After a few weeks that were heavy on constructing the season’s arc, “Go Where I Send Thee…” is a more conventional—if such a term can ever be applied to this show—episode of Sleepy Hollow. The larger issue of Moloch’s grand scheme gives way to a monster-of-the-week approach, with the antagonist introduced and resolved by the end of the hour. There’s no sign of Katrina, Jenny, or Reyes; Moloch and the monstrous incarnations of the Horsemen are only alluded to or seen in visions; and Ichabod and Abbie’s conversation dwells more on cars and instruments than it does the foundation of their friendship. And encouragingly, this move doesn’t make the episode any less resonant or entertaining, a testament to how solid the Sleepy Hollow machine remains against all odds.
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context of such an inherently complicated medium?
It’s competition time again on Brooklyn Nine-Nine Season 2 Episode 3, as the team engages in an elimination style tournament called the “Jimmy Jab Games”, an absurd series of competitive events that Peralta helped to spearhead. The Jimmy Jab Games began in 2008 when the President of Iran came to NYC and the Nine-Nine was on call to help with any potential protests. During those nine hours, Jake spent a good portion of that night tossing pieces of bagel into Scully’s open mouth, thus giving birth to the event. Jake makes a side bet with Rosa that if he wins the games she will give him her friend, Katie’s phone number. If Rosa wins, Jake will give her $200 and will never ask her for another phone number again. Peralta try as he does isn’t fooling anyone. Even a blind person can see that he’s not over Santiago, and in finally coming to accept this fact himself, Jake allows Amy to win.
The highest-rated scripted show on television returned tonight, as The Walking Dead Season 5 kicked off with “No Sanctuary,” written by showrunner Scott Gimple and directed by special effects guru Greg Nicotero. Season 4′s finale left us on a cliffhanger, and “Sanctuary” picks up right where it left off. Joining us is SOS contributor Les Chappell to discuss Carol’s badassary and more!
Is Homeland a show about romance? Put another way, is romance central to what it is trying to say about war, intelligence, bureaucracy? After the Carrie/Brody romance was present through three seasons of the show, there were undoubtedly many that hoped the show would get back to basics with Brody gone. They looked forward to Carrie moving to Pakistan, letting her baby and its father fade into the past, taking control of her new station and hunting down bad guys. That stuff is happening, but we also seem as if we may be heading towards a Carrie/Quinn romance, and it’s unclear if that’s a good thing.
Two of Boardwalk Empire‘s most longstanding veterans waved the long goodbye tonight in one of the hardest, heaviest, and most integral episodes the series has ever delivered.
First up was Van Alden, who went out in a way that perfectly belied the arc which his character has been building toward since S3. That he should go down screaming the law in the face of a man he’s hated for almost a decade is a natural bookend for him, and even if it’s telegraphed a few seconds before it happens, it only makes the the brutal hit more effective when it comes.
The Walking Dead, Ep. 5.01 “No Sanctuary” makes us want to see Carol star in her own action blockbuster
The highest-rated scripted show on television returned tonight, as The Walking Dead Season 5 kicked off with No Sanctuary, written by showrunner Scott Gimple and directed by special effects guru Greg Nicotero. Season 4’s finale left us on a cliffhanger, and “Sanctuary” picks up the action right in Terminus, giving us tons of answers about the place and its inhabitants.
It’s a question that comes up throughout “Oppo Research” with good reason. Ever since Eli brought up the idea in the final moments of season five, The Good Wife has been loath to give Alicia one big, whopping, obvious motivation for once again rening her life apart in pursuit of another ambitious prize. Every time she answers the question – this week most pointedly by her new campaign manager, Johnny Elfman (Steven Pasquale, erstwhile star of Do No Harm) – her response is evasive, or negative, or completely nebulous. As promised last week, the Oppo Research phase turns out to be thoroughly unpleasant and invasive, and she’s even subject to a cheap DUI setup at the hands of Castro before episode’s end. So, for real this time: why would anyone put themselves through this, especially someone already weary of being in the public eye?
Over the past few years, shows such as In Treatment, The Wire, Fringe, and Luther have all garnered widespread critical acclaim. The newest series from Showtime brings together talents from all four shows, as Sarah Treem and Hagai Levi team up once again to create The Affair. Focusing on two couples and the toll an extramarital affair has on both, the new series stars Dominic West, Ruth Wilson, Joshua Jackson, and Maura Tierney, and uses multiple perspectives to look at the same event from different angles. The show’s pilot episode indicates these talents have not been wasted, as it delivers an engrossing episode that uses its unique storytelling structure to great effect, while painting a compelling mystery populated by strong characters.
The Walking Dead Review, Ep. 5.01 “No Sanctuary” makes us want to see Carol star in her own action blockbuster
The highest-rated scripted show on television returned tonight, as The Walking Dead Season 5 kicked off with “No Sanctuary,” written by showrunner Scott Gimple and directed by special effects guru Greg Nicotero. Season 4′s finale left us on a cliffhanger, and “Sanctuary” picks up right where it left off, rushing through the conclusion of the Terminus plotline. Rick’s last words from “A” (They don’t know whom they are messing with.) echo heavily throughout the season premiere. “No Sanctuary” is like a roundhouse kick to the head, chock full of suspense and complete badassary on the part of Carol. What’s most surprising about “No Sanctuary,” is how quickly Terminus is resolved. “The Walking Dead” doesn’t always deliver satisfying episodes but it always does well with premieres. The first six minutes are among the most intense minutes of series yet, and the next 30 or so minutes are fast, bloody, overblown, explosive and crazy good.
Set one year after vampires, zombies and werewolves begin to appear in the San Fernando Valley area of California, leading to the creation of a new division of law enforcement to combat and regulate the new occupants, this series follows the daily patrol of the UTF (Undead Task Force) as they enforce the law against these larger than life supernatural citizens. The show is made up of a mix of genres, combining the mundane attitude of The Office with the slapstick police antics of Reno 911 and the backdrop and monster mythology ofBuffy the Vampire Slayer.
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Netflix and Marvel release first images from ‘Daredevil’