The Rest
Mad Men – Whenever I think about this episode, I start to hear the Ram Jam song “Black Betty” in my head, only it goes “Fat Betty (bam-a-lam).” Is that wrong? If so, I don’t really want to be right. This week’s episode featured the return of Betty, who has put on a few pounds because of a tumor on her thyroid (Really, January Jones got knocked up, and the fact that I knew this distracted me a little bit, but it is a clever turn for the show). I liked the tension the cancer scare put on the tenuous relationship between Don, Betty and Henry, and I imagine it will be a big part of the season to come. Don clearly still cares for Betty and it’s interesting that Don is the first person Betty calls after she can’t find her husband. I’m excited to see how it plays out over the next few episodes. Back at the office, the generation gap continues to grow as Pete elbows Roger out of his way after signing Mohawk airlines and as Harry and Don go to see the Rolling Stones. I particularly liked the scenes between Harry and Don because we learned last week that Don doesn’t like Harry, so there’s an element of humor for us as the viewer as Harry tries to endear himself. The Stones concert also provided a nice contrast for Don, who really has changed since the beginning of the series. When once Don would have smoked pot, hit on the teenager and tried to get to sign the band, this older (wiser?) Don turns down the drugs and lectures the girl who is near his daughters age. As Megan said, Don is now “so square [he’s] almost got corners.” Speaking of Megan, she’s still growing on me for calling Don out on his shit. She’s not letting him shut her out the way Betty did, and I like it. Finally, there’s a new guy in the office, but I’m withholding judgement on him until I see more. At this point, I just like how he pushes Peggy’s buttons. She’s very funny when she’s frazzled.
Grade: B (A = “The Suitcase”/”The Wheel”/”Shut the Door, Have a Seat”)
The Killing – I didn’t hate the end of last season, but then again, I didn’t love the whole of last season, so my expectations weren’t as high as other people’s. I guess my lack of investment in the characters actually paid off because I hold no grudges coming into this new season. That said, maybe I should. The season opener, a two hour slog, was not riveting television. You could actually feel the writers trying to wrap up things from last season, and I really didn’t feel like they set up much for this new run. As far as I can tell, the only revelation we got was the corruption in the police department, but even that is so vague and shadowy, I’m not thrilled. I don’t like how purposefully convoluted this show is. I enjoy a red herring as much as the next person, but this show’s got an entire barrel full of fish. It’s tiring, and it’s only the first episode. Wrap-up-wise, we did learn that Richmond isn’t the killer (but we knew that anyway) because he was at a cabin, trying to kill himself. And we also did see Belko commit suicide, which was the only really impressive, unexpected thing about the episode. Otherwise, I’m unimpressed. Hopefully, next week, with the shorter runtime, will be tighter and better. But again, my expectations are not high.
Grade: C (A = Um, I don’t remember. Honestly, did I mention I didn’t invest that much last season? Let’s start from scratch this year.)
Bones – It’s been a long time since Bones was on the air, and truth be told, I didn’t really miss it. It’s become one of those shows that I watch more out of habit than excitement, which is fine, but I don’t expect me to do excited in depth reviews about it. This week, it was the birth episode, and also a murder in a prison ep. The case of the week was pretty ordinary, though I was expecting a more “The secret’s in the sauce” type ending with the police officer with the cookies as the killer. Instead, we got the guy who was promised money and then didn’t get it. Pretty boring, right? On the squint front, Daisy was the intern, which instantly lowers my opinion of the episode. And Brennan gives birth. Let’s talk about that scene. 1) Booth would be the last person I would want to drive me to the hospital because he can’t keep his eyes on the road. I mean, David Boreanez is one great actor who can’t do two things, like act and drive, at the same time. He never looks at the road to the point where it’s distracting. 2) The biblical overtones during the birth was waaaay too over the top for me. I’ve already complained about Game of Thrones for this, and that was thousands of times more subtle than this. Personally, I wish all shows were forced to watch Jason Katims shows in order to know how to do birth scenes. Just look at Parenthood and Friday Night Lights. That’s how you do a birth scene. The scene at the end was pretty cute though. I will say that.
Grade: B-/C+ (A = “Aliens in a Spaceship”/”The Knight on the Grid”)
Castle – It’s not like I’m one of those “shippers,” watching this show just for what they call “Caskett.” In fact, some of my least favorite episodes are the ones that focus on the will they/won’t they the most. However, I really enjoyed this episode, maybe because it’s about the failure of their relationship more than anything more romantic. It was nice to see Castle not puppy-eyed over Kate, and it was about damn time Kate stopped being clueless about her feelings. Sometimes on shows like this one, I wonder how the writers can have an extremely intelligent person, who can solve complex case, be so dumb. I understand it’s an agreed upon lie that is inherent in will they/won’t they television, but sometimes it bugs me. The other thing I liked about this episode was that it felt a little like Chuck with all it’s espionage (and dancing in fancy outfits to solve a case). It was one of the more interesting cases this season (Scotland Yard, embassies, arms dealing), and I thought the guest star, Brett Tucker, was very good. Overall, a very enjoyable offering this week.
Grade: B+ (A = “Head Case”)
Smash – There’s been a lot of Smash bashing in the media after last week’s episode, but I’ll admit, this week featured much better plotting and much less annoying stories. Except for Ellis. I still hate him. I loved when Eileen put him in his place over the coproducer position. The Times Square scene was a little too “New York, New York” for me, plus, they really need to stop doing pop music, but I’ll let it pass for a detente between Ivy and Karen. It may be too on the nose to have Ivy start doing drugs, just like Marilyn, but I’m okay with it for now. And even Julia’s plot, with her husband finding out about the adultery, didn’t irritate me as much as it has in the past. I feel like before, the affair seemed like drama just for drama’s sake. However, now that Frank knows, the stakes are higher and the conflict is much more believable. I like that a whole lot more. But before I start liking this show again, let’s see how next week goes. Did you know Uma Thurman is a movie star? Let’s see when happens when she shows up.
Grade: B (A = “Pilot” – really, it’s all been downhill since then)
Raising Hope – To me, this week’s outing felt like two separate episodes, one of which I liked better than the other. The first part dealt with Jimmy being jealous over Sabrina’s study partner, so Jimmy and his family stage a sting by taking Sabrina’s phone and fake texting the partner. The partner’s girlfriend then get’s mad and comes after Sabrina. That was all well and good and pretty funny. But then, there was a turn where Sabrina gets a new partner and Jimmy has an epiphany about Sabrina always needing a back-up. Again, another sting, and Sabrina and Jimmy come to an understanding about their relationship. This second half felt like it deserved an entire episode to itself. It seemed shoe-horned into the story and shoe-horned ineptly at that. All that said, the episode had good moments, like Shelley getting drunk while trying to avoid drunk-texting her AA sponsor, and Burt becoming obsessed with a wall-mounted coconut bra/boob contraption. The part where Burt imagined Hope as a stripper was kind of weird though (and again, this part felt like it should have been a episode unto itself, too.) Just a strange week, I think. Definitely not the best.
Grade: B- (A = “Jimmy’s Fake Girlfriend”)
New Girl – “Secrets” was very funny episode. I actually laughed out loud more than a few times, which doesn’t happen very often for any show. I feel like the writers have really found their voice for the show, which makes me happy, because for a while, it was hit or miss there. Everyone in the episode got a chance to shine, and everything wasn’t Jess focused, which I really liked. Take the scene where Jess decides she wants to be open and honest with her roommates, only to learn that each guy has had sexual thoughts about her. This scene got everyone’s character just right, with Schmidt being talkative, Winston being reserved and logical, and Nick being indignant and reactionary. I thought it was perfect. I also loved the story of Nick coming to Schmidt to learn how to be a douche-bag so that he can have one night stands. The dynamic between each of the guys is so great, and it was hilarious how Nick felt respect for the douchiness when it actually worked. Oh, and let me mention “sweat-back” and “Theodore K Mullins,” Winston’s black power alter ego. I loved them both. The downside of the episode? The fight between Cece and Jess was fine, funny even, but the race at the end was kind of ridiculous. There’s no way they would have finished last. And to me, it felt a little too close to the Scrubs episode “My Day at the Races.” But that was probably just me.
Grade: A- (A = Hmm, I don’t think they’ve had one yet. Closest was “Injured”)
Justified – I’m going to use a bad simile to describe how I feel about Justified, so bear with me. I said before that the seasons are like chess games where each piece is moved into place until all of a sudden — Checkmate. But here’s another one: the season is like a a jack-in-box. Each episode gives you little clicks of the crank, then, after the tension mounts, the clown pops out, people scream, and all hell breaks loose. This week I feel that the jack in the box comparison was particularly apt. Dicky shows up at Boyd’s bar – click. Boyd decides to rob the bank – click. Quarles escapes and decides to rob Boyd – click. Limehouse sets everything in motion; Raylan follows hot on their heels, Dicky tries to rob Loretta – click, click, click. Then Quarles confronts Boyd at his bar – BOOM!!! Clown carnage everywhere. There was such amazing pacing to the whole thing, too. It was so taut. Each scene led to the next, each interaction elucidated the previous scenes. It felt like a great tennis match or a ballet. And I loved it. I especially liked the scenes between Raylan and Limehouse. Their dynamic this season has been wonderful. And the fact that Raylan let Loretta have the money was a really nice note of character for the two of them. I felt like it really wrapped things up nicely and was a great nod to last season. If I had to present an quibble about this episode, it would just be this: since when did Quarles such a druggie? That turn was the only thing that felt a little weird to me, particularly because the show spent the first half of the season establishing him as a family man who always talks to his son. But I’ll accept that character turn because everything else was so well done. I can’t wait for next week, the season finale.
PS. Anybody else curious about the “Who shot Mr. Burns” type cutaway during the end scene. Did Boyd kill the officer or Quarles? I’m curious to know. (Oh my God, after writing this, I think I know who did it. If I’m right, that’s awesome. Highlight the name if you want to know my thoughts. But I won’t spoil you otherwise. I think it was Arlo Givens)
Grade: A (A = “Bloody Harlan,” aka the second season finale)
Bent – I feel like we should take a moment to honor the six episode, three week run that was Bent. I’m 99% sure it’s not coming back next season, which is sad because these were probably the two strongest episodes. “Mom” was great with Marcia Gay Harden as guest star, and I really liked the subplot of Clem being a horrible boss. He’s definitely a better number two because as boss, they end up knocking down the wall and then getting a cat stuck in it (Don’t know if that was a reference to It’s Always Sunny in Philadelphia, but I took it as one anyway). I also liked “Tile Date” with its sexual tension between Pete and Alex. I’m not sure how I feel about Alex only realizing her feelings once Pete starts dating someone (wouldn’t that have been the case when Pete slept with his ex?) but the bookends of the kitchen were very nicely done. And if that is the finale of the show, it’s a great scene to end on. I shall remember you fondly, Bent. It was good knowing you.
Grade: B+ for both (A = nothing yet, best so far has been “HD”)
Happy Endings – It seems like ages ago that I was complaining that this show was unwatchable. But I really should learn that a comedy should not always be judged by its first season. Comedy is hard, and it takes a lot more time to find the right pacing/voice compared to dramas. I also think we, as viewers, are much more judgmental/reactionary when it comes to sitcoms. But, man, has Happy Endings really found its voice. This episode was the season finale of the show, and I loved nearly every moment of it. The opening, where everyone has bet on how long Penny will take to mention her boyfriend, was great. The scenes with Larry Wilmore were very funny. And the wedding was nicely staged. It’s kind of impossible to list all the things I liked without going on and on, but my highlights were Max making the meta joke that he doesn’t really care about Penny’s boyfriends, which he “only learns about through dialogue,” Jane’s comment, as she sticks her leg out Angelina Jolie style that she looks ridiculous, Jane’s strange ability to turn paper into brie, and of course, Max’s performance of “Like a Prayer.” I also like the introduction of Penny’s new love interest, Brian Austin Green, just because I love Brian Austin Green. And the scene between Dave and Penny was subtle enough that I enjoyed the show’s nod to their sexual tension. I’m going to ignore for right now the idea that Dave and Alex are getting back together. I have hope that it’s just a friendly handhold that happens at the end of the episode. And that would be my only quibble about the season finale. Otherwise, I thought it was hilarious, and season two really turned out to be a great one. (I have a theory that the second season of a sitcom is always one of the best, and this supports it fully). I look forward to next year.
Grade: A (A = “The Butterfly Effect Effect”/”The Code War”)
30 Rock– I have been really hard on this show lately. And with due reason. But I actually liked this week. Well, to be fair, I liked one storyline, which was Jack taking Pete under his wing. The whole thing about Pete avoiding slipping farther down was pretty intelligent, but the best part was Pete punching the boxing dummy, only to have it spring back, break his nose and pin him to the ground. I do love a sight gag, and that one got me good. The Tracy/Liz story was okay, but it made Tracy look dumber than he has in a while. I understand that Tracy is basically a child, but I like it when he’s more of a “child at heart” than actual toddler. As for Jenna, this was pretty funny (surprising, I know) with her trying to punk the writers. It had good moments for all involved, an the payoff of seeing Jenna crying saying she was the worst person she knew was a nice end to it. It wasn’t perfect, but at least it wasn’t horrible.
Grade: B (A = “Rosemary’s Baby”/”Succession”/”Apollo Apollo”)
Up All Night – I think I’ve come to realize that this show is never going to one of my favorites. The tone of the show isn’t really what I look for in my favorite comedies and it’s never had any moments that I find absolutely memorable. But I do like the show. It’s definitely not bad. It’s like a good cup of coffee. No, it’s not Italian Roast espresso, but it does its job. And we all know that there’s more bad coffee out there than good, so I’ll take the good where I can get it. This week’s episode of Up All Night was probably one of the best so far. I had very clear stories, hilarious moments, and a pretty consistent pace. So, I really liked it. I think the part where Reagan and Luke are sitting in the office having just realized that Luke has a crush, and there is a long, protracted silence is what sold the episode for me. The fact that the show had the confidence to do that awkward pause made me like it all the more. It takes balls, and I like shows with balls. The rest of the episode was also very funny, with Eva and Shayna fighting, Chris engaging in inappropriate PDA, and Will Forte being zoned out on antidepressants. Oh, and hey, did anyone else notice the red motorcycle jacket lying on the couch next to Will Forte? It was a great callback to the episode “New Boss,” it makes me want to like the show even though, as I said, I dont’ think it will ever be one of my favorites. But wanting to like something is half the battle, right? So at least it’s a start.
Grade: B+ (A = “Birth”)
Awake – The thing that draws me to the show is the sense that you never really know what is real and what is fake. It’s like the episode of Buffy, “Normal Again,” where Buffy has a fantasy that she’s really a mental patient and Sunnydale is all in her mind. With paradigm shifts like that, you’re never really certain of what you can trust or what is reality or fantasy. And Awake has two very real feeling paradigms to choose from. More than the episodic cases that strangely overlap each week, which are very cool sometimes, it’s the psychology of the episodes that I like. This week really focused on that element of the show, which is why I liked it more that the past few episodes. The opening scene where Dr. Lee pretty much outlines the premise of the show, with Michael confusing the two worlds, was really well done. And the way that Michael maneuvered though the case in the mental institution was very interesting to me, especially when he became complicit to the patient’s lie about his sister getting away. Michael is realizing himself that he has to accept a lie for his own two realities, and I liked how the show demonstrated that to us. I also really, really loved the penguin in the show because I hope it’s a reference to Fight Club, my all-time favorite movie. In the movie, which deals with its own brand of crazy, the main character has a penguin as a spirit animal. So for Michael to see a penguin during his hallucinations was a perfect way for the show to acknowledge that everything is not what it seems, that anything, at any time, could turn out to be fake. It’s a world that can’t sustain itself and at some point, it’s going to break. It’s touches like this that makes me really like the show, and I can only hope that it continues as we move forward.
Grade: A- (A = “Pilot”)
Grey’s Anatomy – It was a pretty ho-hum week over at Seattle Grace Hospital this week. Sure, there was a lion on the loose, but the characters didn’t really advance that much, and it’s hard to have a great episode based on a zoo animal. I did really like seeing Danny Strong on the show, though. I’ve loved him since Buffy and he brightens up any guest starring spot for me. Also, the Owen-Christina plot is still compelling to me. At the very end, I thought Christina was going to forgive him, and then I was shocked to have her throw cereal in his face. Forgiveness is hard, and I like that the show isn’t rushing things. What I didn’t like in this episode was Alex. I get that he can’t be the object of affection for his intern, but since when does yelling at someone make things better. I don’t agree with Arizona that it will make the intern stronger. I think it makes Alex a dick, and Arizona is encouraging said dickishness.
Grade: B (A = “Into You Like a Train”/”It’s the End of the World”/”Losing My Religion”)
Scandal – There’s something undeniably compelling about Shondra Rhimes TV shows, and believe me, it’s not usually the excellent writing or even top-notch acting. It’s the balls-to-the-wall, all out audacity of the shows, how everyone involved seems to jump in feet first without a care of whether what they’re doing is too outlandish or too melodramatic or too corny. They just jump in, drink the kool-aid or whatever the cool cults do nowadays, and go on producing the show that, at the very least, Shondra Rhimes believes in. And you have to appreciate that because when it works, it can be pretty effing awesome (Grey’s Anatomy superbowl episode, anyone?) and when it doesn’t, like Off The Map, it’s still something to talk about and dissect. “Can you believe they did that?” It makes for some pretty entertaining TV-watching. Scandal is no different, and for the most part, it was pretty successful. In my mind, I imagine Shondra Rhimes sitting at home, watching The West Wing, thinking, “I want to do that.” You can definitely see the Aaron Sorkin inspiration here, with the quick-like-cocaine dialogue and the political underbelly plots. But the Shondra Rhimes element definitely focuses everything onto the personal lives of the characters, most of whom I liked. I’m not sure about the newbie, Quinn, who is supposed to be our guide into the new world of the law practice. But Henry Ian Cusick is great as always and Kerry Washington is very good as the lead, Olivia. I do have a big, big complaint though. I was really on board all the way up until Olivia meets with the President in the Oval Office. Then, it just went over the top for me. Olivia is in love with the President!?!?!? Come on! Pick a senator or congressman. But the President? It would have been much better if he had stayed a shadowy, morally ambiguous character. But when he goes and makes out with someone in the Oval Office, I can’t take him seriously. Seriously! I hope this is not the focus of the show because I like the other elements a lot.
Grade: B (It was a B+ until the scene in the Oval Office. Points definitely off for that)
Fringe – There’s been an element of melancholia in the past few Fringe episodes, despite and because of all the joy of Peter and Olivia getting together. While on one end, Peter, Olivia and Walter are forming back into a family, Lincoln has been left out. In the first few minutes of the episode, in fact, Olivia has forgotten the defining moment of the friendship and it leaves Lincoln feeling, well, homeless. Thus begins possibly my favorite episode of this season so far. In an attempt to make himself feel purposeful, Lincoln travels to other universe, where he works on a case with Fauxlivia and the other Lincoln. And everything seems to click. He has a place; he has meaning; he has an Olivia of his own who remembers him and likes him. For Lincoln and the viewer, there’s a sense of place that is missing in the world with Peter. This idea is paralleled in the case of the week, where one of the shape shifters is killing vagrants, just trying to find a place back into the fold with David Jones. But, like Lincoln, he realizes that there is no home where he came from; he has to make a choice to move on and become the man he wants to be. So the shapeshifter, Canaan, decides to give up on Jones, and the Fringe Department captures Nina Sharp, leading them one step closer to capturing Jones. This move also hints at the reveal of the mole inside the Department of Defense. Colonel Broyles seems to be that man, and though the episode never confirms it, it seems that Astrid has figured it out. I loved practically everything about this episode, especially the poignant tone it took as it dealt with Lincoln’s self-questioning. It may have gotten a little heavy on the dialogue, as Lincoln talks to Canaan, but he’s really talking to himself, but I accept that because I think Lincoln is aware of it, too, in the scene. I’ve always had a soft spot for the other side episodes, and this will be no exception. Clearly, everything is in its right place going towards the end of the season. (Sorry, bad pun – the episode is titled “Everything in Its Right Place” – but I had to do it.
Grade: A (A = “Lysergic Acid Diethylamide”/”Peter”/”The End of All Things”/”The Day We Died”)
Mary the TV Maven 