That was fucking awesome. Despite being spoiled by my brother over a month ago (not that I mind), the final scene held me in rapt attention. Masterfully directed by veteran Alan Taylor, it truly captured the cruel world of Game of Thrones, as Ned is sentenced to death by Joffrey. I knew that would happen, but the scope and enormity of the situation was magnified, each beat getting one step closer to death--Arya finding out about the execution, climbing up on the statue, Ned seeing her, Ned confessing, and finally, Ned, unable to see Arya, bowing his head in defeat. Just like that, someone who seemed to be the main character is dead.
But that wasn't the only shocking thing about the episode. Unlike other shows which would have built an entire episode surrounding the death, if they were to even broach the subject, Game of Thrones rolls right on ahead. Even without the death, it would have been a fantastic episode. In a turn of events, Robb is able to trick the Lannisters, dangling out 2,000 men to lure Tywin while capturing Jaime with the remaining 18,000. It's a nice twist, considering how Jaime seemed near-invincible in previous descriptions, and it greatly enhanced the shock factor of the end. After Jaime is captured, there is a sense that all will be well. Trade Jaime for Ned and the girls, maybe declare peace, and that's that. Instead, Ned is dead and Robb will surely be pissed and quick to make a rash decision.
At the Wall, Robb talks to Master Aemon, who is revealed to be a Targaryen. Beyond this new piece of information, Aemon has an important message which reflects not only on the immediate situation of the war and Ned's capture, but on Westeros in general. There is duty and there is love, and when the Targaryens were slaughtered, Aemon stuck to duty. That's why those on the Wall cannot have outside relationships. While Robb says that Ned will choose honor, he picks love--I suppose he wanted to live as well--and pays the dear consequence.
We don't get to see any battles, but a considerable amount of time is paid to Tyrion, Bronn, and the prostitute Shae the night before. They talk and we learn quite a bit about Tyrion and how his father was a real monster to him. Before the battle even begins, Tyrion is knocked out and wakes up to find the tribes killing those still remaining, a funny scene among the grimness.
Across the sea, Drogo's wound continues to fester and he is on the verge of death. As Jorah tells Daenerys, Dothraki don't care about blood and will fight for leadership, including killing her baby. With this in mind, Daenerys asserts her power and gets the 'witch' to perform blood magic on Drogo--which involves lots of horse blood and an awful screeching sound. There is some dissent, but after Jorah successfully defends her (armor FTW!), everyone falls in line before Daenerys begins to give birth.
I was dealing with computer problems for the latter half of this week, so I wasn't able to read the book again, but hopefully I'll finish before the season finale.
What's great about HBO is that they have big budgets and are able to get a big set with tons of people yelling and screaming at Ned. You can't help but think that maybe they deserve what they'll get from Joffrey.
Score: 9.7/10
Monday, June 13, 2011
Sunday, June 12, 2011
Review - The X-Files Season 3 Episode 17 Pusher / 18 Teso Dos Bichos
"Pusher"
"Pusher" is one of the coolest non-mythology episodes. It's one of the new episodes not shrouded in darkness, but the stakes remain as high as ever. What sets the episode apart from other is how human the case seems. Though there is a supernatural element to it--Robert Modell able to push thoughts onto others simply by talking--the fact that he is a living man, openly professing his guilt, makes things more unsettling. We know he's a sentient human being, lurking out there and waiting for the right time to strike.
Like in the best X-Files episodes, Mulder and Scully are invested in this episode. After falling into this case, they immediately are pushed into action. Mulder testifies on the stand against Modell, who gets away, and see Burst die in front of their eyes. And the climax is full of exhilaration, as Mulder plays Russian roulette with Modell before finally shooting him.
The one thing that doesn't quite work in the episode is Skinner and the woman who beats him. The whole episode is unnecessary in an episode which focused on Mulder and Scully, and didn't seem necessary to the plot. Both Skinner and the woman are tools to advance one plot point, that Modell is interested in Mulder.
The final scene in which Mulder contemplates what happened is, to me, Mulder reflecting on his resemblance to Modell. Here's this man who was a nobody, who wanted to be a somebody. A special ability came to him, and he grasps at this one chance to be a somebody, foregoing life. He desire to achieve his life's goal trumped all and he chose to kill people. Mulder, similarly, has goals and dreams he has not yet achieved, proving the existence of extraterrestrials. What if Mulder had the chance, like Modell, to reach his dream, but also give up his life and humanity? How far would be push himself?
Score: 9.3/10
"Teso Dos Bichos"
"Teso Dos Bichos" is the opposite of "Pusher," forgettable and boring. The episode begins with the standard setup of a skull of a female shaman being excavated and the natives believe it to have a curse. Lo and behold, one of the scientists is killed. From there, the episode goes as expected, people debating the morality of taking the skull from its home country and superstitious stuff in the background.
Mulder and Scully spend the episode phoning it in. It's the same as usual--Mulder believes in the curse, Scully doesn't. They help the police with the investigation, but they are nowhere near as involved as they were in "Pusher."
Nothing too interesting happens until Mulder and Scully are nearly killed by a pack of cats, a fairly good twists since we were led to believe the culprit was a jaguar, and it's kind of scary if you don't like cats. But that can't save the episode which wasn't interesting to begin with. The skull returns home and we're left with a generic and broad statement: don't mess with some things.
Score: 7.8/10
"Pusher" is one of the coolest non-mythology episodes. It's one of the new episodes not shrouded in darkness, but the stakes remain as high as ever. What sets the episode apart from other is how human the case seems. Though there is a supernatural element to it--Robert Modell able to push thoughts onto others simply by talking--the fact that he is a living man, openly professing his guilt, makes things more unsettling. We know he's a sentient human being, lurking out there and waiting for the right time to strike.
Like in the best X-Files episodes, Mulder and Scully are invested in this episode. After falling into this case, they immediately are pushed into action. Mulder testifies on the stand against Modell, who gets away, and see Burst die in front of their eyes. And the climax is full of exhilaration, as Mulder plays Russian roulette with Modell before finally shooting him.
The one thing that doesn't quite work in the episode is Skinner and the woman who beats him. The whole episode is unnecessary in an episode which focused on Mulder and Scully, and didn't seem necessary to the plot. Both Skinner and the woman are tools to advance one plot point, that Modell is interested in Mulder.
The final scene in which Mulder contemplates what happened is, to me, Mulder reflecting on his resemblance to Modell. Here's this man who was a nobody, who wanted to be a somebody. A special ability came to him, and he grasps at this one chance to be a somebody, foregoing life. He desire to achieve his life's goal trumped all and he chose to kill people. Mulder, similarly, has goals and dreams he has not yet achieved, proving the existence of extraterrestrials. What if Mulder had the chance, like Modell, to reach his dream, but also give up his life and humanity? How far would be push himself?
Score: 9.3/10
"Teso Dos Bichos"
"Teso Dos Bichos" is the opposite of "Pusher," forgettable and boring. The episode begins with the standard setup of a skull of a female shaman being excavated and the natives believe it to have a curse. Lo and behold, one of the scientists is killed. From there, the episode goes as expected, people debating the morality of taking the skull from its home country and superstitious stuff in the background.
Mulder and Scully spend the episode phoning it in. It's the same as usual--Mulder believes in the curse, Scully doesn't. They help the police with the investigation, but they are nowhere near as involved as they were in "Pusher."
Nothing too interesting happens until Mulder and Scully are nearly killed by a pack of cats, a fairly good twists since we were led to believe the culprit was a jaguar, and it's kind of scary if you don't like cats. But that can't save the episode which wasn't interesting to begin with. The skull returns home and we're left with a generic and broad statement: don't mess with some things.
Score: 7.8/10
Review - Chaos Season 1 Episode 7 Remote Control
I didn't review Chaos last week, but I remain very positive about the show despite its cancellation. It's certainly a procedural-y show, with a similar set-up, but at the same time, it remains relatively fresh. The ODS visits a different country each week and experience various kinds of people (usually stereotypes) and there is always an extra wrench thrown in which is always different. To top things off, there is always some meaningful pathos behind the episode relating to spies and the spy world.
As far as long term planning goes, "Remote Control" seems to be a significant episode, though we'll never know what happens. While Michael and Fay seem well on their way to getting back together, Rick and Adele have a larger problem. Their relationship is based on deception, Adele ordered to bug Rick. She may like him, but orders and advancement trump everything else.
Score: 8.5/10
As far as long term planning goes, "Remote Control" seems to be a significant episode, though we'll never know what happens. While Michael and Fay seem well on their way to getting back together, Rick and Adele have a larger problem. Their relationship is based on deception, Adele ordered to bug Rick. She may like him, but orders and advancement trump everything else.
Score: 8.5/10
Saturday, June 11, 2011
Review - Camelot Season 1 Episode 10 Reckoning
This may make me a bad person, but I laughed out loud several times while watching the season finale. Obviously that wasn't the intent of the writers. I think I finally realized how silly the show is. The episode begins with Arthur doing Rambo stuff, culminating in an "epic" battle comprised of 5 guys chopping down 50 useless people. At least Spartacus was visually mesmerizing while delivering killings. Camelot is just the same, tired chopping we've seen everywhere.
I'm not entirely sure why I laughed at the next item, but I did. Maybe it's the fact that the writers feigned to get Leontes into the clear by having everyone survive the fight. Once the writers made it clear that they wanted both Arthur and Leontes to look like virtuous people, it was clear that the only viable path would be if Leontes died.
Morgan becoming queen seemed, to me at least, something that might have come from a comedy. All the lines of dialogue fall into place perfectly, building and building until it's only logical that Morgan become queen. The people are enthralled by her and every single line panders directly to her. But wait! Before Morgan can bask in her glory, there's this slow clap coming from the back. It's Arthur! The look on his face was enough to have me laughing and the clapping pushed me over the edge.
And then there was the needless deaths. I can understand why Sybill had to die--though not why she had to return as Obi-Wan Kenobi--but Igraine's death was entirely senseless. She manages to spit out the last piece of information that she actually saved Morgan by sending her to the convent. And the result? After toiling for a while, Morgan returns to her business.
It's taken a while and I'm not sure why I didn't seen it sooner: the writers have no clue what they're doing. Between the various unfulfilled plots, Camelot has not solid ground even after 10 episodes. The writers are still floundering from idea to idea--Morgan shifting from internal usurper to internal child bearer--and there isn't much to look forward to.
Score: 7.6/10
I'm not entirely sure why I laughed at the next item, but I did. Maybe it's the fact that the writers feigned to get Leontes into the clear by having everyone survive the fight. Once the writers made it clear that they wanted both Arthur and Leontes to look like virtuous people, it was clear that the only viable path would be if Leontes died.
Morgan becoming queen seemed, to me at least, something that might have come from a comedy. All the lines of dialogue fall into place perfectly, building and building until it's only logical that Morgan become queen. The people are enthralled by her and every single line panders directly to her. But wait! Before Morgan can bask in her glory, there's this slow clap coming from the back. It's Arthur! The look on his face was enough to have me laughing and the clapping pushed me over the edge.
And then there was the needless deaths. I can understand why Sybill had to die--though not why she had to return as Obi-Wan Kenobi--but Igraine's death was entirely senseless. She manages to spit out the last piece of information that she actually saved Morgan by sending her to the convent. And the result? After toiling for a while, Morgan returns to her business.
It's taken a while and I'm not sure why I didn't seen it sooner: the writers have no clue what they're doing. Between the various unfulfilled plots, Camelot has not solid ground even after 10 episodes. The writers are still floundering from idea to idea--Morgan shifting from internal usurper to internal child bearer--and there isn't much to look forward to.
Score: 7.6/10
Major computer problems
To make a long story short, my laptop can't boot and it can't seem to read the recovery CDs. I've tried fiddling around with the BIOS, but nothing seems to work. Right now I'm trying to get my hands on a Windows 7 CD, but I'm not optimistic. I'm using an old computer right now, so I should be able to post delayed reviews, especially since there's not much to watch anymore. We'll see what happens, and I'll post updates if the situation changes.
Thursday, June 9, 2011
Review - Breaking Bad Season 1 Episode 4 Cancer Man / 5 Gray Matter
"Cancer Man"
After a string of high-octane episode, Breaking Bad settled down to give us a better look at Jesse who, until now, has been the funny one-liner guy. While nothing much contributes to the overall plot, we learn quite a bit about Jesse and where he's coming from. For the first time, there are real negatives to drugs, as Jesse hallucinates and runs to his parents house where we see that Jesse grew up in a good place but was eventually led astray. Jesse seems to be a decent person as well, covering for his younger brother and taking all the heat for the pot. But at the end of the day, he remains without a job and only has drugs to support himself, and no matter how good of a person he may be, it doesn't matter.
The episode also does a good job expanding Walt's relationships with his family members after he tells Skylar about the cancer and she tells the rest of the them. This immediately puts more pressure on Walt since everyone wants their input on the situation, and the result is that Walt is pushed further and further. He clearly wants nothing to do with drugs and that world which already forced him to kill people, but also needs the money for treatment. This all comes boiling out when he blows up a douchebags cars. In this circumstance, it's easy to get behind Walt since "KenWins" was so obnoxious, but it is a troubling precedent.
Score: 9.0/10
"Gray Matter"
Like the previous episode, "Gray Matter" sheds a lot of light on a character's past, Walt in this case. He and Skylar go to an old colleague's birthday party where, surprise, surprise, we find him married to that woman in the flashback. Apparently, the couple, Elliot and Gretchen runs Gray Matter and are filthy rich while Walter has nothing. We begin to see why Walter ended up where he is and the underlying anger, and it provides us with a better idea who he is. From all accounts, Walt was a brilliant scientist, far smarter than those now richer than him. So, when Elliot offers to pay for Walt's treatment, he declines. After all, Walt is smart--he doesn't need charity, not the least from Elliot. If there is no big thing to fault Walt for, it's that he simply doesn't take the money. He just has too much pride.
Meanwhile, everyone has a sit down with Walt so they can express how they feel about his conduct. The general consensus is that Walt is being far too passive, which is a valid point since Walt has practically given up. And with the Schwartz's offering to pay, there's is hardly any problem--except Walter isn't taking the money. Instead, he turns back to Jesse and the drug world.
That goes directly with Jesse story in the episode, which is an abrupt turn of events. After Badger gets the materials to cook up another batch, Jesse cooks again, but has a cloudy batch. The old Jesse would be fine with the cloudy shit, but the new Jesse has goals and wants to be the best in the drug market. Naturally, the Jesse who wants the clear meth and Walter who wants money at back together at the end of the episode.
This middle stretch of episodes in the first season is quite interesting. It relieves the tension in the first three episodes, and there is little chance Walt or Jesse will get caught, though Hank's investigation is leading him in that direction. Instead, the episodes spend plenty of time to build their characters, showing who they were and how that motivates them. At the end of the two episodes, they're back to where they were at at the end of the pilot, getting ready to cook meth. This time, however, their characters are much deeper and fully formed.
Score: 9.2/10
After a string of high-octane episode, Breaking Bad settled down to give us a better look at Jesse who, until now, has been the funny one-liner guy. While nothing much contributes to the overall plot, we learn quite a bit about Jesse and where he's coming from. For the first time, there are real negatives to drugs, as Jesse hallucinates and runs to his parents house where we see that Jesse grew up in a good place but was eventually led astray. Jesse seems to be a decent person as well, covering for his younger brother and taking all the heat for the pot. But at the end of the day, he remains without a job and only has drugs to support himself, and no matter how good of a person he may be, it doesn't matter.
The episode also does a good job expanding Walt's relationships with his family members after he tells Skylar about the cancer and she tells the rest of the them. This immediately puts more pressure on Walt since everyone wants their input on the situation, and the result is that Walt is pushed further and further. He clearly wants nothing to do with drugs and that world which already forced him to kill people, but also needs the money for treatment. This all comes boiling out when he blows up a douchebags cars. In this circumstance, it's easy to get behind Walt since "KenWins" was so obnoxious, but it is a troubling precedent.
Score: 9.0/10
"Gray Matter"
Like the previous episode, "Gray Matter" sheds a lot of light on a character's past, Walt in this case. He and Skylar go to an old colleague's birthday party where, surprise, surprise, we find him married to that woman in the flashback. Apparently, the couple, Elliot and Gretchen runs Gray Matter and are filthy rich while Walter has nothing. We begin to see why Walter ended up where he is and the underlying anger, and it provides us with a better idea who he is. From all accounts, Walt was a brilliant scientist, far smarter than those now richer than him. So, when Elliot offers to pay for Walt's treatment, he declines. After all, Walt is smart--he doesn't need charity, not the least from Elliot. If there is no big thing to fault Walt for, it's that he simply doesn't take the money. He just has too much pride.
Meanwhile, everyone has a sit down with Walt so they can express how they feel about his conduct. The general consensus is that Walt is being far too passive, which is a valid point since Walt has practically given up. And with the Schwartz's offering to pay, there's is hardly any problem--except Walter isn't taking the money. Instead, he turns back to Jesse and the drug world.
That goes directly with Jesse story in the episode, which is an abrupt turn of events. After Badger gets the materials to cook up another batch, Jesse cooks again, but has a cloudy batch. The old Jesse would be fine with the cloudy shit, but the new Jesse has goals and wants to be the best in the drug market. Naturally, the Jesse who wants the clear meth and Walter who wants money at back together at the end of the episode.
This middle stretch of episodes in the first season is quite interesting. It relieves the tension in the first three episodes, and there is little chance Walt or Jesse will get caught, though Hank's investigation is leading him in that direction. Instead, the episodes spend plenty of time to build their characters, showing who they were and how that motivates them. At the end of the two episodes, they're back to where they were at at the end of the pilot, getting ready to cook meth. This time, however, their characters are much deeper and fully formed.
Score: 9.2/10
Review - Franklin & Bash Season 1 Episode 2 She Came Upstairs To Kill Me
I normally wouldn't watch a show like Franklin & Bash again, but since this is summer when there are very few new scripted shows, I went ahead and watched the second episode. The second episode was largely the same as the first episode, with a sillier case than you'd usually see on law shows, a woman accused of sexing her husband to death. The episode somewhat shifts the focus away from Franklin and Bash towards Infeld, played by Malcolm McDowell, and is delightfully charming.
Score: 8.5/10
Score: 8.5/10
Wednesday, June 8, 2011
Review - White Collar Season 3 Episode 1 On Guard
"On Guard" is the most impressive episode of White Collar since the pilot. Well, maybe it's actually more impressive. The relationship has been built up between Peter and Neal for two seasons as they've taken down criminals of all sorts. They've come to like each other and they are more like partners than adversaries despite their differences in position, Peter being the fed and Neal being the con.
The end of the second season had a major change, Neal in a room with the art from the German U-boat, but the writers could have taken this any way. In the first season, it looked like Peter was the big bad who had Kate, but it turned out he was not. The opening of the third season reinforces the idea that Neal has completely turned and all ties with Peter will be cut. He and Mozzie load their wares onto a planes and prepare to take off, pursued by the FBI.
Slowly but surely, the writers peel back the layers until we learn what's really going on. And what really happens is more interesting than the implication that Neal is on the loose. Instead, we learn that it was actually Mozzie who stole the art without consulting Neal first. The plane turns out to be part of the case, and Neal sacrificed his chance to escape in order to save Jones. It's not all bright and sunny, though, as there is clearly an underlying deception. Neal knows about the art and is keeping the knowledge from Peter, even swapping out the swatch of the painting Peter got tested.
While everything is ostensibly fine at the end of the episode, their relationship is the closest its been to the verge of collapse. Neal will have to keep the secret, always deceiving Peter, and Peter will always have his eye on Neal. With these circumstances, a lot can happen.
Score: 9.5/10
The end of the second season had a major change, Neal in a room with the art from the German U-boat, but the writers could have taken this any way. In the first season, it looked like Peter was the big bad who had Kate, but it turned out he was not. The opening of the third season reinforces the idea that Neal has completely turned and all ties with Peter will be cut. He and Mozzie load their wares onto a planes and prepare to take off, pursued by the FBI.
Slowly but surely, the writers peel back the layers until we learn what's really going on. And what really happens is more interesting than the implication that Neal is on the loose. Instead, we learn that it was actually Mozzie who stole the art without consulting Neal first. The plane turns out to be part of the case, and Neal sacrificed his chance to escape in order to save Jones. It's not all bright and sunny, though, as there is clearly an underlying deception. Neal knows about the art and is keeping the knowledge from Peter, even swapping out the swatch of the painting Peter got tested.
While everything is ostensibly fine at the end of the episode, their relationship is the closest its been to the verge of collapse. Neal will have to keep the secret, always deceiving Peter, and Peter will always have his eye on Neal. With these circumstances, a lot can happen.
Score: 9.5/10
Review - Covert Affairs Season 2 Episode 1 Begin the Begin
When "Begin the Begin" started, I wracked my brain to remember what had happened at the end of the last season. I know I watched every episode, knew generally who Ben was, but I couldn't remember any specifics about the last episode or what precipitated the dramatic opening scene. After reading my review of the first season finale, I vaguely remember what happened. The point being, the serialized parts of Covert Affairs don't really work, and the rest of the episode backs this up.
While the episode tries its hardest to play up Annie's personal life with Ben being safe, the whole package doesn't quite work. Ben is still in two modes, either in love with Annie or super-cryptic, making him seem very inhuman. That portion of the show is completely detached from Annie and Auggie, which is by far the more enjoyable part of the episode. But with all the Ben, Joan, and Arthur stuff, the plot is paper thin, explained in a flurry of activity before culminating in a car chase.
At the end of the episode, Ben goes missing again and Annie is left to pine for him. But does anyone care?
Score: 8.0/10
While the episode tries its hardest to play up Annie's personal life with Ben being safe, the whole package doesn't quite work. Ben is still in two modes, either in love with Annie or super-cryptic, making him seem very inhuman. That portion of the show is completely detached from Annie and Auggie, which is by far the more enjoyable part of the episode. But with all the Ben, Joan, and Arthur stuff, the plot is paper thin, explained in a flurry of activity before culminating in a car chase.
At the end of the episode, Ben goes missing again and Annie is left to pine for him. But does anyone care?
Score: 8.0/10
Tuesday, June 7, 2011
Review - The X-Files Season 3 Episode 15 Piper Maru / 16 Apocrypha
"Piper Maru"
On its own, black oil is a sick idea. Oil is as ubiquitous a substance as there is and for aliens to either be oil or use oil as a medium of transportation is very scary. In "Piper Maru" and "Apocrypha," we see just how easily aliens can slip in and out of humans without being noticed, and the aliens seem to be special abilities as well. That's the good part. Looking back on black oil, it's still a great idea that was horribly wasted as the series progressed. And it's a shame consider how great these two episodes are.
"Piper Maru" is a very ambitious episode of television, bringing back the stolen tape and the murder of Scully's sister, while introducing a new threat using a black and white format. That's a lot to handle, and the episode never feels rushed and no part gets shafted. All the plots are engaging and different--revisiting the past, learning about new things, or coming to terms with the world.
Mulder chases a woman to Hong Kong and finds Krycek, presumed to be the killer of Scully's sister, while a black oil alien is shadowing them. Scully revisits her childhood home, still dealing with the fact that her sister's murderer will likely never be found. She finds a friend of her father who recounts his tale on a submarine, and the striking effects of black oil. What was believed to be a salvage operation for a nuclear warhead became a death coffin with an unknown danger. Back in Washington, the shadowy forces send a blunt message, having Skinner shot in a restaurant for poking where he shouldn't be.
As the episode moves ahead, so does our understanding of what's going on. What used to be lights in the sky are now tangible things Mulder can clearly see. While we don't know what black oil is or how it fits in, it all seems like we're one step closer to the truth. Things are being uncovered and information is coming out, or so it seems.
"Apocrypha"
Whenever there is a new threat in the X-Files, it is never localized in certain area, away from everyone else. There is always a global component to the conspiracy, that the dark, multinational entity is waiting around every corner. The episode culminates in Mulder and Scully tracking Krycek to an abandoner missile. They are finally there, about to uncover all the mysteries, and then the rug is pulled out from under them. Armed men arrive and it's over.
But even if they end up with nothing, there is a resounding echo of hope. Mulder and Scully have come farther than they ever have and make some gains. Skinner is alive and the supposed killer of Scully's sister is dead. They've made inroads, however small they are, and that is enough to fuel the hunt.
Score: 9.4/10
On its own, black oil is a sick idea. Oil is as ubiquitous a substance as there is and for aliens to either be oil or use oil as a medium of transportation is very scary. In "Piper Maru" and "Apocrypha," we see just how easily aliens can slip in and out of humans without being noticed, and the aliens seem to be special abilities as well. That's the good part. Looking back on black oil, it's still a great idea that was horribly wasted as the series progressed. And it's a shame consider how great these two episodes are.
"Piper Maru" is a very ambitious episode of television, bringing back the stolen tape and the murder of Scully's sister, while introducing a new threat using a black and white format. That's a lot to handle, and the episode never feels rushed and no part gets shafted. All the plots are engaging and different--revisiting the past, learning about new things, or coming to terms with the world.
Mulder chases a woman to Hong Kong and finds Krycek, presumed to be the killer of Scully's sister, while a black oil alien is shadowing them. Scully revisits her childhood home, still dealing with the fact that her sister's murderer will likely never be found. She finds a friend of her father who recounts his tale on a submarine, and the striking effects of black oil. What was believed to be a salvage operation for a nuclear warhead became a death coffin with an unknown danger. Back in Washington, the shadowy forces send a blunt message, having Skinner shot in a restaurant for poking where he shouldn't be.
As the episode moves ahead, so does our understanding of what's going on. What used to be lights in the sky are now tangible things Mulder can clearly see. While we don't know what black oil is or how it fits in, it all seems like we're one step closer to the truth. Things are being uncovered and information is coming out, or so it seems.
"Apocrypha"
Whenever there is a new threat in the X-Files, it is never localized in certain area, away from everyone else. There is always a global component to the conspiracy, that the dark, multinational entity is waiting around every corner. The episode culminates in Mulder and Scully tracking Krycek to an abandoner missile. They are finally there, about to uncover all the mysteries, and then the rug is pulled out from under them. Armed men arrive and it's over.
But even if they end up with nothing, there is a resounding echo of hope. Mulder and Scully have come farther than they ever have and make some gains. Skinner is alive and the supposed killer of Scully's sister is dead. They've made inroads, however small they are, and that is enough to fuel the hunt.
Score: 9.4/10
Review - Switched at Birth Season 1 Episode 1 This Is Not a Pipe
I wasn't planning on watching Switched at Birth until I read a summary--two girls switched at birth end up in completely different situations. That's the kind of wacky ideas that can make a show totally unwatchable or, if executed well, into something worth watching, so I immediately perked up. My curiosity got the better of me and I went ahead and watched it.
For the first three-quarters of the pilot, I was very uneasy about the whole thing. There was already the massively stupid. childish cliche about Bay being the same as her biological mother and the complete opposite of the parents who raised her, as if biology is the only thing that determines how someone turns out. And the same went for Daphne. The writers make no attempt for nuance, instead presenting a black and white distinction. I'm sure the lines will be blurred as the show progresses, but force feeding differences in the pilot is a bit obnoxious. Another problem is that the Kennish parents are very stuck up, almost expecting Daphne to be given to them simply because they can provide better monetary support. It smooths out after a while, but they still suffer from government-syndrome, the idea that they alone know what's best.
But the pilot manages to right itself eventually. As the characters of Bays and Daphne are developed, we really get the sense how much everything is weighing on them. Their worlds have been upturn and alternative lifetimes are placed right in front of them. Their parents, meanwhile, are squabbling, so their best option is each other. They may have completely different backgrounds, but they no what it's like to be on the outside, regardless of socioeconomic status.
Score: 8.1/10
For the first three-quarters of the pilot, I was very uneasy about the whole thing. There was already the massively stupid. childish cliche about Bay being the same as her biological mother and the complete opposite of the parents who raised her, as if biology is the only thing that determines how someone turns out. And the same went for Daphne. The writers make no attempt for nuance, instead presenting a black and white distinction. I'm sure the lines will be blurred as the show progresses, but force feeding differences in the pilot is a bit obnoxious. Another problem is that the Kennish parents are very stuck up, almost expecting Daphne to be given to them simply because they can provide better monetary support. It smooths out after a while, but they still suffer from government-syndrome, the idea that they alone know what's best.
But the pilot manages to right itself eventually. As the characters of Bays and Daphne are developed, we really get the sense how much everything is weighing on them. Their worlds have been upturn and alternative lifetimes are placed right in front of them. Their parents, meanwhile, are squabbling, so their best option is each other. They may have completely different backgrounds, but they no what it's like to be on the outside, regardless of socioeconomic status.
Score: 8.1/10
