BONUS BONUS BONUS!! YOU get a BONUS, and YOU get a BONUS.... EVERYONE GETS A BONUS!
In this Bonus Episode (did we mention it's a BONUS EPISODE?), listen as Ken and Lisa discuss the similarities (besides character names and the big one, are there even any others?) and differences (many) from the novel to the TV show. Also, what they like and don't like about the novel... I mean, do we even like Nora in the novel? *gasp*
Ken and Lisa may go on a bit about how genius the TV show is and how Lindeloff is a genius for seeing the potential in the novel. Novel or TV Show... which will win? *laughing emoji*
Listen as Lisa and Ken talk.... for a LONG TIME... about OMG IT'S THE CABIN EPISODE! IT'S THE PATTI EPISODE! IT'S THE CABIN EPISODE! So much to unravel in that cabin - what are you doing Patti? Ugghhhh... baldy. And is The Leftovers predicting our future with freaking Yeats poems?! Also discussed: True Meg coming out, Nora throwing extreme shade at Lori, Trouble is not just a game under the bed and guess what... NO ONE IS OKAY, JILL!
Listen to this monster-huge episode of TV is Awesome here:
Listen to the new episode where Ken and Lisa discuss the awesome relationship between Jill and crazy Grandpa Kevin, Nora and Kevin's 5th date (!), Springtime means hanging out in fridges, the importance of National Geographic magazines (specific one) and Christine is not the only Baby Mama! Also, WAKE UP KEVIN!
You guys... it's THE NORA EPISODE! Listen to Ken and Lisa discuss all the things their brains forgot from first watching. So. Many. Things. We bet you forgot, too. A Slayer song during the shooting scene, WHO Did This Signs, Lucky Charms, non-FDA approved pills, martinis, let's go to Miami... something something about Tommy and Christine...and more!
In this installment, we discuss THAT scene with Gladys *shocked face emoji*, creepy woods, Patty talks!, Lori has a breakdown (but finds the bucket of whistles wicked fast) and Keven's ongoing issues with technology, which this week involves the nicest dry cleaners in town (well, they were).
TVisAwesome is back and better than ever! Man, I love this blog. But my former format, while awwwwesommme and thoroughly rewarding, was a lot of work. A lot. SO now we are entering TVisAwesome version 2.0: same awesome, now in bite-size bits! Sometimes, like this entry, I'll go a little longer. But I envision some fast blast entries just so I can get some things out into the world. Let's see how this goes. (Ed. Note: Now that I have re-read this entry, I see that it is exactly like everything I've ever done. So bite-sized versions will be soon, rather than now. Carry on.)
Oh my god, they're still walking.
I watched the last four episodes of TWD all in a row last night (yeah!). And here is what's clear: while still amazing, wow was it getting sluggish and dare I say, boring? I'll tell you how I know some parts were slooowwww: I WAS FAST FORWARDING THROUGH PARTS OF THE SHOW. I never thought I would say those words. But there I was, with my finger on the button, saying to myself "yup, still walking on the tracks... still walking on the tracks." Good grief, enough of the character development! Let's move some things along here! Having said this, some of the backstory has been good: Carl is growing before our eyes and we needed to see how his emergence into adulthood would transpire (typical teen angst + pudding, evidently), and the Michonne flashbacks were interesting and... let me check. Nope that's about it. We already know all about Daryl and his history and he's a tough guy with a warn heart yada yada yada. We already know that Beth-girl believes that people are good, or some bullshit. The entire episode about Bob (we don't care about his back story - fast forward) and Maggie and Sasha could literally have been 10 minutes. I guess we learned some new stuff along the way, like peeps going to D.C., a gang of ne'er-do-wells roaming around and of course, Terminus.
Bad. This is really, really bad.
But I change my tune when we get to last week's episode: the entire episode was a masterpiece. A devastating masterpiece. Slow? Maybe. But the layers of what's happening in this episode blows away any "let's just live up high somewhere" or "Daryl, y u so ornery" back-and-forth from the previous episodes. This episode painfully exposes where everyone's mindset is now. In a nutshell, the world is shit and there are no easy answers and sometimes the people are scarier than the zombies. Mika is very certain that she can kill walkers but not live people. "Never" she says. Carol says "but what if they're trying to kill you?" Damn fine foreshadowing if I ever saw it... in two ways: poor Mika gets killed in the very way Carol was trying to warn her about, and Carol has to do what Mika said she never would. Excruciatingly well crafted, this episode was riveting and I cried so hard for so long, I could barely see by the end. The opening scene, with it's idyllic kitchen setting and lace curtains, offset by what we learn is Lizzie playing with her friend Iwanto Eatu, was so jarring that I rewound it twice (I was sure I had missed some type of context for this). By the time we get to that actual scene in the show, all bets are off with Lizzie. But nothing could prepare us for the actual sight of Lizzie, hands dripping with blood, a stabbed and dead Mika behind her, and baby Judith on a blanket. She is one messed up little girl, and we all know what has to happen. I suppose the part Tyrese plays in agreeing with Carol that Lizzie needs to die (because "she can't be around people") somewhat lessens the second blow to him that day: when Carol reveals that it was she who killed his love Karen. As Tyrese says, Carol feels the heaviness of what she did and it will be with her forever. (We know this awareness is a recent development for Carol - that she only feels the full impact of her actions now that she had to kill Lizzie). In one of the best, most poignent scenes of the year, over puzzle pieces and a gun, Tyrese forgives her.
Can't stay here anymore
The struggle of finding normalcy in this screwed up world is an ongoing theme with TWD, and ever more so this season. What I find interesting this season is how the show continues to demonstrate that pre-zombie normalcy (this idyllic little house, the house where Daryl and Beth were (normal for Daryl), the funeral parlor, a place up high for Sasha, even the great set up at the prison) is ultimately unattainable. Which I get. But for some reason, it's almost like the desire for normalcy is pitted against the desire to be with other people. Like it's one or the other, and somehow the people win out. Sasha voices this most clearly: "what the hell are we doing out here? Let's just find someplace up high and find food and forage, etc." Why is that a crazy idea? The show itself seems kind of inconsistent in what it thinks, too. In the most insane debate, Bob says he needs to go with Maggie because "she's all alone," leaving Sasha... literally all alone. Um, what? In the end, I don't think the show is necessarily thinking some of these discussions through, and they're probably not trying to convey some big life lesson. They're just trying to get these peeps to Terminus. That's where the good stuff is gonna happen. I bet.
Other Stuff:
- I was just thinking of what it's gonna be like when everyone gets to Terminus. Rick told Carol she couldn't be with the group because he couldn't let her near his kids. Well, there's some irony now.
- I appreciated this Lizzie storyline for being a pick-up from the comic, although not directly (in comic, it's actually Carl who steps up and takes out psycho kid). It's pretty genius how they get some comic stuff into the TV show in different contexts and with different characters and have it make an impact.
- where's that baby? Yeah, yeah... she's probably in a backpack on Tyrese's back, but this was a long scene with no baby and I swear Tyrese turns and I couldn't see anything. Anyway, how lucky is everyone that Judith is a dream baby without colic, or hunger pains, or ear infections, etc.
- One overall thing that's been bugging me this season: While the gang was still at the prison, a really big deal was made about Daryl, Michonne and others going far and wide to scavenge, report back, etc. After the prison, with a weak Rick so you know they didn't go far, how the heck had no one been to that cafe place? how has no one seen Terminus signs before? what kind of trackers are these people? Where did they go all those months? I mean, besides the vet hospital, I guess.
Last night, TV was SO AWESOME that my brain almost exploded. Three of the best TV dramas ever were on, two with season premieres. Of course I am talking about the season premieres of Game of Thrones and The Killing (back to back eps!), while the third episode into the new season of Mad Men was also on last night. Let's just say there was some hyperventilating happening at about 8:45. All of these shows were deeply engrossing in their own, super fabulous ways. And while they are probably three of the most different shows possible, one unifying theme (besides strong characters in general) has to be the boatload of mom issues on these shows: missing Mitch, powerhungry-powerless-powercrazy Cersei and thyroid complications for Betty.
Where to start? To fully bask in my joy, I will start in order of viewing...
The Killing
Due to a DVR glitch (*shakes fist in general direction of Comcast*), I had to wait until the 10PM viewing of The Game of Thrones, so I watched the first hour of The Killing, then took a GOT break, then came back to TK. This required more switching of gears than you would think.
The genius of this show is that dialogue is used sparingly and the weight of meaning and communication relies very heavily on facial expressions, or lack thereof. Because of this, the acting on this show is just incredible (sings: ...innnnncredibbbbbbble...). Also, EVERY.WORD.IS.LOADED. I spend a fair amount of time rewinding to make sure I have heard every word correctly. Last night's episode picked up pretty much right where we left off at the season finale.
~~ rant break ~~ Last year The Killing, after an absolutely phenomenal season, took a beating from reviewers and bloggers in regards to the fact that their season finale did not reveal the killer of Rosie. I found all of these negative comments to be preposterous. Besides the fact that the season finale had a terrific twistaroo in the last few seconds to set up season 2 with Linden realizing that some of the evidence against xx had been faked and/or planted possibly by her own partner (Holder) AND some seriously crazy shizzle happening with family friend Belko, no one ever promised that we were going to find her killer in season 1. Isn't it much more exciting to have a twist where the guy who you think all along has done it, hasn't? The Killing is such a far cry from your traditional murder mystery in just about every way, that I almost can't explain this backlash. Why would anyone think The Killing would be typical? I love this show so much and find it so brilliant, that I actually feel differently about Stephen King now, who publicly came out and criticized the show's finale. ~~ rant end~~
Stan emoting through his eyes, and stuff
As far as the gut-wrenching, slammed-by-a-truck emotional impact every episode had last year, this year is slightly different, if only because Moms (Mitch Larsen played by Michele Forbes) has disappeared and she was just heartbreaking in every scene. Picking up the emotional load are the sons, sis-in-law and hubby, although they had their fair share last year as well. Brent Sexton as Stan Larsen (hubby/dad) is probably the greatest emotional actor on TV. He comes off gruff with his boys who are so lost in this impossible situation, but you can see him breaking just underneath the surface. He just doesn't know any other way to deal with it. In the Most Opposite Statement Ever, Stan says, "the less we talk about this stuff the better" to sis-in-law Terry, who is basically taking care of the boys and is desperate for acknowledgement that the boys need to talk. You can see his turmoil on his face, when he wants to be comforting but just doesn't know how. Of all his emotions, anger is winning out, so that's what you get. His scene with Belko in the police interview room, when Belko is proudly telling Stan that "he got him" (meaning: shot primary Rosie murder suspect Congressman Richmond after killing his own sexual deviant mom) is just pure, amazing, dig-down-deep acting. His face conveys sadness, confusion, guilt, love, disillusionment... so perfectly that Belko exclaims "don't look at me like that!" repeatedly and ends with "that's not fair." It's not. Nothing in this crazy world of The Killing is fair. So, this is why after Belko kills himself in police custody, the police not providing security for the Larsens, and the police not getting the right guy for murdering his daughter, Stan goes to his mobster friends and puts a hit on the real killer. Will the mob find the right guy before Holder and Linden? dun-dun-duuuuuuuh...
Linden is talking to the wrong guy
Speaking of confusion, guilt and disillusionment, we start off with Linden figuring out there's been some shady police shenanigans messing up her Rosie Larsen case. When she finds out the photo from the tollbooth, the most crucial piece of evidence against Richmond, is fake (!), she has no other choice but to think that her partner (who tracked down the photo) is dirty and goes to her Lieutenant with this info. My reaction: "NOOOOOOOOO! NOT HOLDER!! AAAARRRGH...". But we believe along with Linden, because that's what the evidence is pointing to. As we follow Linden in her continuing investigation, all expressionless and snapping gum, do we know everything she is feeling, thinking? No, but we know that she is always thinking, those wheels are always turning. And emotions? She has them, but you'll barely know it. (Aside: her tiny, mini-explosion of emotion towards her son Jack (<-this poor dude) with "you are my son and you belong with me" and subsequent vending machine confession of "I love you" to Jack are kind of painful, but sum up her entire character.)
Holder and.. wait, aren't those corroborating witnesses back there?
As for Holder, he is smarter than your average crackhead bear. He begins to suspect some similar dirty cop shenanigans and submits a different backpack into evidence (to a very specific forensics dude very specifically determined by the Lieutenant) than Rosie's very bloodied pack that showed up on the Larsen's doorstep (...from the real killer who we now know is still out there but now the police can't help or admit to it because that would make them look stupid.... *gasp* *inhale*). When the info comes back that the only prints were Rosie's, we know along with Holder that some crazy shizzle is happening and he is soooooo in the middle of it. We already know that his friend and confidant Gil, who supplied him with the photo, is a bad dude from earlier scenes that show him talking to the opposing candidate for Congress' team. Holder only finds out when he tells Gil what happened with the backpack and then it's out: Holder was specifically chosen for this case because he was a crackhead who needed a chance and who was going to believe him if dirty secrets got out? Gil says "you wanted the badge more than you cared that you were taking shortcuts."
When Holder figures out how messed up everything is, he goes to see Linden who still suspects him of being the dirty one. Frustrating for us to watch, as Holder begs Linden to talk to him while Linden quietly waits on the other side of the door. Holder waits in the hallway, twirling his new Detective badge, then ultimately leaves the badge in the hallway as he walks away. This better get cleared up fast, because I need Holder and Linden on the same team. I think the world does. Well, my world.
Other stuff:
- Duck is the new Lieutenant! (Mad Men peeps will get this.)
- This Seattle hospital is the worst. A Congressman gets shot on live TV and it's the biggest story in the city and the doctors and nurses are all "whatever. he can't walk. whatever." They should definately have taken Richmond to Seattle Grace.
- Sooooo... the other candidate running for Congress is the one planting all the evidence within the police department to get Richmond arrested? how is this going to play out now that we know Richmond is not guilty?
- What, if anything is going to happen with Stan and Terry? I think it will be horrible, but I think it might be inevitable. They are both so lonely and sad and overwhelmed. I feel sick just even writing about it here.
- Linden... someone's watching you watching other people... snap, snap, snap goes the camera
Game of Thrones
Switching gears to some medieval fantasy awesomeness, Game of Thrones came back with a jam-packed premiere - woot! I'm not sure how they pack an hour of TV into, like, 14 minutes... at least it only feels like 14 minutes. Must be some R'holler Lord of Light magic for sure.
First, I have to say that the casting on this show is amazing... everyone looks pretty much like I picture them in my head from the books. My one exception is Stannis, who I expected to be bigger, broader, and sterner. I didn't think he looked this way particularly last night, but in previews for next week, he looks more the part.
I wish she had killed him instead
Fraking Joffrey. The most hateful character in the history of ever. He is played so perfectly by Jack Gleeson that I wonder if he regularly gets slapped walking down the street. In the opening scenes, we see what the boy king is all about: his right-hand man "Dog" slaying opponents for sport, then it's nearly death by wine for drunkard ex-knight Dontos when he commands that he get "more than his fill." Sansa and Dog to his rescue on that one, when he instead makes Dontos his fool, but we know Sansa will pay for that. Later, we see Joffrey talking to his moms, Queen Bitch Cersei and he confronts her about the "disgusting rumors" he's hearing about her and his Uncle Jamie. She denies of course, but Joffrey then demands to know about any of his father's bastards that may be hanging around. He asks in the most loathsome, vile, Joffrey way possible which results in The Slap Heard 'Round the Seven Kingdoms from Cersei. Like Tyrion's slap last season, it was cathartic (see epic 10-minute slapping session here). But last season, Joffrey wasn't king, he was just a sneering, sniveling, privileged, overindulged kid. Last night's slap was riveting, not only because it was his mom doing the slapping, but because Joffrey is now King Douchebag and in that instant you're not sure if he will have her killed on the spot or not. He says as much (that he has the power to kill her) and Cersei's face shows that while she loves her child, she has groomed a monster. We then see scenes of babes and children being ripped out of mother's arms and stabbed on the spot by the king's knights - Joffrey is having all of his father's bastards killed. Just one is not found: Gentry is on his way to the wall.
Jon Snow, you beautiful bastard
To the Wall! At the Wall, our Jon Snow (*swoon*) is no longer even at the Wall, as a group of the Night's Watch have started an expedition beyond the wall to see what's happening with the wildlings and see if more intel can be discovered on those pesky undead wights. They stop by ol' Craster's - nasty wildling Craster who makes his daughters his wives on an infinite loop. "What happens to the boys?" asks Jon Snow. Oh, wise, clever, amazing Jon Snow! (No matter what that bitch Ygritte says... but I digress into unseen territory - sorry!) We don't get an answer to that $100,000 question in this episode. There is much made of Jon Snow's good looks here, but just somewhat more importantly we learn of Mance Rayder, a former wearer of the black who abandoned his vows, now calls himself King of the Wildlings and is gathering an army to march South of the Wall.
South of the Wall, all hell has broken loose. Joffrey's kingship is being challenged by several players: Stannis Baratheon, Robert's oldest brother, who sends out word to all corners of the world the truth that Joffrey is not a Baratheon but a product of Cersei-Jamie incest (along with sis Myrcella and lil bro Tommen); Renly Baratheon, Robert's youngest brother who believes himself most kingly and beloved by the people; Robb Stark, son of Ned Stark, who declares himself King of the North and seeks vengeance against Joffrey and the Lannisters for the death of his father at their hands.
Speaking of hands... THE BEST PART OF EVERYTHING: Tyrion Lannister returns to court in place of his father as The Hand to the King. This dude. Tyrion and his whipsmart cleverness returns in fine form: "Don't get up. More ravishing than ever, dear sister. War agrees with you." The truth is I could fill this whole blog entry with just Tyrion quotes and rhapsodize about this character endlessly. For now, and for your sanity, I will post the video below of the best Tyrion scene ever and say that Peter Dinklage plays this part to perfection. Perfection! I smile every time he is on the screen because he is just that awesome. And, things are going Tyrion's way, so I can.
Tyrion being the freaking MAN
The red comet means only one thing: Dragons. We find Daenerys and her dragons struggling in some far-flung desert, miles away from anything. Her horse given to her from Drogo, symbolically collapses and instead of collapsing, Daenerys finds the strength to give strength to her followers (encouraged, of course, by her right hand man Jorah who gives her her strength, you see? lots of stregnth talk here.) and gives instructions for her guards to go in all directions to find civilization. I'm pretty sure dragons and people alike eat the horse, but we didn't see that.
So much else to talk about, but as things evolve, I will delve more into various factions of characters. Here's some of the other stuff I didn't even get to:
- Robb Stark has Jamie Lannister captive, knows about the incest, knows about him pushing Bran off the wall, is sending word to the Lannisters with a list of demands for Jamie, and is preparing to send mom Catherine to treat with Renly to see if they can all be friends. Let's just say Robb's busy.
Call him what he is: Kingslayer
- Bran is seeing things in his dreams as his direwolf, or we are to assume
- Great use of direwolves in this episode: Although I don't think we saw Jon Snow's Ghost, we see Bran's direwolf Summer in the weirwood, and we see Robb's direwolf Grey Wind menacingly in the cage with Jamie.
- We are introduced to new characters Melisandre and Davos, both loyal to Stannis. Melisandre says Stannis has been chosen by the Lord of Light to be the King of the World, so he abandons his old gods. Davos shares others views that this is not right, but keeps quiet, as he is a loyal subject of Stannis. We find out Melisandre has legit powers when someone tries to poison her and there is no effect. In other news, I heart Davos Seaworthy.
- I didn't even talk about Littlefinger and that very cool albeit not very character-like chiding with Cersei. Littlefinger says knowledge is power, Cersei instructs her men to slice his throat and stops them just before it happens demonstrating that indeed, power is power... for however briefly you may have it. - Much to P's chagrin (he has not read books), I groaned every time I saw freaking Theon Greyjoy on the screen. I can't help it - it's visceral.
I feel like this episode is somewhat of the calm before the storm... or rather, the gathering before the war. You get the sense that even though some things seem positive, things are changing minute to minute.
Mad Men
Switching gears again into a different kind of unrest, Roger sums up the whole episode with "When are things going to get back to normal?" HA, oh Roger! Normal is gone, whatever that was. You're getting old, you gotta get hip to the times of 1966. Nothing is going to be the way it was, silly.
As part of the overarching theme of old vs. young/new, there's a pivotal scene where Roger is experiencing a downward spiral in his struggle to be relevant in his own ad agency ("I'm tired of holding on to the ledge") as a result of Pete's public coup of a client, and then Don tries to give him some perspective with the real downer that "Betty has cancer." Really? Well, maybe. Roger replies: "oh, real life. I gave up on that."
Betty gets the "good" news
Oh, Betty. Betty's back, and there's more of her to love (*air quotes*). Mostly to cover January Jone's real-life pregnancy, the character of Betty has put some weight on. We knew things weren't perfect in the Francis household, based on Betty herself saying so at the end of last season. But what is this? The doctor finds a lump on her thyroid and we see her weight gain as a symptom of possible cancer, whereas up until that moment, it was just a symptom of ennui (<-- also the name of my new emo band). When she finally hears the results that the lump was benign and says "I love to be put through the ringer and find out I'm just fat," you would think she would be more relieved, but she seems almost disappointed. Did anyone else notice that Betty was seemingly more relaxed, more affectionate and generally less toxic in this new body? Yes, a lot had to do with this life threatening news, but I'm feeling that the moral of this story should be "eat ice-cream, doubles if you want, and just enjoy what life has to offer, especially your kids." But this is just not going to happen with Betty Francis. Despite her husband proclaiming, and actually demonstrating, his love for her no matter her size, she will not believe it. I predict a trip back to the doc for diet pills and we will have a raging, pill-popping Betty she-devil to deal with in the very near future. And then Sally will run away and become the youngest hippie in history.
Betty's Sundae is the name of this pic and my band
How very appropriate that as Betty is looking for Mother's Little Helpers (sorta), Don is being sent to see the Rolling Stones about a possible ad campaign based on the client's teenage daughter's listening choices. This is a new Don, as an old Don would have told the client "not gonna happen." But new Don has a 20 something wife and is trying to... what? fit in? renew? go with the flow? Or maybe it's just Don realizing he is NOT in the know anymore with what resonates with people these days, thus the interrogation of the teen backstage at the show. His age shows there, though, when the girl says "You guys don't want us to have any fun just because you never did," and he replies "No, we're just worried about you" as if he is talking to Sally.
Are you the secretary? And she still hires him!
In the other great sub-story line supporting the big themes of change and evolution, two words: Michael Ginsburg. I LOVE this dude. The addition of the Michael Ginsburg character represents so much: will he be the Pete to Peggy's Roger? will he in fact outshine Peggy as seemingly everyone is telling her? if nothing else, he represents a sign of the changing times, and specifically evolution in diverse personnel as he will be the first Jewish person on staff, and this quickly on the heels of the hiring of Dawn, Don's secretary and the first black person hired at SCDP. But above all that, this dude is fantastic and rivals Roger for best one liners (something Roger will resent immediately). Who doesn't love a guy who says his stomach sometimes sounds like the F word when it growls? When he says "I have no hobbies, no girlfriend, no friends" I simultaneously wanted to yell "Danger! Danger, Peggy Olsen!" and "awwww...". He is different and a bit irreverent and definitely not conformist, so he is about to shake up the place. A little more shaking up is a good thing... maybe some French duets in the hallways?
Tell that stomach to watch it's mouth
Other stuff:
- Don called Betty "Birdie"... I swear I have never heard him say that before, but I Googled it and I guess it's a thing (I recall other nicknames such as Betts, but not this one). In any case, on the one hand it was kind of shocking to hear him using such a personal nickname when talking to her, given all of their history. On the other hand, it was endearing and heartfelt and comforting to her in her time of need.
- Sally didn't finish her sundae. Probably because of the horrible eating disorder she has as a result of Betty's cruel mothering, specifically that awful scene at the dinner table. I don't think any of us forget that.
- What up, Harry Crane? Dude is 10x more cringeworthy this season, which is fantastic.
- The look on Don's face when backstage and one of the girls says "advertising? like Bewitched?" is absolutely priceless
- Megan, getting washed over with advertising. I love that skill.
So much to talk about here! What are your thoughts on all of it? I am trying like heck to figure out this commenting problem, so give it a try and see if it works. If not, email me and I can post for you!
I think I will start this entry by saying at the :38 mark of last night's The Walking Dead finale, I said (out loud to the room) "It's only been 38 minutes?!?!" So now that we have established that it was a jam-packed episode, let's dive in to the awesome chaos (oh, and turn your speakers up for the soundtrack).
Herd is the word
LCT: AHA! So THAT'S where that gigantic herd of walkers came from! This was such a revelation, because it pieces together a bunch of things: first, Rick saw that helicopter when he was in the city back in Season 1 Episode 1, so those damn zombies have been walking since then! Second, this means we are getting closer to potentially figuring out where that helicopter went (or where it's from, or both). This also raises the question, how long has it been since Rick woke up? Given that winter is coming (evidently) and it was hot and summery at the start, it has to be only 3 or 4 months, right?
KC: Yes, I loved how this episode started! I thought it all made perfect sense and really, it was just damn bad luck! I was so intrigued by the helicopter - I didn't remember Rick seeing it in Season 1. You're thinking it was a flashback to the time he saw it and it's taken all these months for the walkers to make it that far? Interesting: you would think they might repeat that scene of Rick seeing it the first time to remind us if that was the case, but I can still buy your theory. I guess that means they were eating Rick's horse, no? Great set up for whatever is coming up next. By the way, is this the first time we've seen events that were outside the perspectives of our characters?
LCT: I totally thought that was Rick's horse they were eating. Rick saw the helicopter and then tried to follow it on said horse, then turned and found the hoard of walkers in the street with the tank. So, maybe it's not from when Rick was there (we saw some stuff happening in downtown after that) but soon after? I don't know if we have had that "outside" perspective before, but I think they did it as a reminder of sorts as to Rick's journey. Now that he's the king.
In other news, RIP Herschel's Farm. That was a pretty amazing scene, and finally Carl is doing what his parents tell him (give that kid a cookie!) Also, ewwwwww.... zombie brains on Herschel.
KC: Poor Herschel... I'm not going to miss the farm though, good riddance (of course, they'll probably be stuck in that prison we see at the end for the entirety of season 3). So many disgusting/AMAZING gore-tastic moments in this episode. It's hard to believe this airs on non-pay channel television. Oh sad background characters who were just there to be zombie fodder. I don't remember your names, but I'm sure you were lovely people.
Total crap
LCT: Fucking Lori... never mind that all of a sudden she's crazed because "where's Carl? he was supposed to be upstairs!" (crazy eyes everywhere) and all that crap. I mean, I think I've beat that to death and I don't think there's a viewer left in the world who thinks she does even an okay job. But I wanted to leap through my TV and punch Lori in the face when Rick was telling her what happened with Shane. How dare she? HOW DARE SHE?! Yes, fine, so "she's mad at herself" or whatever... but this is unacceptable. I can't even find suitable words to express how much I hate this character. I am so sick of her and her not-watching-her-kid-driving-off-by-herself-stupid-crazy-eyes-all-the-time. ALL.THE.TIME.
KC: Agreed. Her ridiculous freak out over Carl aside, her reaction to Rick's truth telling was mind boggling. SHE GOT WHAT SHE WANTED! Bad acting and terrible writing.
LCT: I don't know what they are doing with her character. The creative team seems to defend her actions and write her into ridiculous situations... how will they ever turn that character around if they are in denial?
I need a heroooooo...
Now let's talk about Daryl... racing off on his motorcycle to get Carol with the sounds of Bonnie Tyler's Holding Out for a Hero blasting in the background! Oh wait, maybe that was just in my head. (Note: this was back when I wanted a Caryl thing to happen. Those days are long gone, my friend. long. gone. See further down for details.)
LCT: Andrea - FREAKING BADASS SURVIVOR ANDREA! (insert Destiny's Child here). I kept telling her to climb a tree, but now I'm not sure that would have helped because, you know, those things walked all the way from downtown Atlanta, so they're not gonna let a little thing like a tree stop them. So she ran, she ran so far away... and then whoooopah! HOODED AWESOMENESS with 2 chained walkers (with no arms, and no jaws) and a machete! For peeps who read the comics, you know who it is. KC - I am VERY interested to know what your reaction was to this scene. My reaction was to hit P's leg and yell "SHUT UP! SHUT. UP!" I couldn't believe she showed up right then! Also, there's this about Andrea: she doesn't know Shane is gone, she doesn't know who this hooded character is, and she may or may not know that the farm is gone. Interesing.
DayyyyyUM
KC: Go Andrea! I wanted her to climb a tree too, but then I figured that the zombies would gather around and trap her there. I was not expecting mysterious hooded figure as I've been able to avoid any spoilers. So intriguing! Does she have pet zombies on leashes (chains)? Most of the people we've met in this world are familiar types not that different from ourselves; but as we head more into dystopia land, I'm guessing we'll see more outlandish people shaped by this strange new world. I can't wait!
LCT: The final scene with the group... lots to discuss here:
LCT: Okay, when did Carol become such an asshole? Who the... what the...? What is her problem? Daryl said it best: "What do you want?" and she says "A man of honor" but she's looking to Daryl to be that person? Daryl is the greatest thing in the world for answering "Rick has honor." See, Daryl gets it... why doesn't everyone else? Never mind... I take back all my Carol-Daryl (Caryl) musings. She doesn't deserve him.
KC: I think the writers have trouble with Carol - they don't seem to have a handle on who she is from week to week (which is also a problem with Lori). I could never get behind a Caryl situation I think because I pictured more as a mother figure to him. Now, I just hate her... you need to be zombie lunch, Carol.
LCT: So Rick knew they were already infected... SO WHAT? Why is this a big fucking deal? First, I don't think he explained very well that he wasn't sure about it. He starts to say "You know how crazy Jenner was" but never really gets to plead that case before everyone is all over his shit. Also, what would it have changed? Rick says this, but no one has an answer. What would it have helped at all?
You're all infected already. Maybe. Who knows, I'm crazy.
KC: I do understand the group feeling somewhat betrayed that he didn't tell them even as I understand why he didn't. The way it was revealed was party of the problem, during a high pressure situation when everyone is just about losing their shit.
LCT: T-Dog! I like that they are making him this alternate voice, with him saying they should go to the coast. When he first said this, I thought that makes sense. I was thinking a boat would be the place to be, and P said go on an island. But now I'm thinking, none of that is good because everyone is infected soooo... it could be more treacherous in isolation? I don't know... everyplace is effed.
LCT: Very telling after all that anger towards Rick that Rick lays down the Rick Law and says like it or leave it and no one leaves. Not even asshole Carol.
LCT: Rick! RICK! Super badass RICK!
KC: Rick rules!!! Literally!
KC: By the way, really liked the Glenn/Maggie scene when he told her he loved her. Moving, I thought. It was also so wrenching to have Herschel pulled away from his farm - I actually thought he was going down with it. Love the actor and the character, so I'm thrilled he will be around for next season, at least for a little while.
LCT: With the introduction of Michonne and the very public casting for the character The Governor, Season 3 is shaping up to be epic! I am terrified of it. Absolutely fucking terrified. Full disclosure: I stopped reading the comics because of some stuff that goes down with these new characters. So disturbing. Like, couldn't-read-another-page disturbing. Who knows if they will stick to the comic or deviate, but whatever happens, it will be unlike anything you've ever seen on TV before.
...OR "We Only Kill Some Live People, and Sometimes Only When We Vote On It" ...OR "How to Raise a Sociopath in the Zombie Apocalypse." There's many a blog title that comes to mind. I could hardly watch the opening torture scene where Daryl went all Sayid on Randall, and right afterwards I said "That might have been the most difficult scene to watch on this show yet." Foreshadowing! Because now I would argue that the scene with Carl in the woods and Dale getting ripped open like a pinata were equally as difficult. A few months ago I read that the team at TWD said the rest of Season 2 was going to be much darker and more violent. Darn tootin'.
Here's the riveting dialogue between myself and guest blogger KC:
KC: Well, that episode literally ended with a bang... and it took me completely by surprise, so good for you, "The Walking Dead" creators. Poor Dale. I went from liking him in Season 1 to finding him insufferable during the first half of Season 2. But I found his efforts to convince the group that they're giving up on their humanity by killing the kid in cold blood to be pretty compelling. The confrontation scene was fantastic, and I was glad Andrea backed him even though it was to no avail. Talk about survival of the fittest - I should have known that bit was foreshadowing.
LCT: I was so surprised! Especially since there had been an accidental spoiler by AMC on their website last week that did not have to do with this at all. And I was totally bummed out. Like him or not, Dale is the voice of conscience here and a strong character. This will shake things up for real. Will Andrea now become the voice of what's right and wrong? I doubt it, but it seemed like they were somewhat setting up for that with her ultimately siding with Dale during the debate. Side note on debate: Watching Dale go around trying to muster up votes was like watching the weak link on Survivor try to gain votes to make it through tribal council. Maybe Shane's right and the new apocalyptic motto should be Outwit, Outplay, Outlast. Only here when you get kicked off you don't go to a hotel and eat a buffet. You are the buffet.
I am hearing on the interwebs that a lot of peeps are disappointed with the manner of Dale's exit on the show vs. what happens in the GNs. I would have to say that at this point, the stories are so different it's hard for me to compare. I do think Dale's death will set quite a few things in motion here on the show, not the least of which is how will Carl deal with his complex emotions regarding the fact that he could have offed that walker in the woods. That and his seemingly growing indifference to violence. And at the very least, we won't have to watch Dale and Andrea getting it on in a prison.
What was Dale doing walking away from the farm at night anyway? Was he taking a walk to get away from the killing of Randall? Was he walking the perimeter for security? Was he fixin' to leave this broken group?
KC: Dale and Andrea getting in on in prison? I'm not sorry we missed that. I was never sure if Dale's interest in Andrea was romantic or paternal on the show although it was leaning towards romantic when Dale started to become jealous of Shane. LCT, do you think killing Dale was a long term plan? I'm thinking they came up with this on the fly but it's just a guess.
LCT: First, the story lines are so different from the GNs, so the reason for Dale to be around as a character is different. I'm thinking that through this season it was becoming clear that things were going to come to a head with this whole "how do we function in the apocalypse" thing. My guess is it became evident that Dale would become a broken record if he stuck around... in fact, he was kind of getting that way in the first half of Season 2. So give him his big hurrah speech and make his death meaningful. So, I don't necessarily think it was on the fly, but I do think it came out of how the story developed this season.
Don't get fooled by that cow, Dale!
KC: Carl: Was that Carl's walker that killed Dale? What the fuck is up with that kid? Creepy.
LCT: Oh, you mean the walker that Carl taunted in the woods because where else should a ten year-old be during a zombie apocalypse? Oh yeah it was. I'd recognize those milky cateracts anywhere. I'll tell you what's up with that kid: he's watched many people he cares about munched on by zombies or shot or both, including probably his best friend in this stupid zombie world (Sophia) and he has a stupid mom who doesn't watch him. (More on parental neglect below.) We rarely, if ever, see his parents or anyone trying to talk it out or help him cope. Which is fine. But it's all "go over there" or "don't listen" or "roam freely however you choose because we 'say' stay where we can see you, but we're not really paying attention to you at all." Actions speak louder than words here, my friends. I'm not sure Rick's advice of "don't speak, just think" is helping this kid any either. In short, they are mixing up a recipe for creepy, nasty awfulness in this poor kid. He is the precursor to Randall (who took a little too much enjoyment in stabbing a walker last week): do what you need to do to survive, laws and rules are for suckers and there's a nasty thrill in killing.
KC: Lori MacBeth: she didn't do anything really stupid this week... except that she was NEVER WATCHING HER KID. I guess Rick is at fault too, but he had to, like, play executioner.
LCT: ... and judge and jury, too! Rick has his hands full. But no matter who's actually "responsible" for Carl, I am here to tell you that as a mom, my kids would be full-on tethered to me every flippin' second. Aside: I fully expect this show to incorporate a running line every week à la Perry the Platypus on Phineas and Ferb: "Where's Carl?" Cue laugh track and zoom in on Lori's crazy eyes. Lori is always stupid. She sucks.
"Where's Carl?"
KC: T Dog: when he popped up while they were waiting for the execution to happen I thought, "oh, he's still on the show?" I thought maybe he'd wandered off between episodes never to be spoken of again like Mandy on "The West Wing." And Ainsley on "The West Wing." But no, he's still around. Maybe next episode, he'll get to say something.
LCT: Oh, West Wing... sigh (looks out window, wistfully... and remembers this scene regarding Ainsley Hayes). They need to do something with T-Dog. I just hope they can give him something strong and not make him zombie feed.
KC: Andrea: I like that she gave Lori the smack-down last week, and, as I said before, I liked how she backed up Dale. Excellent character rejuvenation. I have a feeling that she'll have some good moments next week when they mourn Dale. Have we always known that she was a human rights lawyer? I don't remember it being mentioned before, but I'm sure I could have missed it.
LCT: Ha! I said the same thing... did we always know she was a civil rights lawyer? If we both thought it, I bet we didn't know. I like that they're building some back story on Andrea so her actions and words have more context. I don't think the rest of the "broken group" will necessarily turn to her for advice on right and wrong, but she is definitely finding her voice, and that will probably continue.
KC: Some fascinating questions raised tonight... really, the most important one the show has ever raised: what does it mean to be human now in the new world order? Do the rules that governed society in the world before the zombie apocalypse still apply? As much as I respect Dale's argument, the others may be right. This IS a new world: the old rules don't apply anymore, and your only choice may be simply that you must do whatever it takes to survive and keep your family safe. Dale was unable (too old?) to adapt and was therefore doomed.
LCT: I'll take this one step further and say, what does it mean to be human in the apocolypse right now? Meaning, at the start of the show these people were all thrown together and had to trust that things would work out. When they got to Herschel's farm, they had to learn to trust each other as strangers. Now all of a sudden this particular stranger is a threat. Dale was articulating this when he said "What makes us so much better?" Also, they save him from town, fix up his leg (miraculously, it seems) and were gonna let him go in the wild and now they are gonna kill him for something that might happen? Actually killing this kid locked and tied up in your barn because you saved him is way different than killing live people when they draw a gun on you. This is the genius of the show, because you feel like there should be another way. But maybe there's not. P.S. Why don't we hear Maggie saying she knows him or not?
KC: I love what you said here... it does feel like there should be another way, but I certainly couldn't think of one. Plus, like Dale also said, will killing Randall keep the other men away? Probably not. But they still can't let Randall go. As for why Maggie didn't say whether or not she knew him - didn't Randall say last week that he knew her, but she wouldn't remember him? He's willing to say anything to survive though, so who knows what's going on?
LCT: Totally agree that Randall will say anything and he did say "she (Maggie) wouldn't know me." But here's the thing: they're in the middle of East Bum and I'm pretty sure everyone knows everyone. My guess is if they asked her, she'd say no way. But what does that get us? So they can drive him out 25 miles and drop him off now? Not sure. All conscience issues aside, you know this kid is bad news. Too bad they can't kill him.
I have a feeling the success of The Voice has a lot to do with this recent evolution of AI drifting away from gawking at the poor bad singers and also with America voting in the best of the Top 24 into the Top 10. The Voice is a terrific concept and so enjoyable to watch. I love the way everyone is invested in the outcome on this show. While judges on AI are definitely rooting for their faves, on The Voice, the judges are just as involved with the competition as the contestants. The success of the contestants, once chosen, reflects on the judges ability to coach as much as anything else. The blind auditions make for some of the best TV around. In direct contrast with AI, the voice is the singular defining ingredient of success on The Voice. Although I do suppose the judges take their cues from the live audience as much as their ears, you still watch artists going through that you would definitely not see on AI.
The Shields Brothers wouldn't be getting on no American Idol
P.S. Here is probably my favorite scene from AI this season and I now use "get down" as my standard response to everything, especially really emotional situations.
get down
The Walking Dead
I am telling you something... I am more and more impressed with how the writers are deviating from the GNs and this whole Rick v. Shane business is riveting. Riveting! Thanks to Lady Macbeth (who I guess had to drive off by herself, flip her car and *almost* get chomped by walkers only to survive with barely a scratch in order to tell Rick that Shane is no good), Rick is actually laying down the law, especially for Shane. At a literal crossroads almost 18 miles out, Rick tells Shane how it's gonna be. He also tells Shane he will kill for his family... anyone. We also find out that Rick knew about Shane and Lori way before Lori told him. Interesting. I thought the fight scene that came later between these two, generated by the question of what to do about Tied Up Kid, was epic. Brilliant story telling here, when the kid says he knows Maggie, now not only is it kind of personal, but this means he knows the farm and thus, Plan A of leaving him behind doesn't work anymore. Triggerfinger Shane wants to shoot him on the spot, Rick needs time to think, which Shane views as weak. Parts of this fight were hard to watch, truthfully. The genius of The Walking Dead is demonstrating how it's not necessarily 'how are these people going to survive the walkers,' but more 'how are these people going to survive with each other.' If Survivor has taught us anything, people are jerks. In any case, after bashing each others faces in for awhile, Shane awakens a pack of walkers and in the end, Rick and the kid save Shane and Rick says "you're just gonna have to trust me." Get down.
Other Thoughts:
One of the most very interesting observations in the show was practically buried. Shane and Rick discussing a pile of dead peeps: no bites... maybe scratches? Take note! This will come up again.
The Walker in the Field... is what this ep should have been called. Cool visual, but what does it represent? Just a reminder that they are everywhere? Is it symbolic of Shane feeling alone when he was once tethered to Lori and Carl? Or, I think I saw Shane instinctively reach for his gun upon seeing the walker way off in the field. Shane's level thinking about minimizing use of guns seems to register, as Shane ultimately doesn't shoot at the walker... or is it that Shane is seeing himself?
Shane? Is that you?
Shane seeing his image in the broken glass of the building (after he threw a pipe at Shane and woke up all the walkers in the building and gave them a way to get out - way to go!) was another arresting visual. This very closely parallels when Shane is looking in the mirror when he shaves his head. This is what Shane is now... this is what he has become.
Beth/Andrea/Maggie/Lori: so is all of this Beth suicide biz basically to remind us of hope vs. hopelessness? A lot less time could have been spent on this. The Lori v. Andrea showdown in the kitchen prior to the Beth suicide drama was pretty great: again, the brilliance of showing all sides. Andrea's "you have it all, Lori" speech was spot on. Sure Lori is saying someone has to cook and clean, etc. but Andrea is kinda right in saying why does it have to be all the women? This harkens back to one of my fave scenes from Season 1 where Andrea stands up to Carol's dickhead hubby Ed about "women's work" and then Shane beats the crap out of him (even though we know he's hitting Ed out of frustration over Lori having just told him off as much as dude's an asshole).
The kid in the trunk is doing everything he can to survive, and his very presence represents both sides to the Shane v. Rick conundrum. But the kid sure took way too much pleasure in stabbing that walker. I think he's some no good trouble right there.
*Kinda Spoiler* I'm having a heart attack over casting for TG (new character to the TV show). It doesn't matter who they cast for this part, I am not looking forward to this story line.
*Spoiler* Don't read this if you're not into spoilers, but AMC accidentally let this one slip yesterday: major spoiler
Downton Abbey
The season finale a couple of weeks ago did not disappoint. I have, however, been disappointed to read several reviews and reactions to the episode (such as this one) and Season 2 in general as contrived and not up to par with Season 1. Perhaps it's because I watched Downton starting with the end of Season 1 and all of Season 2 before going back and watching all of Season 1 from the beginning, but I saw no difference between the seasons and certainly thought the Season 2 finale was as good as Downton gets. It does kind of make me smile when I hear people calling a scripted show such as Downton "contrived." To me, the whole appeal of the show lies the unseen twists and turns, the quicker paced resolutions to some story lines as well as the more drawn out plots. Otherwise, it would just be so boring. I think one of the greatest episodes of any season was when a badly scarred soldier comes to Downton to convalesce and reveals himself to Edith to be long lost Cousin Patrick. Then he DISAPPEARS. All in one episode. Fantastic! Others saw this as clear evidence that Downton had lost its way in pace and storytelling. I thought it was refreshing and interesting and clear evidence of poor Edith.
I just love the way they pack so much into each and every episode, and the drama of the twists and turns cannot be denied: Lord Grantham and the maid! Cora almost dies! Valinia conveniently does die. Branson and Sybil! Poor Mr. Bates and (now) Mrs. Anna Bates.
I will say this, however: I was getting on board with the whole idea of Mary going to New York. Imagine the adventures and suitors and dresses this girl would have! The dresses, people! Alas, just when you think Downton will zig, it zags and actually fulfills on the promise of Matthew and Mary together rather abruptly but awesomely.
Awesome
I look forward to seeing what drama will unfold in the next season, especially the fallout of Richard exposing Mary's secret. And I can't believe I am saying this, but are we rooting for an Edith love triangle with Cousin Patrick and Sir Strallan? (pause) Yes. Yes we are.
Other Stuff:
After approximately a millenium off of TV, Mad Men is back Sunday, March 25. I.Can't.Wait.
The Killing is coming back April 1st. God, I love this show. I am preparing my soul for its weekly crushing.
I have officially given up on The River. To sum up, just a few too creepy dolls on the tree for me. Oh, and it's not smart at all.
One of these days I will dedicate an entire entry to the brilliance of Modern Family. This show gets life. Or, my life anyway.
