The shapeshifter storyline is pulsatingly dramatic once you've got past the absurdity of it all (I mean come on, wasn't this supposed to be about 'fringe science'? Things within the realm of possibility? Mercury-blooded robotic shapeshifters from a parallel universe? Um, yeah, see that all the time!) The story moves along at a brisk pace, starting in curiosity as Curtis from 24 rummages through a bunch of severed heads and ending in the unfortunate death of Agent Francis at the hands of good old Dunham. We get a truckload of Leonard Nimoy, which can be nothing but a good thing, and his dialogue with Olivia actually offers up a whole host of explanations, as well as fresh intrigue, which is definitely refreshing to see.
More often than not, this show spends time piling on the questions rather than answering them, so this feels like something of a treat. You start to feel like your patience and persistence is paying off - writers and producers, this is what we need to see more of, and if you insist on doing hours that are independent of the central mythology, at least load them with the abundant level of intrigue and number of layers that we see here. You can do it guys... now don't let us down again. 9.2
205: 'Dream Logic'
Wr: Josh Singer
Dr: Paul A. Edwards
Synopsis: A man attacks his boss after a disturbing dream and the team travels to Seattle to investigate. Meanwhile, Broyles needs to meet with Nina Sharp.
Review: It is notoriously difficult to follow centre-piece episodes, especially when your subject matter is far, far removed from the driving force of a show's ongoing narrative. Stand alone hours are probably the bane of most writers' existence for that solitary reason: you need something truly original, really engaging, in order to compete with the heavyweights. Unfortunately, while 'Dream Logic' really tries its hardest, it just can't seem to come up with the goods. Singer's script has a nice twist, sure: making the crime's investigator and supposed victim actually be the perpetrator is a good touch, but its realisation is ultimately too illogical and, well, silly. The revelation causes the plot to sort of fizzle out and it quickly becomes apparent that there's nothing or no one left for the guy to 'feed' from; yes, it's rather admirable for him to effectively take his own life, but it sort of deflates the narrative, eradicating all the forward momentum that was generated by the intricacies of the investigation. Quite literally, we receive the epiphany one minute and the story is over in the next. It fails to pay off the rather well-handled build up and makes the episode as a whole feel a bit disappointing.
There are other problems too: the constant reliance on Peter's mysterious connections is actually referenced and even made fun of, but it's starting to be far from a joke. It seems that whenever the writers corner themselves, they whip out this convenient trope in order to move things along, and it's far beyond the point of being amusingly transparent. The premise of the episode is also a little lacking, wrapped up as it is in such a bloody predictable set of intricacies. Once again, we have some experimental scientists treating those with problems and lo and behold, it goes wrong! It was only two episodes ago that we saw this very story unfold in the rather lacklustre 'Fracture' and it really is only the minutiae, the window dressing, that differ. Consequently, the major beats of the plot lack oomph and the storytelling just feels lazy. In fact, Fringe did this plot umpteen times in its debut season so by now, we're all so anaesthesised to it that it fails to truly engage. This is why hours like 'Momentum Deferred' are so welcome, because they try something different with the formula; they deviate from the pattern (to coin a phrase.) Yes, there is a lot of good here - the acting's top notch, the genuine emotion generated by Charlie's death is quite moving - but what we need, Fringe, is for you to surprise us... not to become stuck in a rut. 6.2
206: 'Earthling'
Wr: Jeff Vlaming & J.H. Whyman
Dr: Jon Cassar
Synopsis: The Fringe team investigates instances of victims being transformed to ash by high-energy discharges, and discover a connection to Broyles' past.
Review: Two weeks away, one lengthy Pattern-orientated recap and what do we get? A bloody stand-alone, that's what, completely bereft of any shapeshifting parallel universe robots or Leonard Nimoy cameos. Still, at least Whyman and Vlaming's script is far from a duffer and contains more than enough that is sufficiently interesting to keep the viewer's ever-increasing frustration at bay... for the most part. The concept - that something is quite literally turning people to dust - is actually quite an eerie one and it's deftly handled by both writers and director alike. Jon Cassar, 24 stalwart and king of suspense, does a masterful job of ramping up the tension, making skilful use of chiaroscuro, long shot, slow camera movement and particularly, the suitably monotone and brusque underscore to construct something genuinely chilling. The scenes in the hospital, in particular, stand out as some of the most terrifying in the show's short history. Whyman and Vlaming take their time with the setup too, limiting the number of murders and making each one more methodically menacing. There's a palpable feeling of unease undercutting the whole story, magnified greatly by the unusual and largely unexplained origins of the mysterious creature.
Moreover, this is a distinctly miserable script: the Fringe Division don't really save the day, they merely keep the 'creature' at bay. Things essentially fall apart for the poor victim as Bishop realises that there is no solution; that he is as good as dead... and then, of course, his poor brother quite literally bites the dust. Hardly the stuff of feel-good TV. It's distinctly pleasing to see such brave narrative decisions being made, and it gives the episode an extra edge (well, that and its focus on Broyles, one of the most criminally underused and under-developed characters on the gogglebox!)
The only real gripe is the dubious nature of the 'explanation' which feels a little tacky and convenient, rather like the similarly themed X Files episode 'Space', which 'Earthling' seems to be based upon. For all there is an element of intrigue to be found in the lack of concrete answers, it also threatens to drive Fringe too far into conventional sci-fi territory. The last thing we all need is for little green men to start showing up, only to find that they're long lost acquaintances of Walter's or something. And no, that's not just because the show is in desperate need of less similarities to Chris Carter's baby. Still, a competent effort and a good example of how to do these pesky non-mythology episodes well. 8.4
207: 'Of Human Action'
Wr: Robert Chiappetta & Glen Whitman
Dr: Joe Chappelle
Synopsis: The Fringe Division investigates an unusual kidnapping with connections to Massive Dynamic.
Review: A considered, intelligent episode that manages to incorporate that oh-so-important ingredient that so many other stand alones choose to ignore: complexity. While the revelation that the boy is the one behind the somewhat horrific attacks is easily deduced (or, at least, it is to this writer... maybe I've become too accustomed to the type and style of swerve commonly used in American television drama), it isn't treated with an unnecessarily verbose fanfare, so we aren't left scratching our heads at exactly why we're supposed to be so impressed or surprised. Instead, the writers make the reveal and move on, taking the story in a completely different direction by using Peter as a vehicle for the necessary exposition regarding the child's reasoning. And significantly, this doesn't happen at the end of the third act, or even halfway through: no, less than twenty minutes have passed before the puzzle has been pieced together, giving the episode a chance to take a breath and try something new. It's decidedly refreshing to see; all too often this season, Fringe's plots have seemed threadbare, with basic conceits barely fleshed out, stretched painstakingly thin over forty minutes ('Night of Desirable Objects', I'm looking at you.) It's extraordinarily frustrating for the viewer, feeling rather like our intelligence is being insulted, but thankfully, this is almost entirely avoided here.
The sequences between Peter and Tyler are very nicely executed, featuring some believable, evocative dialogue that helps to both three-dimensionalise the boy's character and add some interesting dimensions to the Bishop family dynamic. For once, the child actor (Cameron Monaghan) is actually quite good, managing to pull off teenage angst and trauma pretty well. We also get a chance to peer into the deeper psychological ennui of Walter's relationship with his son: John Noble is just excellent here, delivering some deeply moving moments with the aid of very little dialogue. As per, kudos is to be given to the director and cinematography guys, this time for doing some decidedly disturbing in the execution of the 'mind control' scenes. The moment in the convenience store is perhaps the most memorable; when the poor customer pours boiling water over his head and runs straight into the glass, you just can't help but gasp at the horror of the whole thing. There's some commendable use of music too: the dissonant strings that soundtrack the police officers' suicides amplify the scare factor considerably.
The only real bugbear is the rather tacked-on ending. While it is nice to see yet another twist in the tale and one that, admittedly, isn't all that expected, it does threaten to cheapen the story somewhat. Fringe has so far managed to avoid demonising Massive Dynamic to too great an extent, and while this plot development doesn't necessarily constitute a besmerching of the organisation, if we see too many of these last minute reveals regarding their dodgy scientific experiments, it could become both repetitive and detrimental to the show's integrity. And guys, how many more times are you gonna pilfer from the X Files back catalogue? Multiple child experiments? 'Eve', much? (Look it up...) 8.6
Saturday, 14 November 2009
Television reviews: Heroes #403 - #409
403: 'Ink'
Wr: Aron Eli Coliete
Dr: Roxann Dawson
Synopsis: Peter must face the consequences of his actions and also meets a new female hero. Claire deals with others knowing about her ability. Samuel fights to find his brother Joseph's memories. When Sylar returns, Matt must struggle with his own inner demons.
Review: Heroes continues to keep the brakes on with 'Ink', taking its time to dwell on the minutiae of each respective narrative strand rather than whizzing straight through plot development after plot development. In some ways, this reflects the considered style of the show's much-lauded debut season and it proves greatly beneficial to the strength of the stories, while in others, it proves to be somewhat frustrating, making the viewer sit through elements of the plot that simply don't have enough weight to hold our interest. It works most potently in Matt Parkman's storyline, which is really getting a much needed lift from his pairing with Sylar. Quinto and Grunberg play exceptionally well off each other, and it certainly helps that the writing is top class -finally, Gabriel is back to his duplicitous, manipulative self, the insightfully sinister villain who wowed us all in year one, rather than the somewhat cliched cipher he turned into in the last couple of seasons. His goading of Matt is heart wrenching and truly frightening; credit too to Grunberg for doing a stellar job of demonstrating just how much damage this is doing to the poor cop. It truly is a joy to watch this story unfold.. let's hope the writing staff can keep up the good work.
Elsewhere, the Carnival strand also proves rather interesting. Coliete doesn't give too much away here - it's still not really clear what T-Bag's power actually is - but the process of 'recruitment', in which Knepper approaches Peter, is distinctly well written. Not too sure about the idea that he would burn down that building, mind... it seems a little too B-movie villain for a character who has teetered on the edge for the past few episodes, seemingly doused in shades of gray. It's also nice to see a new individual thrown into the mix; let's face it, she's a bit of a beaut. The concept of 'mixed senses' works incredibly well for a deaf character and it's expertly handled: some of the best cinematography and music that the show has seen in a long time is used throughout her sequences.
Where 'Ink' loses its way a little is in... yes, you guessed it, Claire's storyline, which continues to be as interesting as watching paint dry. The whole thing goes nowhere of note and just retreads beats of old - Claire struggles with the fact that someone knows she has a power - before finally climaxing with the oh-so-huge development of Gretchen deciding to be the girl's roomie! Well, wowsers, eh?! What a riveting piece of television! And no, I don't care that they were all scantily clad and giggly in that last scene, listening to Death Cab for Cutie, hinting at potential experimentation to come. Not my cup of tea, thanks. I'd rather see Thomas Dekker make a reappearance... minus any clothes, of course. Still, at least we're beginning to get somewhere with this one. Something of an improvement. 7.3
404: 'Acceptance'
Wr: Bryan Fuller
Dr: Christopher Misiano
Synopsis: Hiro's health continues to deteriorate as he goes on a mission to prevent a coworker from committing suicide. Ando finally convinces Hiro to tell his sister that he's fatally ill. Meanwhile, Tracy continues to struggle to find a purpose in life and to learn to control her powers. She returns to her old job as a political adviser, but leaves when she remembers how demeaning the job could be. Nathan-Sylar is also on a path of self-discovery, as his mother, Angela, helps him regain memories.
Review: You can certainly tell that Bryan Fuller's returned to the fold. 'Acceptance' feels more like an episode of Pushing Daisies than Heroes, and that's not just because the guy's made sure the wonderful Swoozie Kurtz has been granted a return appearance (in case you're wondering, she's the one putting the hit on poor old Nathan.) No, this is more of an exploratory character piece, the kind that made Daisies such a cult hit both in the States and over here. Fuller takes tie to explore the motivations of the episode's key players and uses a series of specific events - narratalogical tableau, if you will - to move them in entirely new directions. So, we have Hiro's quest to save his co-worker, a seemingly mundane slice of throwaway minutiae that actually feeds into the larger issue of his need to face the reality of his coming death. The moment in which he successfully accomplishes his mission ans realises what must come with it is refreshingly understated, giving Masi Oka a chance to do some of his most impressive work in one hell of a long time.
Fuller is a master of build, of progressing a story to crescendo, such that the epiphany is most satisfying; when something significant happens to a character towards hour's end, it feels all the more potent. Nathan is a good example of this; while his story is a little ludicrous (would Mellie really conspire to kill her best friend's son with such mindless glee? Must everyone on this show be so unrelentingly ruthless and cold-blooded?), it is distinctly engaging because it is derived from believable character beats. Pasdar successfully conveys the character's continued emotional breakdown, and the moment in which he supposedly dies is considerably shocking. Sylar's resurrection at hour's end prompts all sorts of questions and bodes well for the show; have they actually been brave enough to kill a main character off for good? The sequence is beautifully shot too, a feature that is becoming something of a staple of the season.
Elsewhere, it's nice to see Tracey Strauss getting some logical character development and also to be treated to another dose of John Sheridan. Only HRG's return to the investigative fold feels a little hokey; he needed the sage words of his college co-ed daughter (oh, and Tracey) to knock some sense into him and stop eating cereal all day long? Pah! There are shafts of light here too, since the conversations between Coleman and Panettiere are refreshingly naturalistic. While very little actually happens in 'Acceptance', what does is made all the more powerful through the episode's refreshing concentration on character. The writers could do with picking up the pace a little, but I'd rather have a hundred hours of this than anything from Fugitives. Oh, and no Gretchen! Win! 7.7
405: 'Hysterical Blindness'
Wr: Joe Pokaski
Dr: S.J. Clarkson
Synopsis: Lydia cautions Samuel against bringing in new members to their clan. Peter tries to connect with Emma, who wants nothing to do with him, and Sylar struggles to find the person he once was.
Review: 'Hysterical Blindness' is something of a double-edged sword. On the one hand, it provides further evidence that the Heroes writing staff are regaining control of their vehicles, getting a better grip on the motivations, strengths and weaknesses of their characters and using these to organically construct the show's storylines. Sylar's resurrection is the perfect example of this. Where in season three, this would've been an excuse to have the character murder a few dozen police officers and embark on some sort of outlandish revenge-driven conspiracy, here, Pokaski takes the road less travelled, flipping the coin (so to speak) and having him suffer from a form of amnesia (or is it? Does he think he's Nathan?) The resultant effects are highly engaging: Quinto works wonders with his new-found innocence and really makes you feel for the character. His English interrogator is good too, although the jury's out on Ray Park's stereotypical depiction of the cop (overworked, frustrated by psychologists, determined not to give his prisoner any leeway etc.) Still, the whole thing has a much welcome undercurrent of despair and suspense to it, accentuated by the dramatic irony that the viewer is made privy to, and certainly helped by SJ Clarkson's superlative direction; the blues, grays and blacks of the prison really convey the coldness and emptiness of the whole scenario.
It's unfortunate that the Carnival storyline melds with this one, since it becomes obvious from about a third of the way through that Gabriel is the one that will join the family, but at least it means this narrative is actually going somewhere. Peter and Emma's story is also rather well handled. The moment in which he acquires her power is a nice nod to continuity and is all the more refreshing for its subtlety. One does wonder how many times we'll have to see the pair staring, googly-eyed, at the 'colours' around them though.
The other edge of the sword, regrettably, relates to The Life and Times of the Hopeless College Girl. This week, we get a shockingly cheesy scene in which Claire starts babbling to Gretchen about 'possibility' or some such pseudo-characterial rubbish. While it is good to see the plot acquire some relevance to the main story in an unexpected way, - thank God Gretchen isn't the killer! - the whole thing is still going far too slowly for anyone's liking. We've seen all of this a million times before, in far superior shows like Buffy and, um, *cough* Dawson's Creek *cough* In fact, the Buffy comparisons have become all the more relevant now that Gretchen has the hots for Claire. We even get a lovely same sex kiss to make the fourteen year old boys shift uncomfortably in their seats. It's a perfectly sensible development, sure, but it's also just so damn obvious; consequently, our response is blase rather than excited. If Heroes just shaved off Claire's narrative, would it really make any difference? Really? We'd have more time to fit in the fantastic Greg Grunberg at any rate.
Again, a decent effort but as seems to be the unavoidable truth with Heroes these days, the bad begins to encroach on the good. 7.0
406: 'Tabula Rasa'
Wr: Rob Fresco
Dr: Jim Chory
Synopsis: Sylar starts to find his true identity. Peter and HRG go on a quest to find someone that can save Hiro.
Review: Zachary Quinto's tour de force continues apace with 'Tabula Rasa', which essentially acts as a vehicle for his considerable talents. The young Spock proves exactly how much he can do by effectively playing a different character - he gets the chance to be the thoroughly good guy, not just the rabbit in the headlights that he was last week, by depicting Nathan in Sylar's body and you buy it completely. Hell, it's as if the writing staff took one look at his performance in Star Trek and realised what a commodity that had. Quinto seems to excel at being taken out of his comfort zone, first with his entrapment in Parkman's head and now with this, and it helps to produce some absolutely stellar scenes. His introspective moment with Knepper is of particular note, but even the moments in the hall of mirrors succeed when they could so easily have been mawkish. The reappearance of the cop is certainly commendable, a nod to the attention to detail that has characterised this season. It's also good to see the writers throwing a curveball at us by not having Sylar automatically revert back to his former self... the process of development is no longer as easy as metaphorically flipping a switch. The show takes its time with such things and it's all the better for it.
The other narratives, despite being intriguing enough, don't quite reach the giddy heights of the Sylar stuff. Hiro's tet a tet with Emma drags somewhat, especially as it just seems to play out the same beats that we've been treated to for the last three episodes, but at least we have an actually likeable new character in the woman (and yeah, that 'magic' scene is damn cute.) Peter and HRG's encounter with Jeremy Greer, meanwhile, works fairly well for what it is but again, it seems like an excuse to pad out the season rather than a naturally grafted plot element. HRG wants to save those he may sort of have wronged in the past? Well... okay. Just play us a new record. Mind, the kid's sorta hot and at least his power is remotely interesting.
Another fairly solid episode then, just not one to get overly excited about. Which pretty much encapsulates the season at this point. 7.2
407: 'Strange Attractors'
Wr: Carlos Coto
Dr: Tucker Gates
Synopsis: Sylar continues to torment Matt. HRG and Tracy help a young boy who has suffered many hardships in his life. Claire and Gretchen have a problem with their new sorority sisters hazing them.
Review: Once again, the need to incorporate Hayden Panettiere hampers what is an otherwise rather fine little episode. Claire's college hazing continues to be less interesting than Chris Barrie's Intimate History of the Drillbit, utilising contemptuously predictable plot 'twists' and yawnsome hetero-male-teenager bait in an attempt to stir up some interest. Sure, it's brave of any primetime show to address the murkiness of sexuality, but do the production staff really have to do it through such a heterosexist lens? The teasingly innuendo-laden dialogue and situations (oh look, they're huddled together in a car boot! Tied up! PHWOAR!!), the wistful glances, the oh-so-tragic confusion on poor old Claire's face, the woefully stereotypical implication that college is the place everyone goes to 'figure themselves out' and that, yup, this should obviously include flirtation with lesbianism. Puh-lease. These beats are so outdated that your momma probably remembers them. Buffy the Vampire Slayer did this exact storyline infinitely better about ten years ago by embracing tact, sensitivity and refusing to pander to the lust-fuelled libidos of any horny straight viewers. Here, it feels like a gimmick, a desperate attempt to court interest in a storyline that is absolutely dead on its arse. I mean, just look at the minutiae: the girls get kidnapped and placed in some spooky Saw-esque warehouse where Becky attempts to kill Gretchen? Oh for God's sake - why would she risk exposing herself by performing such an over-the-top act? And while we're at it, what's with the woeful acting chops? Those extras need a few lessons in naturalism: their 'shock' at the revelation of Claire's ability is just plain cringeworthy.
It's a shame that this storyline is so hopeless as there's much, much promise elsewhere. Carlos Coto's script makes some very brave decisions, and not always ones that you might like. HRG and Tracey's narrative is particularly indicative of this. Finally, Ali Larter gets something interesting to do with her otherwise fairly redundant role, assisting the young harbinger of life and death in his quest to be released from prison. The whole thing has a decidedly humanitarian feel about it and it's really welcome. The concept of helping others to ground themselves (without conspiratorial intervention) hasn't really been touched upon in the show before and it seems to suit both characters. Just to compound matters, Coto wraps this up in the intricacies of the Carnival plot and does so with great skill. Using the boy to demonstrate Samuel's validity, the fact that he may actually have a point in secluding the heroes, both strengthens him as a character and genuinely shocks the viewer. Come on, hands up all of those who actually thought they'd kill the kid? Yeah, I thought so. It's a bold move and one that really resonates, precisely because it happens so infrequently. It's a stark reminder of the inate brutality of our kind and it makes for somewhat harrowing viewing.
Matt and Sylar's narrative traverses rather dark ground too, as first Quinto relishes doing the dirty with Janis (an excellently executed scene, by the way) and then Parkman appears to discover a way to silence him: by drowning him in drink. Once again, the pair get the best dialogue, their back-and-forth sparkling with antagonistic energy, and the scene in which Sylar finally appears to dissipate is just magnificent, a perfect example of how to play trauma and breakdown without overstatement or exaggeration. Every additional drop of alcohol adds pain to the viewing experience as the result is so clear... and yet, so compelling.
A difficult episode to rate this; if it werent for Claire's continued adventures in Sweet Valley High, 'Strange Attractors' might actually stand comfortably alongside some of the show's greats. As it is, you can't help feeling just a bit disappointed. 7.4
408: 'Once Upon A Time in Texas'
Wr: Aron Eli Coliete & Aury Wallington
Dr: Nate Goodman
Synopsis: A trip into the past may give Hiro another chance to save the love of his life.
Review: Okay Heroes, I'll give you one thing: while you may be dabbling in that age-old problem-generator time travel for the seven millionth time, at least, this time around, everything actually seems logical and fairly water tight. At least we aren't creating gargantuan paradoxes or a series of alterna-strands that serve only to boggle the mind and frustrate the quantum physicists in the audience. No, here, things stay strictly on the straight and narrow and the only concession made is Hiro's alteration to the untimely ending of poor Charlie's life. Thank the Lord for that. Problem is, while all of this works wonders, the same cannot be said of the meat of the plot, which is depressingly lean.
There is a nagging ambivalence coarsing through the entire episode and it somewhat hurts our enjoyment of it. On the one hand, Noah and Lauren's story is a rather brave move that opens up a entirely new set of doors for HRG's character, allowing us to see both the minutiae of his work life and exactly how it affects him (how lonely and torn he is), but it's also achingly predictable and more than a little questionable given his absolute devotion to his family. Oh yes fine, so nothing actually happens but the idea that he would even consider it seems rather out of step with his personality.
Similarly, it's great to see Masi Oka being more than a cipher for once, making some darker, more human, decisions, and hell, he gets a lot of great dialogue, but it's a shame that it all amounts to some glorified 'happily ever after' Hollywood fantasy; a trite love story that fails to surprise. Sylar's inclusion here is probably the best thing about the entire episode: honestly, give Zachary Quinto his own show, stat. It's incredible how effortless the slip is back into his former self. The 'OK corral' scene (you know the one I'm talking about...) is rather regrettable however, taking the Hiro/Sylar confrontation just that one step over the line into cringeworthy.
There are some other praiseworthy elements: Robert Knepper continues to be simply fantastic as Samuel, and the final scene is a genuine shocker, but overall, the episode feels too much like it's taking on water. For all this may, conceptually, be a fangeek and continuity freak's dream, there's not really enough engaging plot to go around and what there is becomes a little stale around two thirds of the way in. There's taking time guys, and there's procrastination... 6.6
409: 'Shadowboxing'
Wr: Misha Green & Joe Pokaski
Dr: Jim Chory
Synopsis: Claire tries to determine who is responsible for the attacks on Gretchen and Annie. Sylar maintains his control of Matt, and Peter uses his newly gained ability to help Emma.
Review: With 'Shadowboxing', Heroes begins to feel like it's going somewhere for the first time this season. Dangling narrative threads start to come together and we acquire an idea of where it is that the volume appears to be heading. The Carnival developments are interesting, even if they take a complete U-turn from where we were last week (really, couldn't we have had some sort of acknowledgement of the HUGE Mohinder-related cliffhanger/bombshell we were treated to? No?) - seeing Robert Knepper without eyeliner is decidedly unnerving after eight episodes, but his transformation to 'normality' works very well. He's excellent with Hayden and the pair seem to have good chemistry. Becky's ignomny with HRG is logical, if a little repetitive (haven't we seen this a dozen times in the show before?), and it's questionable whether she can carry this sort of emotional gravitas, but at least it doesn't descend too far into absurdity. The scene in the car park is well choreographed, pointedly tense and just the right side of dramatic. The effect on Gretchen is neatly handled, and kudos for not having her change her mind and be sat in Claire's room at the end of the episode. It's actually a little touching when young Bennet sheds a tear, which is a sign that this storyline is moving in the right direction.. let's just hope they don't abandon all the good stuff in favour of some hot, meaningless, unbelievable lesbian action next week. If they handle the issue with sensitivity, as here, who knows... maybe they CAN compete with Buffy's handle on the scenario.
As ever, Matt and Sylar are amazing together, with both parties putting in some fine, angsty performances. The dialogue continues to sparkle, with Parkman's about turn into manipulative SOB working exceptionally well... it's a nice change of pace, after all. It's a little irritating that the writing staff couldn't give him an ounce of sense when it came to the concept of Sylar using his body to kill... that seemed obvious to everyone and his or her cat from that fateful moment at the end of episode seven, and it takes a brutal murder for Matt to realise the gravitas of the situation. Still, this doesn't detract from how genuinely intense the sequences are; particularly the final, parting (supposedly) gasp, as Matt sacrifices himself in order to put an end to the 'Brain Man's sinister legacy. It's a genuine jump-out-of-your-seat moment, a 'mouth wide open' shocker... of course, they have to bookend it with footage of the guy being driven to the hospital and what's the betting that Peter is able to heal him next week?! Ack, if that happens... for now, I'm happy to think positive and commend the writers' bravery. Hell, even threatening to do away with one of the show's favourite characters shows they clearly have some balls...
Peter and Emma's story is really the only lightweight element of the hour. There is some good character development to be found here, a product of the heroes' abilities rather than some grafted on swerve. The writing staff have done a damn good job of fleshing out Emma, to the point where she actually feels like an integral part of the show, and we want to see her develop. Her scenes with Milo have a delicacy that the show is often lacking, and they really are a joy to watch. Sadly though, after four or five episodes of amazement at the fact that she can 'see' sounds, it is beginning to become apparent that she is pretty directionless; that her story amounts to little more than musing over psychological issues and being taught how useful and all round great it is to have abilities. It's threatening to become tired, and the last thing we want is for this to besmirch an otherwise wonderful character. Let's hope they do something different with her soon...
The other big news, of course, is that Nathan's back. Well, sorta. Zachary Quinto'll probably rear his ugly head pretty soon... but at least we have some actual plot development here; dramatic ironies are demystified and revelations made... if 'Brother's Keeper' picks up where 'Shadowboxing' left off, we should be in for some interesting sequences between Pasdar and his televisual family. On the whole, this is a pretty competent episode, steadily moving pieces across the board at a decent pace and finding the time for some encouraging character development and one mother of a shocker at the same time. There are gripes, and this certainly isn't an all time great, but 'Shadowboxing' is certainly one of the better offerings that Heroes has served up this year. 8.2
Wr: Aron Eli Coliete
Dr: Roxann Dawson
Synopsis: Peter must face the consequences of his actions and also meets a new female hero. Claire deals with others knowing about her ability. Samuel fights to find his brother Joseph's memories. When Sylar returns, Matt must struggle with his own inner demons.
Review: Heroes continues to keep the brakes on with 'Ink', taking its time to dwell on the minutiae of each respective narrative strand rather than whizzing straight through plot development after plot development. In some ways, this reflects the considered style of the show's much-lauded debut season and it proves greatly beneficial to the strength of the stories, while in others, it proves to be somewhat frustrating, making the viewer sit through elements of the plot that simply don't have enough weight to hold our interest. It works most potently in Matt Parkman's storyline, which is really getting a much needed lift from his pairing with Sylar. Quinto and Grunberg play exceptionally well off each other, and it certainly helps that the writing is top class -finally, Gabriel is back to his duplicitous, manipulative self, the insightfully sinister villain who wowed us all in year one, rather than the somewhat cliched cipher he turned into in the last couple of seasons. His goading of Matt is heart wrenching and truly frightening; credit too to Grunberg for doing a stellar job of demonstrating just how much damage this is doing to the poor cop. It truly is a joy to watch this story unfold.. let's hope the writing staff can keep up the good work.
Elsewhere, the Carnival strand also proves rather interesting. Coliete doesn't give too much away here - it's still not really clear what T-Bag's power actually is - but the process of 'recruitment', in which Knepper approaches Peter, is distinctly well written. Not too sure about the idea that he would burn down that building, mind... it seems a little too B-movie villain for a character who has teetered on the edge for the past few episodes, seemingly doused in shades of gray. It's also nice to see a new individual thrown into the mix; let's face it, she's a bit of a beaut. The concept of 'mixed senses' works incredibly well for a deaf character and it's expertly handled: some of the best cinematography and music that the show has seen in a long time is used throughout her sequences.
Where 'Ink' loses its way a little is in... yes, you guessed it, Claire's storyline, which continues to be as interesting as watching paint dry. The whole thing goes nowhere of note and just retreads beats of old - Claire struggles with the fact that someone knows she has a power - before finally climaxing with the oh-so-huge development of Gretchen deciding to be the girl's roomie! Well, wowsers, eh?! What a riveting piece of television! And no, I don't care that they were all scantily clad and giggly in that last scene, listening to Death Cab for Cutie, hinting at potential experimentation to come. Not my cup of tea, thanks. I'd rather see Thomas Dekker make a reappearance... minus any clothes, of course. Still, at least we're beginning to get somewhere with this one. Something of an improvement. 7.3
404: 'Acceptance'
Wr: Bryan Fuller
Dr: Christopher Misiano
Synopsis: Hiro's health continues to deteriorate as he goes on a mission to prevent a coworker from committing suicide. Ando finally convinces Hiro to tell his sister that he's fatally ill. Meanwhile, Tracy continues to struggle to find a purpose in life and to learn to control her powers. She returns to her old job as a political adviser, but leaves when she remembers how demeaning the job could be. Nathan-Sylar is also on a path of self-discovery, as his mother, Angela, helps him regain memories.
Review: You can certainly tell that Bryan Fuller's returned to the fold. 'Acceptance' feels more like an episode of Pushing Daisies than Heroes, and that's not just because the guy's made sure the wonderful Swoozie Kurtz has been granted a return appearance (in case you're wondering, she's the one putting the hit on poor old Nathan.) No, this is more of an exploratory character piece, the kind that made Daisies such a cult hit both in the States and over here. Fuller takes tie to explore the motivations of the episode's key players and uses a series of specific events - narratalogical tableau, if you will - to move them in entirely new directions. So, we have Hiro's quest to save his co-worker, a seemingly mundane slice of throwaway minutiae that actually feeds into the larger issue of his need to face the reality of his coming death. The moment in which he successfully accomplishes his mission ans realises what must come with it is refreshingly understated, giving Masi Oka a chance to do some of his most impressive work in one hell of a long time.
Fuller is a master of build, of progressing a story to crescendo, such that the epiphany is most satisfying; when something significant happens to a character towards hour's end, it feels all the more potent. Nathan is a good example of this; while his story is a little ludicrous (would Mellie really conspire to kill her best friend's son with such mindless glee? Must everyone on this show be so unrelentingly ruthless and cold-blooded?), it is distinctly engaging because it is derived from believable character beats. Pasdar successfully conveys the character's continued emotional breakdown, and the moment in which he supposedly dies is considerably shocking. Sylar's resurrection at hour's end prompts all sorts of questions and bodes well for the show; have they actually been brave enough to kill a main character off for good? The sequence is beautifully shot too, a feature that is becoming something of a staple of the season.
Elsewhere, it's nice to see Tracey Strauss getting some logical character development and also to be treated to another dose of John Sheridan. Only HRG's return to the investigative fold feels a little hokey; he needed the sage words of his college co-ed daughter (oh, and Tracey) to knock some sense into him and stop eating cereal all day long? Pah! There are shafts of light here too, since the conversations between Coleman and Panettiere are refreshingly naturalistic. While very little actually happens in 'Acceptance', what does is made all the more powerful through the episode's refreshing concentration on character. The writers could do with picking up the pace a little, but I'd rather have a hundred hours of this than anything from Fugitives. Oh, and no Gretchen! Win! 7.7
405: 'Hysterical Blindness'
Wr: Joe Pokaski
Dr: S.J. Clarkson
Synopsis: Lydia cautions Samuel against bringing in new members to their clan. Peter tries to connect with Emma, who wants nothing to do with him, and Sylar struggles to find the person he once was.
Review: 'Hysterical Blindness' is something of a double-edged sword. On the one hand, it provides further evidence that the Heroes writing staff are regaining control of their vehicles, getting a better grip on the motivations, strengths and weaknesses of their characters and using these to organically construct the show's storylines. Sylar's resurrection is the perfect example of this. Where in season three, this would've been an excuse to have the character murder a few dozen police officers and embark on some sort of outlandish revenge-driven conspiracy, here, Pokaski takes the road less travelled, flipping the coin (so to speak) and having him suffer from a form of amnesia (or is it? Does he think he's Nathan?) The resultant effects are highly engaging: Quinto works wonders with his new-found innocence and really makes you feel for the character. His English interrogator is good too, although the jury's out on Ray Park's stereotypical depiction of the cop (overworked, frustrated by psychologists, determined not to give his prisoner any leeway etc.) Still, the whole thing has a much welcome undercurrent of despair and suspense to it, accentuated by the dramatic irony that the viewer is made privy to, and certainly helped by SJ Clarkson's superlative direction; the blues, grays and blacks of the prison really convey the coldness and emptiness of the whole scenario.
It's unfortunate that the Carnival storyline melds with this one, since it becomes obvious from about a third of the way through that Gabriel is the one that will join the family, but at least it means this narrative is actually going somewhere. Peter and Emma's story is also rather well handled. The moment in which he acquires her power is a nice nod to continuity and is all the more refreshing for its subtlety. One does wonder how many times we'll have to see the pair staring, googly-eyed, at the 'colours' around them though.
The other edge of the sword, regrettably, relates to The Life and Times of the Hopeless College Girl. This week, we get a shockingly cheesy scene in which Claire starts babbling to Gretchen about 'possibility' or some such pseudo-characterial rubbish. While it is good to see the plot acquire some relevance to the main story in an unexpected way, - thank God Gretchen isn't the killer! - the whole thing is still going far too slowly for anyone's liking. We've seen all of this a million times before, in far superior shows like Buffy and, um, *cough* Dawson's Creek *cough* In fact, the Buffy comparisons have become all the more relevant now that Gretchen has the hots for Claire. We even get a lovely same sex kiss to make the fourteen year old boys shift uncomfortably in their seats. It's a perfectly sensible development, sure, but it's also just so damn obvious; consequently, our response is blase rather than excited. If Heroes just shaved off Claire's narrative, would it really make any difference? Really? We'd have more time to fit in the fantastic Greg Grunberg at any rate.
Again, a decent effort but as seems to be the unavoidable truth with Heroes these days, the bad begins to encroach on the good. 7.0
406: 'Tabula Rasa'
Wr: Rob Fresco
Dr: Jim Chory
Synopsis: Sylar starts to find his true identity. Peter and HRG go on a quest to find someone that can save Hiro.
Review: Zachary Quinto's tour de force continues apace with 'Tabula Rasa', which essentially acts as a vehicle for his considerable talents. The young Spock proves exactly how much he can do by effectively playing a different character - he gets the chance to be the thoroughly good guy, not just the rabbit in the headlights that he was last week, by depicting Nathan in Sylar's body and you buy it completely. Hell, it's as if the writing staff took one look at his performance in Star Trek and realised what a commodity that had. Quinto seems to excel at being taken out of his comfort zone, first with his entrapment in Parkman's head and now with this, and it helps to produce some absolutely stellar scenes. His introspective moment with Knepper is of particular note, but even the moments in the hall of mirrors succeed when they could so easily have been mawkish. The reappearance of the cop is certainly commendable, a nod to the attention to detail that has characterised this season. It's also good to see the writers throwing a curveball at us by not having Sylar automatically revert back to his former self... the process of development is no longer as easy as metaphorically flipping a switch. The show takes its time with such things and it's all the better for it.
The other narratives, despite being intriguing enough, don't quite reach the giddy heights of the Sylar stuff. Hiro's tet a tet with Emma drags somewhat, especially as it just seems to play out the same beats that we've been treated to for the last three episodes, but at least we have an actually likeable new character in the woman (and yeah, that 'magic' scene is damn cute.) Peter and HRG's encounter with Jeremy Greer, meanwhile, works fairly well for what it is but again, it seems like an excuse to pad out the season rather than a naturally grafted plot element. HRG wants to save those he may sort of have wronged in the past? Well... okay. Just play us a new record. Mind, the kid's sorta hot and at least his power is remotely interesting.
Another fairly solid episode then, just not one to get overly excited about. Which pretty much encapsulates the season at this point. 7.2
407: 'Strange Attractors'
Wr: Carlos Coto
Dr: Tucker Gates
Synopsis: Sylar continues to torment Matt. HRG and Tracy help a young boy who has suffered many hardships in his life. Claire and Gretchen have a problem with their new sorority sisters hazing them.
Review: Once again, the need to incorporate Hayden Panettiere hampers what is an otherwise rather fine little episode. Claire's college hazing continues to be less interesting than Chris Barrie's Intimate History of the Drillbit, utilising contemptuously predictable plot 'twists' and yawnsome hetero-male-teenager bait in an attempt to stir up some interest. Sure, it's brave of any primetime show to address the murkiness of sexuality, but do the production staff really have to do it through such a heterosexist lens? The teasingly innuendo-laden dialogue and situations (oh look, they're huddled together in a car boot! Tied up! PHWOAR!!), the wistful glances, the oh-so-tragic confusion on poor old Claire's face, the woefully stereotypical implication that college is the place everyone goes to 'figure themselves out' and that, yup, this should obviously include flirtation with lesbianism. Puh-lease. These beats are so outdated that your momma probably remembers them. Buffy the Vampire Slayer did this exact storyline infinitely better about ten years ago by embracing tact, sensitivity and refusing to pander to the lust-fuelled libidos of any horny straight viewers. Here, it feels like a gimmick, a desperate attempt to court interest in a storyline that is absolutely dead on its arse. I mean, just look at the minutiae: the girls get kidnapped and placed in some spooky Saw-esque warehouse where Becky attempts to kill Gretchen? Oh for God's sake - why would she risk exposing herself by performing such an over-the-top act? And while we're at it, what's with the woeful acting chops? Those extras need a few lessons in naturalism: their 'shock' at the revelation of Claire's ability is just plain cringeworthy.
It's a shame that this storyline is so hopeless as there's much, much promise elsewhere. Carlos Coto's script makes some very brave decisions, and not always ones that you might like. HRG and Tracey's narrative is particularly indicative of this. Finally, Ali Larter gets something interesting to do with her otherwise fairly redundant role, assisting the young harbinger of life and death in his quest to be released from prison. The whole thing has a decidedly humanitarian feel about it and it's really welcome. The concept of helping others to ground themselves (without conspiratorial intervention) hasn't really been touched upon in the show before and it seems to suit both characters. Just to compound matters, Coto wraps this up in the intricacies of the Carnival plot and does so with great skill. Using the boy to demonstrate Samuel's validity, the fact that he may actually have a point in secluding the heroes, both strengthens him as a character and genuinely shocks the viewer. Come on, hands up all of those who actually thought they'd kill the kid? Yeah, I thought so. It's a bold move and one that really resonates, precisely because it happens so infrequently. It's a stark reminder of the inate brutality of our kind and it makes for somewhat harrowing viewing.
Matt and Sylar's narrative traverses rather dark ground too, as first Quinto relishes doing the dirty with Janis (an excellently executed scene, by the way) and then Parkman appears to discover a way to silence him: by drowning him in drink. Once again, the pair get the best dialogue, their back-and-forth sparkling with antagonistic energy, and the scene in which Sylar finally appears to dissipate is just magnificent, a perfect example of how to play trauma and breakdown without overstatement or exaggeration. Every additional drop of alcohol adds pain to the viewing experience as the result is so clear... and yet, so compelling.
A difficult episode to rate this; if it werent for Claire's continued adventures in Sweet Valley High, 'Strange Attractors' might actually stand comfortably alongside some of the show's greats. As it is, you can't help feeling just a bit disappointed. 7.4
408: 'Once Upon A Time in Texas'
Wr: Aron Eli Coliete & Aury Wallington
Dr: Nate Goodman
Synopsis: A trip into the past may give Hiro another chance to save the love of his life.
Review: Okay Heroes, I'll give you one thing: while you may be dabbling in that age-old problem-generator time travel for the seven millionth time, at least, this time around, everything actually seems logical and fairly water tight. At least we aren't creating gargantuan paradoxes or a series of alterna-strands that serve only to boggle the mind and frustrate the quantum physicists in the audience. No, here, things stay strictly on the straight and narrow and the only concession made is Hiro's alteration to the untimely ending of poor Charlie's life. Thank the Lord for that. Problem is, while all of this works wonders, the same cannot be said of the meat of the plot, which is depressingly lean.
There is a nagging ambivalence coarsing through the entire episode and it somewhat hurts our enjoyment of it. On the one hand, Noah and Lauren's story is a rather brave move that opens up a entirely new set of doors for HRG's character, allowing us to see both the minutiae of his work life and exactly how it affects him (how lonely and torn he is), but it's also achingly predictable and more than a little questionable given his absolute devotion to his family. Oh yes fine, so nothing actually happens but the idea that he would even consider it seems rather out of step with his personality.
Similarly, it's great to see Masi Oka being more than a cipher for once, making some darker, more human, decisions, and hell, he gets a lot of great dialogue, but it's a shame that it all amounts to some glorified 'happily ever after' Hollywood fantasy; a trite love story that fails to surprise. Sylar's inclusion here is probably the best thing about the entire episode: honestly, give Zachary Quinto his own show, stat. It's incredible how effortless the slip is back into his former self. The 'OK corral' scene (you know the one I'm talking about...) is rather regrettable however, taking the Hiro/Sylar confrontation just that one step over the line into cringeworthy.
There are some other praiseworthy elements: Robert Knepper continues to be simply fantastic as Samuel, and the final scene is a genuine shocker, but overall, the episode feels too much like it's taking on water. For all this may, conceptually, be a fangeek and continuity freak's dream, there's not really enough engaging plot to go around and what there is becomes a little stale around two thirds of the way in. There's taking time guys, and there's procrastination... 6.6
409: 'Shadowboxing'
Wr: Misha Green & Joe Pokaski
Dr: Jim Chory
Synopsis: Claire tries to determine who is responsible for the attacks on Gretchen and Annie. Sylar maintains his control of Matt, and Peter uses his newly gained ability to help Emma.
Review: With 'Shadowboxing', Heroes begins to feel like it's going somewhere for the first time this season. Dangling narrative threads start to come together and we acquire an idea of where it is that the volume appears to be heading. The Carnival developments are interesting, even if they take a complete U-turn from where we were last week (really, couldn't we have had some sort of acknowledgement of the HUGE Mohinder-related cliffhanger/bombshell we were treated to? No?) - seeing Robert Knepper without eyeliner is decidedly unnerving after eight episodes, but his transformation to 'normality' works very well. He's excellent with Hayden and the pair seem to have good chemistry. Becky's ignomny with HRG is logical, if a little repetitive (haven't we seen this a dozen times in the show before?), and it's questionable whether she can carry this sort of emotional gravitas, but at least it doesn't descend too far into absurdity. The scene in the car park is well choreographed, pointedly tense and just the right side of dramatic. The effect on Gretchen is neatly handled, and kudos for not having her change her mind and be sat in Claire's room at the end of the episode. It's actually a little touching when young Bennet sheds a tear, which is a sign that this storyline is moving in the right direction.. let's just hope they don't abandon all the good stuff in favour of some hot, meaningless, unbelievable lesbian action next week. If they handle the issue with sensitivity, as here, who knows... maybe they CAN compete with Buffy's handle on the scenario.
As ever, Matt and Sylar are amazing together, with both parties putting in some fine, angsty performances. The dialogue continues to sparkle, with Parkman's about turn into manipulative SOB working exceptionally well... it's a nice change of pace, after all. It's a little irritating that the writing staff couldn't give him an ounce of sense when it came to the concept of Sylar using his body to kill... that seemed obvious to everyone and his or her cat from that fateful moment at the end of episode seven, and it takes a brutal murder for Matt to realise the gravitas of the situation. Still, this doesn't detract from how genuinely intense the sequences are; particularly the final, parting (supposedly) gasp, as Matt sacrifices himself in order to put an end to the 'Brain Man's sinister legacy. It's a genuine jump-out-of-your-seat moment, a 'mouth wide open' shocker... of course, they have to bookend it with footage of the guy being driven to the hospital and what's the betting that Peter is able to heal him next week?! Ack, if that happens... for now, I'm happy to think positive and commend the writers' bravery. Hell, even threatening to do away with one of the show's favourite characters shows they clearly have some balls...
Peter and Emma's story is really the only lightweight element of the hour. There is some good character development to be found here, a product of the heroes' abilities rather than some grafted on swerve. The writing staff have done a damn good job of fleshing out Emma, to the point where she actually feels like an integral part of the show, and we want to see her develop. Her scenes with Milo have a delicacy that the show is often lacking, and they really are a joy to watch. Sadly though, after four or five episodes of amazement at the fact that she can 'see' sounds, it is beginning to become apparent that she is pretty directionless; that her story amounts to little more than musing over psychological issues and being taught how useful and all round great it is to have abilities. It's threatening to become tired, and the last thing we want is for this to besmirch an otherwise wonderful character. Let's hope they do something different with her soon...
The other big news, of course, is that Nathan's back. Well, sorta. Zachary Quinto'll probably rear his ugly head pretty soon... but at least we have some actual plot development here; dramatic ironies are demystified and revelations made... if 'Brother's Keeper' picks up where 'Shadowboxing' left off, we should be in for some interesting sequences between Pasdar and his televisual family. On the whole, this is a pretty competent episode, steadily moving pieces across the board at a decent pace and finding the time for some encouraging character development and one mother of a shocker at the same time. There are gripes, and this certainly isn't an all time great, but 'Shadowboxing' is certainly one of the better offerings that Heroes has served up this year. 8.2
Tuesday, 10 November 2009
Live review: Biffy Clyro (support: Manchester Orchestra, Pulled Apart by Horses), O2 Academy Leeds, 06/11/09
BIFFY CLYRO (Support: Manchester Orchestra, Pulled Apart by Horses), O2 Academy Leeds, 06/11/09
Biffy Clyro are probably the quietest noiseniks in the world. The Scottish trio have been minding their own business for the better part of fourteen years, making colossally addictive rock music without really causing a fuss. The Biff don't bother themselves too much with anything other than their deeply ingrained work ethic: it's heads down, nose to the grindstone, just get on with it. This attitude seeps through into everything they do, and, refreshingly, even with the eyes of the Zeitgeist trained on them, they still haven't changed one bit.
Live, this approach makes for quite the thrill ride. From the moment they shuffle onto the stage, bereft of fanfare, there's an inexplicable intensity in the air, a palpable energy that threatens to rip through the walls of this converted cinema and tear apart its foundations. As soon as the spinetingling reverb of opener 'That Golden Rule' begins, it kicks into gear; the venue surges forward, the band go full throttle and the insanity commences. Bodies fly everywhere, devotees scream every word, Simon Neal acts like a man possessed, hacking and slashing at his guitar, climbing the speakers during 'Who's Got A Match?', leaping and bounding across the stage with spasmodic glee.. and it never stops. The aggression is unrelenting: one wall of noise bleeds into another and the singalongs just keep getting bigger and better. 'Living Is A Problem' is an even heavier and faster beast than on record and 'Glitter and Trauma' sounds like it's about to knock you to the floor, so infuriated are its guitars. This is no frills rock indulgence, a show that knows better than to let you stop to catch your breath... and even when it does, during an achingly tender 'Machines' and equally as moving 'God and Satan', the physical intensity just gives way to an emotional one, with the poignancy of Neal's cracked delivery threatening to choke you up.
Thankfully, the handful of tracks that are played from long-awaited 'Puzzle' follow-up 'Only Revolutions' bode very, very well. 'Bubbles' has hit single written all over it and a ludicrously catchy hook, 'Born on a Horse' introduces keyboards to the Clyro arsenal without compromising their sound and current single 'The Captain' has to be the pop song of the year, brash, bold and bloody magnificent.
As if all this wasn't enough, we are also treated to two wonderful support acts: Leeds' very own Pulled Apart By Horses are a cacophonous amalgam of choppy guitars and hardcore sensibilities, and while tonight, they seem a little more subdued than usual, there's no denying the addictive ferocity of their music. It's Manchester Orchestra that practically steal the show though. They play a meagre five song set, all from current album 'Mean Everything to Nothing', but every pained, melancholic note is just superb. Lead singer Andy Hull spits and snarls the confrontational lyrics to 'Shake It Out' while his keyboardist convulses in the corner; 'Pride' is as aggressive a dirge as you can possibly imagine and 'The River' washes over you with the force of a tsunami, so powerful is the music. By the end, you're converted, desperate to see more and resolved to invest in everything they've ever produced.
With two outstanding support acts and one blitzkrieg of a performance, this gig, ladies and gentlemen, can only be considered a triumph. They don't come much better than this.
Biffy Clyro are probably the quietest noiseniks in the world. The Scottish trio have been minding their own business for the better part of fourteen years, making colossally addictive rock music without really causing a fuss. The Biff don't bother themselves too much with anything other than their deeply ingrained work ethic: it's heads down, nose to the grindstone, just get on with it. This attitude seeps through into everything they do, and, refreshingly, even with the eyes of the Zeitgeist trained on them, they still haven't changed one bit.
Live, this approach makes for quite the thrill ride. From the moment they shuffle onto the stage, bereft of fanfare, there's an inexplicable intensity in the air, a palpable energy that threatens to rip through the walls of this converted cinema and tear apart its foundations. As soon as the spinetingling reverb of opener 'That Golden Rule' begins, it kicks into gear; the venue surges forward, the band go full throttle and the insanity commences. Bodies fly everywhere, devotees scream every word, Simon Neal acts like a man possessed, hacking and slashing at his guitar, climbing the speakers during 'Who's Got A Match?', leaping and bounding across the stage with spasmodic glee.. and it never stops. The aggression is unrelenting: one wall of noise bleeds into another and the singalongs just keep getting bigger and better. 'Living Is A Problem' is an even heavier and faster beast than on record and 'Glitter and Trauma' sounds like it's about to knock you to the floor, so infuriated are its guitars. This is no frills rock indulgence, a show that knows better than to let you stop to catch your breath... and even when it does, during an achingly tender 'Machines' and equally as moving 'God and Satan', the physical intensity just gives way to an emotional one, with the poignancy of Neal's cracked delivery threatening to choke you up.
Thankfully, the handful of tracks that are played from long-awaited 'Puzzle' follow-up 'Only Revolutions' bode very, very well. 'Bubbles' has hit single written all over it and a ludicrously catchy hook, 'Born on a Horse' introduces keyboards to the Clyro arsenal without compromising their sound and current single 'The Captain' has to be the pop song of the year, brash, bold and bloody magnificent.
As if all this wasn't enough, we are also treated to two wonderful support acts: Leeds' very own Pulled Apart By Horses are a cacophonous amalgam of choppy guitars and hardcore sensibilities, and while tonight, they seem a little more subdued than usual, there's no denying the addictive ferocity of their music. It's Manchester Orchestra that practically steal the show though. They play a meagre five song set, all from current album 'Mean Everything to Nothing', but every pained, melancholic note is just superb. Lead singer Andy Hull spits and snarls the confrontational lyrics to 'Shake It Out' while his keyboardist convulses in the corner; 'Pride' is as aggressive a dirge as you can possibly imagine and 'The River' washes over you with the force of a tsunami, so powerful is the music. By the end, you're converted, desperate to see more and resolved to invest in everything they've ever produced.
With two outstanding support acts and one blitzkrieg of a performance, this gig, ladies and gentlemen, can only be considered a triumph. They don't come much better than this.
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