Poster: ‘Community’ season 5
(via deadlinecom)Source: mercuryfish
t’s amazing to see just how vibrant Survivor feels this season, and the thrills are about more than picking rocks. It starts with the first scene of Hayden drawing out Gervase by crowning Tyson the victor. That conversation sets the stage for everything that follows, including an insane Tribal Council. It’s a rare case where a player with his back against the wall actually makes the correct arguments. By pressing the “Tyson as inevitable winner” story line, Hayden gets Gervase and Monica to say exactly what he wants. Ciera’s understated reactions say it all. She realizes that her road to victory doesn’t go through the Galang alliance. Monica’s reassurance that “four is better than six” isn’t what she wants to hear.
As more and more (and MORE) casting announcements for season two of Arrow came out this summer, I began to worry if a show only starting to realize its potential would be able to handle such a flurry of subplots, character introductions, and fight scenes. So far, things have gone well: the writers of Arrow have integrated Canary and Brother Blood into the mix in interesting ways – and have even re-invigorated poor season one characters (like Deadshot and The Count) with some well-written sophomore appearances. However, this episode is not only burdened with introducing another major character in the DC Universe – Barry Allen, aka Flash – but also setting up the rest of the season’s story lines with many of its other characters, a bit of narrative overload “The Scientist” isn’t able to handle.
American Horror Story, Coven, Season 3, The Dead review
American Horror Story: Coven returns from its brief Thanksgiving hiatus with “The Sacred Taking,” a disappointing instalment lacking the urgency and pace of previous episodes. The coven aligns itself with Misty to perform a ritual that will hopefully convince Fiona to end her reign has Supreme, and Queenie continues to align herself with Marie Laveau. Meanwhile Hank begins his assault on the Academy, and Miss Ramsey deals with her anger over her son Luke’s misadventures with a conservative Christian purification.
With a dash of L.A. Confidential and a heavy dose of brutal, graphic violence, Frank Darabont’s new limited series Mob City could have enough juice to push TNT into relevant drama territory.
Jon Bernthal takes the lead as war veteran Joe Teague, a less than perfect detective in 1947 Los Angeles. He’s a man who lives in a “world of grey hats”. Early in the pilot he’s placed on the fast track to becoming the department’s “golden boy” when he gets drawn into Hecky Nash’s (Simon Pegg) blackmail scheme. Nash is a slimy, rapid fire, not so funny comedian who grew up with Micky Cohen (Jeremy Luke) and finally has a chance to one up the mobster he’s grown to hate.
It seems to be a requirement of popular fictions set in times of war that, at some point, the looming threat of total annihilation brings interpersonal tension to the surface. That turns out to be exactly the case with “Fallout,” which, despite a few strong moments, is too cute by half in its wink-nudge acknowledgement of viewers’ distanced relationship with the time period. That’s troubling, as Masters of Sex had a strong sense of balance on this score until now.