Knightmare - A Blast from the Past

Category: , , , By Rev/Views

Rather than review a DVD today I've decided to lament a little about a series which still has not been released on DVD for viewing. Knightmare. A children's show which was first broadcast on ITV in 1987 and ran until 1994 - giving the viewers a total of seven seasons of suspense, fear and adventuring in a computer generated dungeon.

Opening credits:



Knightmare was (and still is) a somewhat unique creation in the world of television; in it a group of four young people would arrive at Knightmare Castle and be greeted by Treguard of Dunshelm (Hugo Myatt) who functioned as the 'quizmaster' and presenter of the show, which itself was a mixture of drama and a 'quiz show'.

One of the four children would become the Dungeoneer, who would be transported into Knightmare Castle's dungeon wearing the Helm of Justice - a device which would block the sight of the Dungeoneer except for a small area directly below them. The story given was to protect the adventurer from the dangers, but the practical truth of it was to limit the amount of blue screen the Dungeoneer would see and keep things feeling more real for them. To be honest being a Dungeoneer didn't ever seem like the most exciting of roles in the game - you spend your time shuffling about almost blind while following directions from your friends who get to see all the neat and exciting things happening around you. Occasionally you got to pick things up and carry them for a while or hold conversations with the 'denziens' of the dungeon - but for the most part the Dungeoneers role involved shuffling about like a poorly controlled computer game character.

The remaining three players stayed in the Dungeon's ante-chamber with Treguard; watching the scenes on a television screen and directing their friend while taking copious notes. Knightmare was a game which would drop a hint once for the players and then rarely remind them, forget something and tough luck - you were probably dead. And death was a constant (and very real) threat in this game.

Initially Treguard himself initially took an independant position with regards to the Dungeoneer's exploits - functioning as a judicator simply there to oversee (and occasionally take perverse delight in the deaths of the Dungeoneers - his catchphrase "Ooh, Nasty!" was delivered with great relish when another life was claimed by the dungeon, it was originally ad libbed but fast became iconic) . But later on in the show (around series five) the forces of 'the opposition' headed by Lord Fear arrived and Treguard became a champion of the teams sent in, taking a more active role in helping them as opposed to celebrating just how often the dungeon won out over the players. From series four Treguard was assisted by a twerpish Elf named Pickle, he wasn't too bad despite being a twerp though - often he was more helpfull to the players than Treguard himself.

Of particular note in Knightmare was the exceptional level of difficulty the game displayed despite it's nature as a children's program. Contestants were expected to be capable of independent thought, deduction and quick thinking, and the punishment for failure was high - normally a mistake would result in the Dungeoneer "dying" and the team's adventure ending. While some threats just ended the adventure immediately others were more insidious, gradually eroding away at the Dungeoneer's life force, which was pictorially represented on screen occasionally by a helmed head which gradually broke apart, first losing the helmet, then the skin and finally the skull would break apart leaving the eyeballs flying towards and past the screen. A pretty bleak and disturbing image for a children's show, but this was no ordinary children's show that's for sure.


A Bomb Room - Better flee before the fuse runs out!

The dungeon itself was a work of beauty, combining hand painted backdrops along with blue screen technology and computer generated graphics which created something pretty sophisticated for it's time. It was this, combined with an unprecedented level of difficulty and an overwhelming sense of tension and fear which sets Knightmare apart from just about every other kids program you can think of. Much like classic Doctor Who this show was capable of making the people watch it sit on the edges of their seat or even hide behind them.

Now if a team managed to navigate all three levels of the dungeon and reach the item of their quest (which varied) then they were considered victors and left with their heads held high. In eight years of the show only eight teams actually completed their quest out of sixty nine teams total. This was not a show looking to take it easy on the young 'uns at all and that's one of the things which I still adore about this cracking show, it mixed a challenge along with drama and comedy with great ease. Comedy which is captured in this next video:


"Sidestep Left!"
(A related video of some self inflicted deaths caused to idiocy can be found here.)

Knightmare remains in my estimation the greatest of children's programs of all time; it's certainly the most unique of them and it's a show I often look back on with fondness; the style, the appearance of the show, the difficulty, the scary bits, the funny bits - it's all one wonderful experience which really expresses television of that era well. In this day and age it's hard to tell if such a show would be allowed on at half five in the afternoon, it probably wouldn't because it's too mean-spirited. But I like to think Knightmare taught it's viewers and contestants important lessons. Lessons like being able to spell Shroud correctly (with an O guys!), flirting with depressed gargoyles to avoid dying, the importance of eating properly and just how unfair life can be - go the wrong way, miss important information, die - pick up the wrong item, die - use the wrong spell, die - and so forth. Good solid life lessons for the young.

Unfortunately Knightmare has still not been released on DVD for watching and re-watching. But for those of are interested or fancy some nostalgia complete episodes (and possibly seasons) can be found on YouTube with a little light searching, and who knows - maybe one day Knightmare: The Complete Collection may finally arrive on shelves for general purchase, stranger things have happened in Knightmare Castle. Perhaps even one day we'll see a remake of the show, but considering the nature of television these days it'll probably take place in a bouncy castle and be almost impossible to lose at.

And screw that, because it's flying eyeballs or nothing!


Ooh, Nasty!

Direct Link
 


DVDs in Review #72: Chuck: The Complete First Season

Category: , , , , By Rev/Views

Chuck arrived on our screens in 2007; giving us the world of one Chuck Bartowski (Zachary Levi) - computer and technology 'Nerd Herder' who after receiving a high tech e-mail from his ex-Stanford roommate Bryce Larkin (Matthew Bomer) ended up with pretty much every American spy secret lodged inside his head just waiting to leak out. CIA Agent Sarah Walker (Yvonne Strahovski - Did I mention Dan placed her as sexiest woman on TV in his most recent list?) and NSA Agent John Casey (Adam Baldwin) are dispatched to retrieve this information and when they discover that it's lodged inside Chuck's brain pan they

Chuck now has to balance work at BuyMore, dealing with computer related issues alongside co-workers Anna (Julia Ling), Jeff (Scott Krinsky), Lester (Vik Sahay) and his best friend Morgan (Joshua Gomez). While concealing his new and exciting life in the world of SpyCraft from them and his sister Ellie (Sarah Lancaster) who lives with Chuck and her boyfriend "Captain Awesome"/Devon (Ryan McPartlin).

Chuck is a fun and energetic show which mimics and parodies the spy genre well and reminds me a lot of 'that other spy show' Burn Notice. Now I shan't go into listing the common threads and differences between the two shows, but I shall say both of them provide an entertaining and light-hearted take on the world of spying while keeping a distinctive voice. I'd certainly put them on about the same level where entertainment value is concerned.

This first season spans for thirteen episodes and maintains a consistent level of quality, mixing comedy and drama with a lot of action to provide thrills and spills throughout. Zachary is very likable as Chuck, providing a bit of an everyman and managing to pass as a nerd thanks mostly to the haircut (without it he really wouldn't look that nerdy). Yvonne likewise is very watchable and not only looks good but portrays Sarah with depth and interest (even if her front teeth irritate me). But for myself personally it's Alec Baldwin's performance as Casey which sells the show, his acting here is best describes as 'with gusto'. He takes a great deal of relish and enjoyment in his scenes - but what else can you expect from the man they call Jayne? The rest of the cast are likewise immense fun and great on screen, Sarah Lancaster's haircut after the pilot does irritate me though, a lot.

Now I am a bit of a packaging enthusiast, mostly because I feel I've invested money in purchasing DVDs and as such I want them to look nice on the shelf and work well. The main difference between owning a legitimate copy and pirated ones (apart from various legal issues) is the packaging and appearance of the set. So naturally I get more than a little snarky when it seems like the creators of the DVD set aren't really trying (Fremantle Media's Homicide series for example).

Fortunately here the quality is obvious, I don't know if it's a new design or a one off for Chuck, but the package here is simply the best I've reviewed in seventy two sets. Hands down it's the best in my entire collection; appearance, design, functionality, it has the whole damn package all the way up and down the nine yards. If this packaging was a woman she would be so good looking you'd be too intimidated to talk with her in case she turned out to be a figment of your imagination - like sexy fight club.

In short the packaging is so full of win that it's actually worth writing three paragraphs about without even really trying to describe how good it is. There is one drawback - it took me over a minute to figure out how to open the darn thing. That might not be the fault of the packaging, it could just be myself being dense.

So if you're looking for a show which isn't afraid to provide tongue in cheek laughs, suspense, thrills and deliver it all with a heavy sense of irony Chuck's first season might be the spy you're looking for.

Extras:
Chuck on Chuck - Series stars join creators for some point/counter point discussion
Chuck's World - Character development and original casting
Chuck vs. the Chuckles - Gag Reel
Chuck's Online World - Gallery of Web-Originated Mini-Featurettes

Details:
Aspect Ratio: 1.78:1
Rating: 15
Region: 2
Run time: 8 Hours 51 mins
Soundtrack: 5.1 English
Subtitles: English, Dutch
Direct Link
 


Watching The Wire: Season Two - Episode Five: "Undertow"

Category: , , , , , , By Rev/Views



“They used to make steel there, no?”
– Spiros Vondas


Teleplay by Ed Burns
Directed by Steve Shill


Starring:
Dominic West as Officer Jimmy McNulty, Lance Reddick as Lieutenant Cedric Daniels, Sonja Sohn as Kima Greggs, Deirdre Lovejoy as assistant state's attorney Rhonda Pearlman, Wood Harris as Avon Barksdale, Larry Gilliard, Jr. as D'Angelo Barksdale, Andre Royo as Bubbles, John Doman as Colonel William Rawls, Frankie Faison as Acting Commissioner Ervin Burrell, Clarke Peters as Cool Lester Smooth Freamon, Amy Ryan as Beadie "Bea/Beadie" Russell and Chris Bauer as Frank Sobotka.

With:
Seth Gilliam as Detective Ellis Carver, Domenick Lombardozzi as Detective Thomas "Herc" Hauk, Jim True-Frost as Detective Roland "Prez" Pryzbylewski, James Ransone as Ziggy Sobotka, Pablo Schreiber as Nick Sobotka, Callie Thorne as Elena McNulty, J.D. Williams as Preston "Boadie" Broadus, Michael K. Williams as Omar Little, Al Brown as Major Stan Valchek, Richard Burton as Shaun "Shamrock" McGinty, Kristin Proctor as Aimee, Bill Raymond as The Greek, Shamyl Brown as Donette, Tray Chaney as Malik "Poot" Carr, Luray Cooper as Nat Coxson, Lance Irwin as Maui, Susan Rome as ASA Ilene Nathan, Chris Ashworth as Sergei "Serge" Malatov, Jeffrey Fugitt as Officer Claude Diggins, Method Man as Melvin "Cheese" Wagstaff ,Charley Scalies as Thomas "Horseface" Pakusa, Gary "D. Reign" Senkus as Frog, Gary D'Addario as Grand Jury Prosecutor Gary DiPasquale, Jeffrey Pratt Gordon as Johnny "Fifty" Spamanto, Kelvin Davis as La La, De'Rodd Hearns as Puddin, Kevin Murray as Special Agent Cleary, Daniel Ross as Drug Dealer, Lev Gorn as Eton, Paul Ben-Victor as Spiros "Vondas" Vondopoulos and Robert F. Colesberry as Ray Cole

The Summary:


Read about house prices, white dealers and red hot cars beyond the link...

The Recap:

Frog is out on the corners of Baltimore shifting product for Ziggy, who arrives looking to pick up the takings. Frog switches up the takings, giving Ziggy a short stack and he finds that there’s only two hundred and ninety dollars to collect. It’s supposed to be five hundred, and Ziggy attempts to give Frog some attitude (Ziggy’s never sounded as white as he does here). He then gets into “the princess” and begins to drive off when SUVs block him in from front and back and he’s forced out of his car. It’s Cheese Wagstaff, he wants his money but Zig doesn’t have it. He tries to hand over his new Italian coat to cover the difference, but Cheese isn’t having any of it and takes his car instead. Ziggy is left raging on the street impotently. He's getting shafted from all directions.

Cue the credits…

Carver is meeting with Daniels in the Detail’s new office, Daniels is asking Carver to join the Sobotka Detail and Carver is unsure why he’d want him. Carver was the leak in the original Barksdale Detail and is directly responsible for bringing the case down prematurely, especially the main stash house. He’s one of the reasons why Avon got just seven years and Stringer remains on the streets. Daniels responds, telling him that because Carver tried and was caught out once – which means he’s less likely to try anything again. Daniels assigns him under Kima (despite Carver’s technical superiority) and Carver is on board. He looks thrilled to be back and as he exits he’s met by Prez, Kima and Herc. Herc is exceptionally pleased to be back working with his partner.

Bubbles is standing outside the marine unit, he stops to admire the BBQ and asks about McNulty who’s just arriving at the docks in a boat. Bubs is here to talk with McNulty about Omar, Bubs survived his meeting with Omar last episode and has a number for McNulty to contact him. Bubs then goes on to complain about what he went through, Omar isn’t delicate with the way he handles people and Bubs didn’t appreciate staring down both barrels of a shotgun. McNulty hands him a little extra money “for his pains”.

In Homicide Rawls wants to know where things are with the Jane Does, Lester and Bunk are chasing up as best they can. But then Rawls drops an additional salvo on the pair, Lester is out of the investigation and into the Sobotka Detail – this means Bunk has to partner up with someone new for the rest of the investigation and let’s be honest, Cole and his ilk are not up to the same standard as old “Cool Lester Smooth”. Lester is concerned he’s been fucked over – but Rawls assures him he it’s not that, if it was that Lester would know.

Elena is showing various people around a viewing home, most notably Nicky Sobotka and Aimee, who are looking at the house because it used to be Nicky’s aunt’s place before the previous occupants bought it. The house is way out of Nicky’s price range sadly and they leave. Aimee comments that maybe they should rent instead.

Daniels is giving the initial brief on the task ahead to the Sobotka Detail, Prez and Freamon will be running DNRs while Kima, Carver and Herc will be running hand to hands. Herc points out that the area and dealers are predominately white, so it’ll be his time on the street – something he’s looking forward to with relish. Lester himself arrives and greetings are exchanged. Lester is surprised to discover that the Detail is chasing after Frank Sobotka, as he was pushing after him over the Jane Does.

Donette has finally agreed to visit Dee and is talking to him here about how good things are for her and their son; naturally she doesn’t express just how well Stringer is “handling” her. The offer is once Dee is out he’ll get something out of the business, something legit. Dee is understandably sceptical about the offer and is convinced they’re just playing him.

In the Pit the young'uns are getting restless, some of Bodie and Poot’s rollers start to beat on a man because he refuses to buy their stuff. It’s not surprising considering how bad their product has become, Poot tells them to lay off him, but after the man gives them lip they start back up. Bodie is called in and walks past the guy who’s just been beaten badly and tossed into street – he’s a mess. Bodie then walks up to talk with Poot about what’s happened, as far as he’s concerned the guy didn’t deserve the beating, not even for calling their new line weak – because it is. Poot just shrugs and says that he didn’t do it, it was the others. Bodie thinks it’s time to call for Stringer.

Zig and Nicky are talking in the bar, Zig tells Nicky about the beating he took and admits that it was over drugs. Ziggy hasn’t managed to turn the package around and has till Friday to pay up nearly three grand. But he’s screwed up the package entirely and Nicky isn’t willing to help out. He’s already handed over his money to Aimee so he can’t help here.

Valchek has received another letter and polaroid, this time from San Diego. He’s taking this exceptionally seriously, lifting a fingerprint from the newest Polaroid when Kima arrives to ask about getting a surveillance van, a van that Valchek can’t let them have because it’s currently taking a merry holiday around the U. S of A’s ports. He lies to cover instead of admitting that he’s been hoodwinked by Sobotka.

Stringer continues his business studies class; he received an A minus on his most recent test. He then goes on to ask his teacher Mr Lucas about what to do when you have an inferior product in an aggressive market place. His options are to perform an aggressive take over of competition, or reduce prices – as long as overheads are low enough to accommodate. The other solution; drawn from a real life parallel is to change the name of the product in order to keep customer faith.



Bunk, Cole and Beadie arrive and hand a Grand Jury summons to Horseface. Bunk heads inside to hand the rest across to Frank. There’s one for Johnny 50 and we find out why his name is as it is, I’ll leave the story for you to watch rather than repeat it here. Frank then goes on to tear a strip into Bunk over this, he’s angry over this accusation and naturally so – he didn’t kill those girls, he didn’t even know they were in that can, but he’s now the person in the frame for the events and it’s his union who are receiving Grand Juries. He and Johnny 50 then demonstrate why these summons are pointless, Johnny takes the fifth “commandment” (got to love that mistake from the working man) and claims to know nothing about nothing. Frank’s used to being Grand Juried before, the Union has open records and as far as he’s concerned the Union will live through this too. But Johnny 50 is still taken down town while Frank seethes.

Omar is meeting with the DA and going over his testimony in advance of the trial. Omar clarifies how he recognised the gun and the manufacturer. Bird always used the same gun and flashed it around while boasting. The DA asks Omar to wait outside while she talks with McNulty. She’s concerned that Omar will be a problem when facing Levy (who is a complete shark), at the very least he needs to be dressed up.

Kima and Carver start surveillance on White Mike and Frog while Bunk and Bea find out the Union members don’t crack. Bunk then goes to ask if Bea has a C.I., she doesn’t – Bunk then relates the old adage “A police is only as good as his informants” and they have none.

Omar shops with McNulty for a suit, McNulty hands him the money and tells Omar to make a decision while he heads over to the federal building for half an hour. Omar doesn't seem to impressed with the selection available at his state provided price range.

Carver and Kima are still waiting for Herc to arrive; he’s apparently getting his props. After a little discussion on the radio he turns up dressed in a coat with a toothpick. He has an easy hand over and boasts a little. Carver and Kima laugh at him, hardly surprising – he always was a clown.

In the federal building we see the seal on the wall for Immigration & Naturalization taken down and replaced with the Department of Homeland Security as McNulty arrives. It’s a sign of the changing times, or at least a re-branding of “the product”. McNulty meets with Special Agent Cleary about the floating Jane Doe, Cleary is willing to help out somewhat.

Nicky is meeting with Spiros Vondras about the Grand Jury, he’s there to tell them that Frank want to pull out of operations for a little while due to the heat and assure them no-one who’s been Grand Juried will say a single word, mostly because they don’t know anything (except for Horse and Frank). Vondras tells him that as the investigation is to do with the girls and the ship is gone it’ll hit a dead end. But Vondras agrees to meet with him, Frank wants to meet with the Greek though, no-one else. Vondras then moves on to talk about the chemicals he asked Nicky about previously, Nicky isn’t convinced by Vondras’s story that the Greeks plan to sell on the chemicals here and there.

McNulty is looking at undocumented European prostitutes pulled in by the department of Homeland Security, the nearest ones he could talk to are in Hudson County. He decides to take a day and head up there, Cleary is a little amazed at this and doesn’t understand why he’s doing it. McNulty explains he’s seen what happens to unidentified bodies at the morgue.

Bea knocks on Maui’s door and he answers (Mal is the guy who ended up with Ziggy’s penis displayed on his computer at the end of the last episode), they talk a little awkwardly and then he invites her in, Bea asks if they could go somewhere else to talk. Clearly Bunk’s talk about C.I.’s has got her thinking a little.

Stringer is in Donette’s apartment, Donette tells him how Dee reacted to the offer and how she’s been treated. He’s been asking to be left alone and Stringer isn’t sure how to react yet, but he’s thinking on it.

Nicky heads out to talk with Cheese about the car, the first corner lad he talks to is pretty aggressive and quick to show that he’s packing – just in case Nicky was planning some kind of violence, and a bit of power play as well (of course). Cheese then walks up to talk with him; Nicky offers to get Ziggy to sell Princess as the money it’s worth should cover the debt. Cheese agrees that’s clever and gives Ziggy another week to play, it turns out the car is around the corner on fire. Nicky watches, seething.

Bea and Mau are having coffee and talking, it turns they have a bit of emotional history and she’s looking to work the angle, maybe flip him and get him to turn on the union. Mau seems like he’s going to be no use, he draws a hard line and then suddenly turns. Telling Bea that everything used to be recorded on paper, but these days it’s kept on computers. She holds his hand in thanks and for old times.

Nicky arrives back to talk with Ziggy on the stoop. He has good news and bad, bad is that they’re going to kill him in a week; the good is that he should cancel his car insurance. Princess is toast and we hardly knew her.

Kima and Carver watch White Mike deal with Herc, the operation is frankly incredibly sloppy and poor, but Herc is thrilled with his ‘skills’. He seems genuinely convinced that it’s his talent which is getting the goods. Carver is more concerned about his trousers, the tar roof he’s on has melted somewhat in the hot sun and that stuff never comes out of your jeans, trust me. I know. But Herc and his toothpick continue to keep making deals, even if Carver wants to stab him up with it.

In the diner the owner of the place talks a little with The Greek before he leaves Vondras to talk with The Greek. Vondras explains about the Grand Juries and assures The Greek that no-one will talk, but then says that Frank wants to meet with The Greek. The Greek is unwilling to do this and just offers more money; he prefers to keep himself removed from the business and deal through Vondras.

Avon and Stringer are talking about the product issues at County, it turns out that it’s Eastside who have the good stuff, Prop Joe and so on. Stringer’s stuck with weak stuff and having to cut it even further, the Barksdales are screwed on the product front at the moment and eventually someone is going to spot and move, Avon says he’ll get on it. Stringer then enquires about Dee saying they should make a gesture, Avon agrees.

Vondras meets with Frank down at the waterfront, Frank is not pleased that The Greek has refused to meet with him and turns to walk away. Vondras tells him that the fee is being doubled and passes on The Greek’s regrets. Frank tells him that he’s done with this and turns to look across the water. Vondras talks a little about the steel works, mentioning how they are now silent and then turns to walk away.

Ziggy and Nicky are at the library looking up the chemicals that Vondras wanted them to look up. They’re using the internet to see what the stuff is used for; they find out that it’s all used to help process cocaine. (Bet that’s a surprise to you eh?)

Bea and Bunk arrive at the docks (whistles ahoy) to have a look at how the computer system for the cans work. Frank arrives shortly and takes charge of explaining how the computer system works. He then goes to highlight just how flawed the system is and how stacks get lost, not entered or entered incorrectly. He’s providing possibilities to cover any missing items. Bunk notes that the customs seal was broken, Frank admits things get missed. He’s attributing it all to human error and covering his tracks, Bunk feels he’s being played.

McNulty is up in Jersey County to see the women they have detained there. Stringer is talking with his men about changing the name of the product, it’s time to change up the name of ‘Death Grip’ and add new caps to make it look like new. Bodie goes one further than this, suggesting that the crews in the various towers supply product with different names, creating an artificial market of choice, many names, one product. Stringer is impressed.

At the diner Nicky meets with Vondras and Boris/Sergei about the chemicals, Nicky asks what they’re used for. He tells them he knows they use it to process cocaine, Vondras’s silence tells him all, he then goes on to say he’ll have the stuff for them. Nicky has no problems with helping the drug trade, but he would draw the line at supplying chemicals for bombs. Mind you the Greeks wouldn’t be involved in bombing Baltimore if there wasn’t profit in it.

McNulty hands over the pictures of the Jane Does to girls in the cell, they want to know if they id any girls they get to stay. They don’t, so they talk a little more then hand back the photos with no information for him.

Bunk, Bea and Lester meet with Daniels about getting a cloned computer to see what’s happened on the docks and why. They plan to fold both investigations together, but Daniels isn’t willing to suck up the Jane Does as well, he wants to just flip this quickly and get out. Bunk lays the case out and Lester agrees it should be let on, Daniels sighs and finally agrees to share information, but the murders remain on Homicide - unless they find a suspect.

Frank and Ott are feeling good; they’ve got a lot of ships in and plenty of work for everyone. Nicky walks up to Frank and hands him the Greek’s list. The rate is triple the normal, but Frank’s not willing to do it. Nicky tells him the writing is on the wall and that they should take this, Frank disagrees and walks away…

“Fuck the wall.”



The Review:

“Undertow” is another episode title loaded with meaning, an undertow is an especially dangerous kind of tidal current which can catch unsuspecting swimmers and drag them under the water to drown. Plenty of people in The Wire at the moment are suffering from one kind of undertow or another; McNulty's personal quest to find the identity of the floater is one such, also Ziggy's stupidity landed him in one - Cheese is a far more dangerous individual than "White" Mike, but the individual who's probably most affected by this is Frank Sobotka who's trying to pull himself free from the smuggling and involvement with the Greeks. They are dangerous bedfellows and he needs to be careful when trying to walk away from them.

If I'm honest Undertow and the episode which preceed it are not my favourite ones in this season, The Wire is laying down a fairly important lesson with this season, you'll notice we're up to the fifth episode and there's nary a whiff of any real investigation as such. You'd think that as this is the second season the show would jump in quickly and get to the meaty part, but it doesn't. The Wire instead teaches you a hard lesson here, which to learn how to watch it. The first half of this season is essentially the set up, just like the first half of the first season was. Now the pieces are in place and we've seen the actions of the players - next up is the consequences. Personally I do like this style, but it doesn't work well when watching just one episode a week. The Wire is definately a show best watched on DVD in stretches.

So Frank's trying to dig himself out of the hole he's in by shutting down any illegal activities, but he has several obstacles to this - the main one is actually Ziggy, he doesn't realise it but Ziggy's stupidity is forcing Nicky to perform tasks for the Greeks. Which leaves the door open for them to keep operating here, and as long as the Greeks have a toe in the docks and things aren't too hot to operate they'll keep pushing.

I believe I mentioned previously just how much I like Frank and Nicky Sobotka, despite the fact that they've only been around for five episodes they are both great characters driven by a real sense of honour and nobility - at least, considering their position they are. Frank breaks the law to protect and help his Union while Nicky does it to protect his cousin and provide for Aimee and his daughter. They're both very determined individuals with a lot in common, at times it's hard to remember that Nicky is in fact Frank's nephew not his son - Nicky seems a lot more like Frank than Ziggy.

Ziggy continues to dig his hole, this time his antics have cost him the pocket on his jacket and his car. As always his solution is to first lean on Nicky and then dig the hole deeper by turning to more crime.


I am always impressed with Daniels, he's a slick customer indeed - as shown by his manuvering in this episode. He's essentially taken on the fourteen Jane Does, but set it up so that he gets the credit for the success and none of the blame for failure. It's easy to forget just how cool and collected he is and how good he is at positioning things to help his career. He might have picked up a little "McNulty" in his operating attitude last season, but he's avoided the attitude.

Trust Kima to come up with the best name for Lester "Cool Lester Smooth" is just a keeper, it's how I always refer to Freamon and I think sums him up perfectly. Remember this is the guy who snapped up Shardene Innes, a beautiful woman about half his age right under the noses of Sydnor, Prez, Carver and Herc. Not one of them had a chance against him and I say "Bravo Sir!" Natural Po-lice, and his rolling the Jane Does into the Sobotka case is a great move, because now the Jane Does can reach into Valchek's considerable influence and have a larger chance of being solved - even if the men who committed the crime are now desceased themselves (as Vondras himself mentions in the episode).

While Undertow isn't the strongest episode of the season it is a fantastic set up for the episode which follows it. "All Prologue" is next and that episode is a doozy.

Direct Link
 


Forced Viewing - Week Two

Category: , By Rev/Views
Week two and I'm already struggling to find and watch bad television, it's not that there isn't enough to watch, because there is just loads out there. It's because I just instinctively blank out when the TV starts producing tripe and before you know it I've managed to zone out and clean the house instead of paying attention. Flip side of this is; my house has never been cleaner.

I did catch my first (and last) ever episode of Supernanny USA. I have no desire to repeat that viewing experience ever again. It's not that the show was bad; to be honest it wasn't, it was OK, but the show is just so shallow and meaningless. American family has problems with their kids because no-one in school teaches "Raising Children 101", Supernanny arrives and is very British as she observes them, then she dishes out some quick fix sugary solutions and in a short while the entire family is all smiles and functioning perfectly. I'm all for a show which teaches people how to raise their kids, goodness knows it's clear that the current generation of adults are completely unable to do it themselves (go go babysitting Telly Vision!) But Supernanny just kind of glosses all over it and leaves you pining for the good old days where the nanny flew with a magic umbrella, sang songs and had an affair with the chimney sweep.

At least it wasn't as bad as Animals Do The Funniest Things, which I caught while waiting for Robin Hood's last ever episode to air. By now you know the score, it's filled with animals acting up or out or just for the camera and it's played for the classic combination of "Awws", "Oooos" and "HAHAHAs" just like every other video clip show involving home cameras pretty much ever. Again like Supernanny it wasn't a bad show, but it was almost instantly forgettable. Just about all I can recall is a swan attacking a man who was swimming and an elephant stealing bananas. I'm not sure if those happened at the same time or not, perhaps it was a swan attacking an elephant stealing bananas from a man, I can't recall. I did catch myself smiling at the TV on occasion, and then immediately berating myself for being sucked in. But that's the thing, it is kind of funny and harmless.

Then there's Robin Hood, which pretty much ended it's run this evening. And honestly it didn't end it too badly, the front half of the episode was seriously cheesy and had more than it's fair share of lame duck moments. Skipping out on the various amusing oddities in the episode it's better to just concentrate on what worked and what didn't.

Poor Richard Armitage, he was pretty much thrown away in this episode. No real big moment for him, just a little banter, some running about, a brief sword fight with Vasey and then he gets double teamed in the following melee. Some hot sheriff/sheriff/Gisbourne stabbing there. But at least he got a dying speech in Robin's lap and it wasn't completely awful. Someone needs to now snap up Richard and put him into a show worthy of his talents. I've got a script for you Richard! Just give me a call, starring role and everything, right up your alley too. It'll be brilliant.

So Guy, Isabella, Vasey and Robin all pushed off and popped their clogs in this episode. That pretty much wraps up the entire show because all you're left with is "super cool" Archer and some not so merry men. They've vowed to carry on as they are "Robin Hood"; like some kind of co-op or passing of the torch. So no Robin sneaking off with his half brother Archer and telling him that there "must be a Robin Hood and now he's it". Which kind of leaves me thinking what was the point in Archer if he wasn't going to be the new torch bearer? Cue the fourth season where the merry men ride around with a stuffed version of Robin pretending he's still alive with clever rope tricks and ventriloquism.

That said Robin's passing was pretty well handled, sure it was a little trite and forced, but the emotional impact was pretty much spot on and bless him Jonas Armstrong didn't make me laugh. It was a good death, bravo.

I can't leave without mentioning Big Brother's latest eviction; I'm now convinced that the voting public don't quite "get" the point of this show after voting out the hilarious Cairon last week and the utterly barmy Angel this week. No British public, No! Bad public, don't make me use the newspaper on you.

The point is not to vote out the strange and weird people, it's to vote out the bland and boring ones so the house ends up an asylum filled with oddities and individuals driving each other nuts. Then we crown the biggest loony of them all the winner and ship them off to a nice padded cell. Crazy people make for good television! Granted Halfwit is pretty nuts in his own way (and must be feeling bullet proof by now to boot) but Angel was so barmy she should have been an automatic "keep in for as long as possible in case she starts eating someone".

Prediction for the winner is either Mr Generic (who's so bland I can't remember his name) or the blond who apparently has the big ha has. I can't tell if she does or doesn't because I'm still unable to distinguish between the two blonds, even when they're side by side. But I heard she's well liked by the housemates so I imagine it'll be a while before she gets voted and then the public will side with the largest cup size. Not that they're predictable or anything (watch me be wrong now).

And finally I'll close with an insight into the madness that is Twitter; after Rob (The Medium is Not Enough), Aaron (Snark and Fury) and myself speculate on the nature of the fouth season of Torchwood. Maybe I'm a little biased but some parts did make me laugh.
Direct Link
 


Why You Should Watch - Better off Ted

Category: , , , By Rev/Views


Yes, that's right. In today's Why You Should Watch I'm actually writing about a show which is relatively new. Currently occupying the summer burn off schedule over at ABC, Better off Ted has unusually been confirmed with renewal for a second season. That alone piqued my interest enough to decide to find out a little about it; and when I read the cast list I felt it was certainly worth giving a try.

Better off Ted stars Jay Harrington as Ted Crisp, head of R&D at Veridian Dynamics a company dedicated to making Life. Better. His boss is Veronica (Portia de Rossi) and the research team working under him includes Linda (Andrea Anders), Lem (Malcolm Barrett) and Phil (Jonathan Slavin). Veridian Dynamics is a company dedicated to improving life in a myriad of ways. Including such wonderful creations as cowless beef, the focus master (a chair so irritating it increases productivity) and the light sensitive motion people detector. Of particular note are the brilliant advert sections which spice up the show, I've included a few of the extra Viral gems at the end of this post for you to enjoy.

The show is a single camera sit-com which focuses around Ted, a relatively straight laced business man who vaguely reminds me of Don Draper from Mad Men - Ted also narrates the show, but instead of a voice over he actively breaks the fourth wall and talks directly to the viewers during scenes, making the whole thing feel somewhat like a mock-umentary. Ted's the one who makes sure that things work and get done, and he enjoys a very personable relationship with both his boss Vernoica and the people under him, at home he supports his daughter Rose as a single father (Isabella Acres). Linda works under Ted in the testing department and while there is some obvious chemistry between Linda and Ted he hasn't acted on it yet.

Phil and Lem are the primary 'making stuff' scientists, they have a highly disfunctional relationship with each other but are clearly close friends despite this. While they are both capable of delivering results they are also rather prone to goofing off. They also have a fairly high risk job as Viridian Dynamics prefers to use staff members for product testing over other kinds of "volunteers". Phil and Lem are both funny individually, but together they're on another level - there's great synergy between the pair.

The show is genuinely quite likable and often funny, it really deserves the time it needs to grow and develop its charaters properly. Each episode is stuffed to the gills with storylines and funny moments - there's just about the right balance there, keeping things funny and pacey without being overwhelming or forced. It's on par with 30 Rock or Chuck in the comedy stakes and benefits greatly from experienced comedy actors (Portia in particular is great, her time on Arrested Development and Ally McBeal shows through here). Ted's tendency to talk to the camera instead of using voice overs is a little unusual and a tad jarring initially, but you get used to it quickly enough and it does deliver some real corking gags at times.

Better Off Ted is up to it's eighth episode right now and the remaining ones from the first season are being delivered until the 28th of July so there's a lot to watch and catch up on. Fortunately each episode is around twenty minutes to half an hour long. This means it's light enough to sit back and watch a few of at once, and you should seriously consider giving this show a try. Because it's original, fresh and most importantly good enough to deserve support and viewership.



Ted. Better.



Viridian Dynamics on Presidents:


Life. Better.



Genetic Improvement (Check out the list of side effects!):

Direct Link
 


DVDs in Review: #71: Six Feet Under: The Complete First Series

Category: , , , , By Rev/Views

In 2001 Alan Ball, the writer of the Academy Award winning American Beauty released his newest creation on an unsuspecting public. A show about a family run funeral home located in Los Angeles, a show looking at the lives of people who live in a world focused on death. From the pilot episode people noted that this show was something exceptional and this boxed set contains the complete first season.

Six Feet Under follows the story of the Fisher family and the people close to them; eldest son Nathaniel Jr (Nate) Fisher (Peter Krause) having turned his back on the business for years returns to spend a little time with his family for Christmas. In the airport he meets a beautiful woman and has a spontaneous fling with her, unaware that his father Nathaniel Fisher Senior is killed by a bus on the way to the airport. This traumatic event changes his life forever and he reluctantly returns to the family business, taking over running and living in the Fisher & Son Funeral Home with his mother Ruth (Frances Conroy), his sister Claire (Lauren Ambrose) and his brother David (Michael C. Hall). The other three core members of the cast are their brilliant mortician Federico (Freddy Rodríguez), David's boyfriend Keith (Mathew St. Patrick ) and the lovely Rachel Griffiths as Brenda, the woman who Nate has his fling with at the airport and later becomes his girlfriend.

Six Feet Under is a show which works on several distinct levels, the primary one being a family based drama which deals with the problems each family member encounters. Nate is struggling to adjust to this new life, David is having problems coming out of the closet, Claire is utterly lost in the wilderness of adolescence and Ruth has lost her life long partner, husband and father of her children.

It's also a philosophical program which took a fresh look at the subject of death and made a bold decision not to shy away from it. Most TV deaths before Six Feet Under were in police procedural and were essentially little more than the initial drive for an investigation. Six Feet Under features at least one death per episode (some of them are exceptionally inventive) and builds the show around both life and death with a darkly comic perspective. It's a show which says, death is to be embraced. It comes to all of use, but there is something beyond, so don't be afraid.

The four disc set itself is wonderfully designed, it's dark and stylish with striking cover art and a brilliant pop up part to it's construction. When you open the box up the internal tray is lifted out slightly, making it easy to pick up the DVDs. Also, in theme with the shows black sense of humor the moving tray reveals a macabre message saying "Your whole life is leading up to this." It simply is an incredibly well thought out and superbly constructed product. The first time I saw that little message when opening the box I was simultaneously amused and provoked into quiet reflection about the truth of it.

Six Feet Under is one of the most significant shows of this decade and the first season is a spellbinding tour de force, if you haven't already seen Six Feet Under you haven't lived.

And who'd want to die without living first?

Extras:
Behind the scenes featurette including interviews with the cast and Alan Ball
Deleted Scene from the pilot episode
15 min "making of" featurette
2 music tracks

Details:
Aspect Ratio: 1:33.1
Audio: 5.1 Dolby Digital
Language: English
Rating: 18
Region: 2
Run time: 11 hours 33 mins
Subtitles: English
Direct Link
 


DVDs in Review #70: Everybody Hates Chris: The First Season

Category: , , By Rev/Views

Everybody Hates Chris is a CBS sit-com inspired by the experiences of comedian Chris Rock's life growing up in 1980s - Brooklyn, New York. Narrated entirely as a flashback by Chris Rock the show follows young Chris (Tyler James Williams) and his family - Julius; his father (Terry Crews), his mother Rochelle (Tichina Arnold), brother Drew (Tequan Richmond) and sister Tanya (Imani Hakim). Also starring is Vincent Martella as Greg, Chris's nerdy school friend and fellow victim of bully Caruso (Travis T. Flory).

The series opens shortly after the Rock family have moved to Brooklyn in an attempt to start a new and decent life. Chris has just recently started out in a new school, one where he stands out as the only non-white individual in the entire school. This being the 1980s (specifically 1982 which is when the series starts) racial tolerance is pretty much non-existent and the show mixes great moments of comedy with era correct racial slurs and a strong message about tolerance (without being preachy about it). At one moment Chris is standing up to the bully in his year (by out ghetto-ing him) and the next moment he's getting beaten up.

The show may take it's name as a parody of Everyone Loves Raymond, but the design of the show is more of a brilliant take on The Wonder Years. Chris Rock's narration shows a wise level of hindsight over events, often he will say exactly the opposite of the characters in the show, nailing home the truth instead of letting the characters get away with falsehoods or heart warming moments. Time changes your perception of past events and Chris Rock's narration remains a constant and often hilarious reminder of that.

While the show is mostly focused around young Chris's experiences, for myself the genuine break out character is Terry Crews's performance as Julius. Chris's penny pinching, hard working, wise talking father. From the first moment he's just great, and his performance in the season finale "Everybody Hates Father's Day" are probably the funniest and most entertaining scenes in the entire season. He's just fantastic.

I can't pass up a chance to comment on the box set for Everybody Hates Chris, it's just fantastic. While the set contains four DVDs it only contains two slim-line cases with one DVD on each side of the case. The discs themselves are stylish as well, there are no pictures on them. Instead they are silvered and look very swish.

Everybody Hates Chris's first season is a great look back on the 1980s; containing equal parts of nostalgia, comedy and a willingness to not ignore the bad which existed back then. There's no attempt to ignore or paint over the ugliness in people's attitudes here, but the comedy and wry nature of the show avoids it become just a show saying "look how bad people were about race back in the 1980s". Instead it's saying "This is what the 1980s were like, there was good stuff, there was bad. Enjoy the nostalgia and the comedy."

Good, fun light entertainment.

Extras:
Everybody Hates The Making of Everybody Hates Chris
Featurettes
Bloopers
Deleted Scenes
Ali's Photos
Auditions

Details:
Aspect Ratio: 1.78:1
Rating: 12
Region: 2
Runtime: 7 hours 8 mins
Soundtrack: English 5.1
Subtitles: English HOH, English, Danish, Finnish, Norwegian, Swedish
Direct Link
 


Watching The Wire: Season Two: Episode Four: Hard Cases

Category: , , , , , , By Rev/Views


“If I Hear the music, I’m gonna dance.”
– Kima

Teleplay by Joy Lusco Kecken

Directed by Elodie Keene

Starring:
Dominic West (Officer Jimmy McNulty), Lance Reddick (Lieutenant Cedric Daniels), Sonja Sohn (Sergeant Kima Greggs), Wood Harris (Avon Barksdale), Idris Elba (Stringer Bell), John Doman (Colonel William Rawls), Wendell Pierce (Bunk Moreland), Paul Ben Victor (Spiros "Vondas" Vondopoulos), Clarke Peters (Lester Fremon), Amy Ryan (Beatrice "Beadie" Russell) and Chris Bauer (Frank Sobotka) and J.D Williams (Bodie)

With:
Jim True-Frost as (Detective Roland "Prez" Pryzbylewski), James Ransone (Ziggy Sobotka), Pablo Schreiber (Nick Sobotka), Al Brown (Major Stan Valchek), Delaney Williams (Sergeant Jay Landsman), Luray Cooper (Nat Coxson), Ted Feldman (George "Double G" Glekas), Melanie Nicholls-King (Cheryl), Leo Fitzpatrick (Johnny), Robert Hogan (Louis Sobotka), Michael Kostroff (Maurice Levy), Elisabeth Noone (Joan Sobotka), Kelli R. Brown (Kimmy), Stanley "Scoogie" Boyd (Cherry), Leslie Elliard as (Officer Kevin Reynolds), Charley Scalies (Thomas "Horseface" Pakusa), Jill Redding (Delores), Jeffrey Pratt Gordon (Johnny "Fifty" Spamanato), Antonio Charity (CO Dwight Tilghman), Kristin Proctor (Aimee), Callie Thorne (Elena McNulty) and Michael K. Williams (Omar Little)

The Summary:

The Recap:

Frank Sobotka is sat out by the waterfront gazing out across the water, his nephew Nicky comes up and asks him what’s up. Apparently Frank phoned him up at seven and arranged to meet him here for some mysterious reason; Nicky is quite vocal in expressing his opinion about this. (Have I mentioned how much I like Nicky and Frank Sobotka by the way? Great characters). Frank’s concerned about getting shipments, there’s not a lot of reasons to use the Baltimore port, apart from good service with all goods being offloaded quickly and then being shipped to where they need to be fast and intact. Without being stolen. In short, he’s telling Nicky that those stolen cameras need to be returned, Nicky tells him they have already been flipped. Frank’s concerned about keeping work flowing through the port, Nicky’s concerned about making money as he’s not getting enough days to survive. Frank tells him if he needs money Nicky just needs to ask, and Nicky insinuates that Frank’s doing a bit too well for himself. Frank becomes very angry at this and tears a strip out of Nicky, explaining that the money he’s making isn’t for him – it’s for the docks. Nicky understands. Frank’s also angry that Ziggy was dragged into this. They leave and head in, Frank wants to know the details. Nicky admits how much, but doesn’t grass up Tommy for his part. Frank then tells him no-one should flash their cash around and Nicky agrees.

Cue the credits.

In the warden’s office at Baltimore County, the warden and his staff are discussing the hot shots which Avon had Butchie sell to Tilghman last episode. The opinion is that this might well be intentional, but there is a possibility it’s just bad junk. The warden wants this dealt with and he’s told he’ll need to get an informant to do that – if he’s willing to shave some years from their sentences.

A lift opens and McNulty arrives in Homicide, he walks past Rawls and salutes the man. Rawls can only watch in stunned silence as McNulty walks past. He passes Winona and is greeted by Landsman who calls him ‘Gilligan’ a reference to being stuck on the boat – if you recall it is Landsman who’s responsible for putting him there. McNulty attempts to chat a little, but gets the cold shoulder from Freamon and the Bunk, so he asks Beadie if they have any paperwork from the can where the girls were held. She tells him it’s down in evidence control and he retrieves the submission slips from Lester. Bunk then corrals him, telling him that he needs Omar. McNulty tells Bunk he’s got him covered. Needless to say Bunk and Freamon are a little incredulous that McNulty has Omar tracked down.

Burrell is meeting with Daniels about Valchek’s request. As far as Daniels is concerned he’s handed in his papers. But Burrell offers a clean slate and spins a story, claiming he needs “people he can trust” in the department, Daniels doesn’t by that, Burrell admits Daniels betrayed him before – but then goes on to say that Daniels seems to know his business and dangles a potential promotion in front of him. A good return on the harbour detail and Burrell will help angle Daniels in for position as a Major in the South East. Needless to say Daniels is a little suspicious, especially after the treatment he received after the Barksdale case. Burrell then moves on to tell him about the case and gets close to admitting that this is a political move and Valchek is involved. Daniels is sharp enough to realise the situation right there and then, he knows he has Burrell over a barrel here and makes a counter offer. If Daniels lands a case then the detail becomes a permanent unit in CID. Burrell agrees, but Daniels has one final condition – he gets to choose his own people. Burrell hesitates but agrees, Daniels is to give the list to Rawls.

McNulty is down in evidence control sifting through the shelves while at the cafeteria in Baltimore County the inmates are discussing the hot shots while Dee listens. McNulty digs through the evidence and finds a jacket, and some other bits.

In Dolores’s bar Ziggy is playing with one of the cameras and flashes his cash a little. He decided to keep one of cameras for himself, Nicky tells him to be a little more discrete with the cash and they talk a little about the camera. Nicky then tells him that Frank knows what happened because Horse told him. Ziggy agrees to keep a low profile for a while and they go back to talking about the camera. Ziggy then cracks out a shot of his Johnson in the bar. Enjoy the back view, I shan't be sharing the front one.


McNulty is at home, drinking, listening to his phone messages and looking at the photo of the floating Jane Doe. The messages reveal just how out of control his life is, as does his sighing and flopping backwards into bed. He's a driven man with an empty life.

Nicky is awoken by the alarm clock in his basement room, his girlfriend spent the night with him. They talk a little about the plans for the day and then she changes clothes. Nicky makes a grab for one of her breasts “because they were staring right at him” and then heads off. A little something for the gentlemen to balance all the man flesh we’ve had so far this season.

Bunk, Freamon and Beadie are sat in a car at the docks, they’re discussing how the container got off the ship and off the dock. The checkers are pretty much key to this and they need to talk to one of them. Beadie informs them that they won’t get anyone to talk with them about this, when asked how she makes cases she tells them just how routine her job is. Noting damaged or open containers and making reports is the extent of it. She’s done this for two years now, but it’s better than her previous job serving tolls at the Fort McHenry tunnel. She didn’t become police because she wanted to, but because she needed the extra money the job brought in.

In the cells, Dee heads over to Avon’s cell to talk with him. He’s curious why Avon told him to stop using just before the hot shots hit the prisoners. Avon refuses to admit he had nothing to do with it, but Dee doesn’t believe him – Avon virtually runs the prison from inside his shelf. Dee wants him to stop pulling stuff like this, Avon continues to deny and switches on to talking about getting them out of the prison earlier. Avon knows who brought the goods in – of course he does, as he’s the one who had Tilghman followed and the stuff spiked – and tells Dee he can pass on the name to him and get them out faster. Dee refuses to have anything to do with it and asks to be left alone to do his time.

McNulty pulls up alongside the burnt out remains of Omar’s van (remember when that happened in season one?) and leaves a note for the man. He then asks a group of kids if they’ve seen Omar. They don’t respond.

Ott and Nicky are pleased as they drive around the port terminal, they’ve had a whole six ships arrive with goods, which is good news for them all. Then Zig steps up in front of the cart wearing an Italian leather coat – so much for keeping a low profile on the cash front Zig… He then goes on to boast about how much he spent on the jacket (two grand) so Nicky climbs out of the cart and has words with Zig once Ott drives off. Zig isn’t listening, Nicky then goes on to say that the Greeks want to talk with them (as they pulled off a good job) and tells him to try and keep things on a lower profile.

McNulty is drive around the streets of Baltimore trying to keep an eye out for Omar. He pulls up on a street corner to the cries of “five-oh, five-oh” and the one ‘holding’ drops the drugs onto the floor in the gutter. He climbs out of the car and they turn to assume the position against the wall. McNulty tells them he doesn’t care about the drugs and isn’t here to bust them, but that he does care about the littering so they should “Pick up that shit when I’m gone.” Classic McNulty (have I mentioned how much I like McNulty recently?) He’s looking for Omar and after describing him he asks them if they’ve seen him around. They reply in a somewhat derogatory fashion and depart.

Stringer’s got problems with the new line from Atlanta, it’s more expensive than the old connect and it isn’t as good. He tells them to cut the stuff further, it might already be weak but they need to make their money back somehow. He really needs a new supplier.


Lester and The Bunk (Wouldn’t that make for a great spin-off show?) are in Rawls’s office talking about the case so far and how difficult it’s proving to be. Rawls feels they should have held up the Atlantic Light, had the scene scoured for evidence and interrogated every single crew member until they broke. Freamon attempts to reason with him about it, but Rawls drops the bottom line – the red Jane Does on the board must go black or they’ll end up taking the fall. McNulty continues seeking Omar when he spots no other than Bubbles and Johnny dressed up and boarding a bus. He decides to follow it.

Nicky and Zig meet up with Double G at the Greek’s diner; apparently the Greeks need Nicky and Zig to get their hands on some supplies, chemicals in large supply. Five or ten tonnes of them and they are willing to pay well for this. Nicky leaves without saying a word.

Bubbles and Johnny walk out of a store when they are hailed by McNulty, they’ve been stealing and McNulty calls in the tax on the items. They need to either show him a receipt for the items they shoplifted or find Omar for him, Bubbles reluctantly agrees.

Levy and Avon are talking with the warden about the hot shots (confirmed as heroin), Avon is willing to give them the name in exchange for an early parole hearing with the support of the prison institution in favour of letting him out. Levy and Avon move around on this subject and handle things well, providing themselves with plenty of leverage.


Nicky’s mother is cooking in the kitchen when Nicky returns, she tells him to go fetch his father Leon who’s at the bar virtually gambling. He runs the betting without actually placing money and he’s seven grand up, but he’s never actually bet a penny. They talk a little then head home.


Rawls is in his office with Daniels, he has the list of the people Daniels wants on the detail and he’s willing to provide assistance in whatever shape possible. With one exception, McNulty who will have to stay on his boat until he either leaves the force or drowns overboard. Rawls is not going to forget those fourteen red names in a hurry.

Kima is stuck in her car with Cheryl behind a bunch of frats who are messing about, she wants to get out and confront them but Cheryl talks her down, at least until one of the frat boys stands up and drops his trousers. Kima tells the lad to get down and he responds in the vulgar negative. So she hauls him off the bonnet of the car and handcuffs him. Cheryl watches disapprovingly.

Daniels is at home watching a dog show on the television; his wife Marla comes in and tells him to come upstairs. He hasn’t told her about the new detail yet clearly.


The following day Zig arrives in checking to talk with Johnny but there are none of the chemicals on the Greek’s list in the port. They’re over at Fairfield, Ott’s brother-in-law works there but that’s about it as far as a contact goes. Johnny then asks what the Greeks want with these chemicals, Zig says he doesn’t know. On the way out, Y scoots his chair back and spills coffee across it “accidentally on purpose” and then confronts him.


Daniels talks with Kima about the fresh new detail, Kima isn’t convinced Cheryl will be happy about this and Daniels understands because Marla will also be angry when she finds out. Daniels offers her a spot on the inside, but Kima tells him if she’s in – she’s In and agrees.


In Stringer’s office he hands over a package to one of his men. Bubs is in his flop house with Johnny talking about Omar, Johnny is reluctant to get involved, Bubs is more resigned to getting involved. (Girl Robber) is talking with an older woman in the place about a new stash house when Bubs rolls in and asks Pops about Omar while Kimmy listens. As Bubs leaves, Kimmy watches him.

Levy and Avon have a second meeting with the warden, this time to discuss terms and give Tilghman’s name. As long as Tilghman is found with evidence on either his person, his locker or in his car then Avon’s deal will go through. After Avon leaves, the head guard speculates (correctly) that Avon is the one who spiked the packages – but the Attorney says that they’ll make the case they can make and leaves.

Valchek receives another letter, this time from New Orleans where the surveillance van has made its next stop (wouldn’t it be amazing if this van made a cameo in Treme?) It goes without saying that Valchek is less than pleased, but he’s all smiles when Daniels walks in. Valchek brings Daniels up to speed on the case he wants made and then asks him to come along and see the offices set aside.


McNulty is getting the letter translated in hope of identifying Jane Doe #14 (The floater), the letter mentions an Anya; but the letter isn’t addressed to anyone specifically. But it is signed Nadya, so McNulty has a name – even if he doesn’t have an address. The only place mentioned is a Saint Volodymyrs (St Vladmir) and a priest Father Vasyl. These are common names, but the woman he asked for the translation from will try to find something out.

Nicky is out walking with Aimee and his daughter, he’s thinking there’s enough to buy a place and for them to live together.
Tilghman is heading to his car when the warden and his men head over towards him. They want to search the vehicle for goods. He refuses, claiming they have no warrant, but as the vehicle is on DOC property it can be subject to a search. Zig is sat at Y’s terminal while Johnny watches.

Meanwhile Tilghman’s car is seached and a familiar looking package is found. The very same package which Stringer handed over earlier on, Avon’s had Tilghman set up and he’s now done for.

Bunk, Freamon and Beadie arrive at the docks, triggering a lot of whistling from the stevedores. They’ve been marked out as police and everyone has been warned. Bunk heads over to Horseface, he’s unhelpful and they tell him to come with them to talk about this. Horseface refuses to go with them unless they arrest him, at which point he will lawyer up. Zig is walking out of the checkers when Frank slaps him around the head. He then sees Bunk and Co. talking to Horse.
Y gets back to his terminal and is greeted by a pleasant sight; Ziggy has transferred the shot of his wang onto his computer. Needless to say he’s not thrilled about this. I shall spare you the image from the screen this time; you’ve already enjoyed his backside in this recap.

Valchek has arrived with Daniels, Herc and Kima. Inside Prez is waiting as Polk and the other humps have been moved back to Burrell. The gang reunites and Valchek offers his support in any fashion possible. Herc then attempts to get Carver shifted into the team. Daniels then lays out the plan; they’re going to do what they can for a few weeks and see what happens.



Bubs and Johnny are walking along talking when they find some scrap metal. As you’ll recall from the first season (and The Corner if you’ve seen it) selling scrap metal is a common way for the less fortunate to make money, it’s only a few dollars here or there but to people with nothing that’s a fortune. As Bubs struggles with the radiator Omar looms out of the shadows behind him and calls his name. He’s armed with his signature shotgun which he cocks and aims with a quick “You be asking for me?”

There’s now one of those rare montages which are used in the Wire but only sparingly. In this case it’s a mix of the meals between Kima and Cheryl, and Daniels and Marla. Two different dinners with very much the same scenario playing out, there’s a very clever use of music here with some frenetic classical music being played out. It’s energetic and adds to the level of tension both scenes have. Cheryl and Marla are both exceptionally angry at their respective partners over these developments.


McNulty is at his wife Elena’s place, he’s gifted her the headphones and walkman stolen by Bubs - says a lot about McNulty there really. She wants to know if he’s had a lawyer look at the papers, apparently McNulty shouldn’t sign them because he’s giving away too much. But he signed them anyway, because he doesn’t care about the money. He wants to get back together with her and I can't blame him, because she's played by Callie Thorne.

In Stringer’s office the TV is turned on to show a news report about the arrest of Tilghman. Stringer remains as cool and collected as ever, simply remarking that he needs to get back to studying. But afterwards you can see he’s a little pleased.

Beadie, Lester and The Bunk arrive in Dolores’s place. Bunk walks up and eyes Horseface who gets up and walks over to the duke box. Horse puts some money in, but Bunk selects the song. Ott and Frank are elsewhere in the bar talking a little when Beadie, Freamon and Bunk surround him. He finishes his drink and looks at Bunk, he then asks after them. He’s never seen them before; normally he only gets involved with Port Police. Bunk informs him they are homicide, Frank asks who was killed, Bunk reminds him about the girls in the can, Frank claims it was an accident, Bunk disagrees. Frank makes his excuses and leaves. Nicky watches the whole thing. Frank heads to the bar’s bathroom and sticks his head in the sink for a drink of water. He then stares at himself in the mirror, regaining his composure before walking back out into the bar…


The Review:

The episode title “Hard Cases” refers to not just the difficulties being faced by Prez, Bunk, Freamon and McNulty in their respective cases, but also too many of the individuals present in the episode. McNulty is of course an original hard case, but likewise Horseface also proves himself to be one as well.

This is also the first episode of the season in which the teleplay wasn't written by David Simon; but Joy's work is more than up to the task and I think if I'm honest the episode is a little better than Hot Shots which preceeded it. There's some good flow to the episode and plenty of nudity for both the genders to enjoy, then again - there has been a lot of nude backs and fronts in this season, something which is somewhat reflected in the title credits. I wouldn't go as far as to call the season 'steamy' but it's certainly not something for the kids (as if the first season was...) On the other hand, much of the nudity in The Wire exists either naturally (as in he/she is naked just because someone would be naked in that situation) or for laughs (mostly where Ziggy is concerned).

As I've mentioned Ziggy, I think it's worth talking a little about him here. He's certainly a lot less annoying for myself on this rewatch, I think the first time I saw the second season of The Wire my attitude towards Ziggy alternated between amusement and annoyance, but now I've come to appreciate just how good James Ransom's performance is as Ziggy (it helped seeing him play a different role in Generation Kill). While the character is little more than a clown a lot of the time he's actually quite tragic as well, a definate example of disillusioned young adulthood in action.

At this point I think it's more than possible to see the wheels in motion, while there isn't that much character conflict in Hard Cases, the plot progresses in a most agreeable fashion. Despite the on screen exposure to Ziggy's manhood I really enjoy this episode - it's solid and exciting build up towards later events.


Direct Link
 


Forced Viewing - Week Two

Category: By Rev/Views
It's been a bit difficult to catch many trashy shows this week, partially because I have had guests around for pretty much all of Saturday and partially because I sort of failed to find too many. It's really hard to force myself to watch some of the tripe on the TV right now, I have to reward myself with spoon fed TV treats (Big Love and Everybody Hates Chris at the moment).

I did catch the end of Big Brother's Little Brother on E4 on Friday, just enough to see the incredibly poor choice of camera angle for the final shot. The segment I saw had three people (presenter and guests I think) in front of a crowd of onlookers who were stood behind a railed fence. Nice to see some people turning out!

Then the camera switches to a wider shot and we see that there is a total of one railing, in the middle of the yard and a total of just six people behind it. Seems like BB is beginning to outstay it's welcome, maybe reality TV shows will start to drop in number over the next few years. We can hope.

I also watched Big Brother's eviction night and while doing so I pretty much reversed by opinion on the Cairon/Sree thing. Sree's a horrible little passive aggressive whinge and Cairon was well within his rights, no he was obligated to give Sree what for and should have done more. Unfortunately it's clear that the public hasn't had the same realisation that Cairon's actually just really, genuinely funny and as such he's out. Kind of a shame that just as I warm up to him he's gone, but then again I did ask for him to get thrown out last week...

Speaking of which, with any justice Sree will be up and out next. I suspect the housemates are fed up with his obsessive stalking, bitching and if he hits the public vote I can't think of anyone who would get thrown out over him. Frankly, good riddance - Cairon was an entertaining clown, Sree is just creepy - I'm sure he doesn't mean to be, but he is. He seems half formed emotionally.

While I'm on the subject of Big Brother, has anyone else noticed Marcus Bentley seems to have lost the will to live? At times his narration of events seems almost suicidally depressed. Someone needs to keep an eye on him in the studio where he's giving these narrations and confiscate his belt and shoelaces!

Oh dear, I'm starting to sound like I'm watching BB10 avidly, I'm not! It's just on in the background for less than an hour a week. Honest!

I'm not sure it entirely counts as occasionally it's funny, but I also caught Russel Brand's Ponderland - Russel's stand up can be a little hit and miss. He has a real energy to him and a sometimes unique take on things. Unfortunately this week's piece on science and technology was pretty bland (Bland Brand - heh) with only a couple of funny moments, I suspect he (and his writers) are stretched a little thin having to come up with a whole series of these shows.

I attempted to watch Total Wipeout for a second time, but as there seems to be no variation in the obstacle courses from week to week I immediately became bored with it and switched over to watch The Fat Bribe: Revisited. A show which goes back to see how two groups of people manage to lose weight - the only difference between them is that the "red" group were bribed ten pounds per 1% of weight lost. This is a scheme which apparently the government is thinking about implementing.

The results are not the least bit surprising (to me anyway - but my academia is in human behaviour). Basically the group who were bribed did better until the money dried up and then piled the pounds back on. The other group lost less weight, got angry about not being bribed, but then kept more weight off. Money is no substitute for good old fashioned human determination.

I suggest the following if the government does implement this system of rewarding weight loss. Eat lots of cakes, crisps, doughnuts and sticky buns and become morbidly obese. You'll have a slight advantage in losing the weight again (as long as you're determined) and you'll get paid to do it. Net result, at the very least you break even - which is effectively being paid for a having government sponsored pig out session.

And that's just one reason why bribing people just to lose weight is a dumb idea - why can't people who are already thin just have reduced rates for everything where their smaller size saves money. Like clothes, public transport and so on. We could call it a thin living rebate, because the words fat tax are just mean...
Direct Link
 


My Personal Top 20 Episodes

Category: , By Rev/Views
Inspired by yesterdays somewhat debatable list of the top 100 episodes from TV Guide, I spent yesterday figuring out what were the top twenty episodes I've watched. The criteria for the episodes is fairly simple, each episode has to be memorable enough to have left a mark one way or another, additionally there can only be one entry per show - to stop personal favourites with many amazing episodes dominating the list.

The first ten will just be shows, episode titles and a single sentence comment, but the top ten have a little more in depth discussion into the "Why".

20. That 70s show - "It's a Wonderful Life"
A fun little episode which tributes Scrooge and will always hold a warm place in my DVD collection, I'm sure others will disagree with this one being here.

19. The West Wing - "Two Catherdrals"

Have to agree with TV Guide here, it's stupendous.

18. Damages - "Because I Know Patty"

The first season comes to a head with an amazing set of revelations.

17.
Seinfeld - "The Chicken Roaster"
Yes "The Contest" is the absolute classic Seinfeld, but Jerry and Kramer switching personalities in "The Chicken Roaster" does it for me.

16. Boston Legal - "Guantanamo by the Bay"

A wonderful return introduction for my favourite character and just one of the greatest fourth wall breaking moments of the show.

15. The Office - "Weight Loss"

Just when it looks like the show is going to be predictable and split Jim and Pam part, Jim proposes and she accepts.

14.
Battlestar Galactica - "Crossroads - Part 1 and 2."

Makes up for the terrible episodes which occured in season three with an epic game changing two parter.

13. Doctor Who - "Blink"

Just about the best Doctor Who episode of all time, and it hardly features him at all.

12. Futurama - "The Devils Hands are Idle Playthings"

A moving and poignent close to the show's run (at the time), all the stops are pulled out and the last moments are emotionally charged.

11. Arrested Development - Mr. F

One of my favourite musical stings appears in this episode, an episode which mixes it's own comedy with a spy spoof perfectly

Now for the top ten.

10. The 4400 - "The Marked"

Many of the entries on this list are either season finales, first episodes of the season or pilot episodes. This is because many shows save their big moments or their game changing elements for the start or end of a season. But The 4400 provided it's biggest moment partway through the fourth season, revealing huge game changing facts which rocked the show and cast a new light on where things were going.

The terrible future which The 4400 were abducted and then returned to stop apparently has it's own champions, a group of people known only as 'The Marked' who are identified by a single mark behind their left ear. As Tom and Diana investigate into this supposed conspiracy things begin to unfold. Huge things which stand to change everything.

The only unfortunate thing about this episode is the cancellation of The 4400, which meant that things couldn't be brought to full closure, but it's still an amazing episode and holds up well.

9. Lost - "Pilot"

I may have lost (ha ha!) interest in the show until it ends and it's out on DVD, but Lost's first episode remains one of the most enticing and interesting moments on television. Filled with jaw dropping moments, mystery, interesting characters (Jack is not one of those by the way) and a genuine "did that just happen?" moment where a survivor is sucked through the engine of the crashed plane; the two part Pilot delivered many intense questions and mysteries - I just don't agree with the way the show carried on after the first season.

8. How I Met Your Mother - "Game Night"

When the arrival of a tape from one of Barney's ex-girlfriends peaks interest and curiosity Barney refuses to share the story with them until each of the gang shares their most embarrassing moment first. Their stories are all hilarious and entertaining, but the truth behind Barney's tape is one of the definitive "Barney Moments" and is delivered with great aplomb by the ever wonderful Neil Patrick Harris.

7. Supernatural - "Mystery Spot"

There were quite a few episodes fighting it out where Supernatural was concerned; the black and white "Monster Movie" is just awesome quality and a stylistic tribute to the b-movie genre of old, "Ghostfacers" puts a great spin on the whole show and returns the quite brilliant ghostfacers to the screen with a documentary filmed from their point of view, "A Very Supernatural Christmas" gives us the 'anti-Santa' and "Hollywood Babylon" gives a great light-hearted tribute to Hollywood and the Evil Dead in a wonderfully self aware episode.

But it's "Mystery Spot" with it's spin on 'Groundhog Day' which takes the prize. Sam ends up living the same day over and over; a day where no matter what he tries to do, Dean gets killed. Jared and Jensen clearly had a great deal of fun filming this episode and the tribute to and affection for the Bill Murray classic is palpable here. But Supernatural often delivers amazing stand alone episodes.

6. Firefly - "Objects in Space"

"Objects in Space" was very nearly the closing moments for Firefly and would have remained so if Serenity had not been released. Even on the re-watch it's a poignant and heartfelt investigation into the relationship the crew have with young River Tam. It's also got one of the most memorable villains of the show present in it - the disturbed bounty hunter Early; who's mix of wit, danger and sheer insanity make for a great show.

"Out of Gas" is another episode which very nearly took the prize; it's a potent and emotional look at how the ship and crew came together, while Mal and Serenity are slowly dying. But "Objects in Space" takes the prize for the mystery, joy and poignancy of the episode.

5. Homicide - "Three Men and Adena"

TV Guide had the admirable and excellent "Subway" as their Homicide episode of choice, but for me it's the first season episode "Three Men and Adena" which just pips it for that prize. Even though it's only the fifth episode of the show, Three Men and Adena paints a dark, complicated and at times difficult to watch picture. The desperation and determination of Pembleton and Bayliss as they push hard to find out who killed Adena Watkins and get a confession is a powerful mix. Many of the best episodes in Homicide are the more bleak ones and honorable mentions here go to "Subway", "Fallen Heroes", "Sniper" and "Forgive Us Our Trespasses"; but in Three Men takes the prize here for me.

4. The Dead Zone - "Precipitate"

I'm not usually a huge fan of stand alone episodes, and The Dead Zone's format of "Apocalypse episodes at the beginning and end of each season, stand alone in between" at times did make me want to skip over some of the episodes. But the second season episode Precipitate completely bucked this trend, providing one of the most memorable and amazing episodes of the show.

Johnny is given a life saving transfusion of blood, blood from six different donors. As Johnny's psychic gift is triggered by touch he's continuously given glimpses from the lives of these people, but (much like Quantum Leap) he's seeing their lives with he (Johnny) in the position they are in. Eventually he realises that one of the six is going to die and he travels to try and save whomever it is from their fate.

It's an episode which brings out the essence of The Dead Zone; Johnny is a man who seems to come into people's lives, save them from a fate only he can see, and then leave them always better off for his presence. Precipitate nails that concept completely and delivers an amazing final moment. If The Dead Zone had managed to deliver more episodes at this level it would have probably had a chance to close out its storyline with a seventh and final season.

3. The Wire - "Final Grades"

An episode also picked by TV Guide, Final Grades closes out the best season of The Wire with some powerful moments. The Wire's fourth season performs an exceptionally clever and difficult achievement, as it manages to introduce and base a large section of the season around four brand new characters and also keep it interesting. Final Grades brings all the stories and events of the season, along with many stories from earlier seasons, and brings them to a head.

It's definitely a better episode than the series finale -30-: which is an admirable creation , but suffers because of a few weaker points and inaccessible settings introduced in the final season. Final Grades has none of this baggage and remains the stronger entity as a consequence. Season three's finale "Mission Accomplished" was also a contender for this spot.

2. The Shield - "Pilot", "Of Mice and Lem", "Possible Kill Screen" & "Family Meeting"

I know I'm cheating here, but I just couldn't figure out which one of these episodes should be the one making it onto the list. Pilot is an amazing episode which trots out a show which appears to be one thing before taking a dramatic turn in the closing moments and revealing a whole new show. In hindsight this impact would have been greater if the events of the pilot episode had happened about six episodes in, but it's still a real jaw dropper. Of Mice and Lem is the single most devastating episode of the show, bringing to a head the events of the entire fifth season with just heartbreaking frankness. While Possible Kill Screen (the ante penultimate episode) and Family Meeting (The final episode) are filled with Earth shattering moments which bring seven seasons to a head and reveal who pays the price and for what.

1. Six Feet Under - "Everyone's Waiting"

Another episode I agree with TV Guide about, but I rate it much higher than they did. At times I found the final season of Six Feet Under a little hard to watch, I realised once the show lost the character I most identified with that I was drifting a little when watching. But the final episode brought everything back together with a crash and then the most bittersweet ending any show has ever managed to achieve. It's a finale that remains entirely true to the concept and visuals of the show, and has so much emotional impact you'd have to be made out of cheese to not be at least a little moved by it.


Agree? Disagree? Got a list of your own? I'd love to hear it.
Direct Link
 


TV Guide's Top 100 Episodes

Category: , , By Rev/Views
TV Guide completed their list of the Top 100 Episodes (According to them at least) and here it is:

I've marked in bold all the ones I've seen. There's a little discussion afterwards as well.
  • 1. Seinfeld: "The Contest"
  • 2. The Sopranos: "College"
  • 3. The Mary Tyler Moore Show: "Chuckles Bites the Dust"
  • 4. I Love Lucy: "Lucy Does a TV Commercial"
  • 5. Lost: "Pilot"
  • 6. ER: "Love's Labor Lost"
  • 7. The Honeymooners: "Better Living Through TV"
  • 8. Mad Men: "Nixon vs. Kennedy"
  • 9. All in the Family: "Cousin Maude's Visit"
  • 10. 24: "Season 1: 11PM-12AM"
  • 11. The Twilight Zone: "Time Enough at Last"
  • 12. SNL from 4/22/78
  • 13. The Dick Van Dyke Show: "It May Look Like a Walnut"
  • 14. Buffy the Vampire Slayer: "Once More With Feeling"
  • 15. The Cosby Show: "Goodbye Mr. Fish"
  • 16. The Fugitive: "Judgment"
  • 17. South Park: "Trapped in the Closet"
  • 18. The Andy Griffith Show: "Opie the Birdman"
  • 19. The Office: "Diversity Day"
  • 20. MASH: "Abyssinia, Henry"
  • 21. Friends: "The One with the Embryos"
  • 22. Six Feet Under: "Everyone's Waiting"
  • 23. St. Elsewhere: "Time Heals"
  • 24. The Simpsons: "Krusty Gets Kancelled"
  • 25. Homicide:Life on the Street: "Subway"
  • 26. The Wire: "Final Grades"
  • 27. Curb Your Enthusiasm: "The Special Section"
  • 28. 30 Rock: "Black Tie"
  • 29. Cheers: "Show Down"
  • 30. NYPD Blue: "Hearts and Souls"
  • 31. Frasier: "The Ski Lodge"
  • 32. Arrested Development: "Development Arrested"
  • 33. Roseanne: "A Stash From the Past"
  • 34. Thirtysomething: "A Second Look"
  • 35. The X-Files: "Clyde Bruckman's Final Repose"
  • 36. Star Trek:TNG: "Best of Both Worlds Part 1"
  • 37. The Bob Newhart Show: "Over the River and Through the Woods"
  • 38. The Shield: "Possible Kill Screen"
  • 39. The Wonder Years: "Pilot"
  • 40. The West Wing: "Two Cathedrals"
  • 41. Freaks and Geeks: "Carded and Discarded"
  • 42. Everybody Loves Raymond: "Marie's Sculpture"
  • 43. Battlestar Gallactica: "Blood on the Scales"
  • 44. My So-Called Life: "Self-Esteem"
  • 45. General Hospital: "Luke and Laura's Wedding"
  • 46. Ellen: "The Puppy Episode"
  • 47. CSI: "Grave Danger"
  • 48. Moonlighting: "Atomic Shakespeare"
  • 49. Dexter: "The British Invasion"
  • 50. The Larry Sanders Show: "Flip"
  • 51. Taxi: "Reverend Jim: A Space Odyssey"
  • 52. Damages: "Because I Know Patty"
  • 53. The Carol Burnett Show: "Went With the Wind"
  • 54. Twin Peaks: "Pilot"
  • 55. Desperate Housewives: "One Wonderful Day"
  • 56. How I Met Your Mother: "Slap Bet"
  • 57. Hill Street Blues: "Freedom's Last Stand"
  • 58. The Odd Couple: "Password"
  • 59. Alfred Hitchcock Presents: "Lamb to the Slaughter"
  • 60. The Big Bang Theory: "The Bath Item Gift Hypothesis"
  • 61. L.A. Law: "Good to the Last Drop"
  • 62. Law and Order: "Life Choice"
  • 63. Grey's Anatomy: "Losing My Religion"
  • 64. Murphy Brown: "You Say Potatoe, I Say Potato"
  • 65. WKRP in Cincinnati: "Turkeys Away"
  • 66. House: "Three Stories"
  • 67. Dynasty: "The Threat"
  • 68. Heroes: "Company Man"
  • 69. Dallas: "A House Divided"
  • 70. Sex and the City: "Pick-a-little, Talk-a-little"
  • 71. Little House on the Prairie: "I'll Be Waving as You Drive Away"
  • 72. Batman: "Better Luck Next Time"
  • 73. The Outer Limits: "Demon With a Glass Hand"
  • 74. Will & Grace: "Home for the Holidays"
  • 75. Gilmore Girls: "Raincoats and Recipes"
  • 76. Family Ties: "The Real Thing (Part 2)"
  • 77. The Waltons: "The Easter Story"
  • 78. Angel: "I Will Remember You"
  • 79. Charlie's Angels: "Angels in Chains"
  • 80. Star Trek: "City on the Edge of Forever"
  • 81. Smallville: "Rosetta"
  • 82. Farscape: "Revenging Angel"
  • 83. Good Times: "Black Jesus"
  • 84. Alias: "The Telling"
  • 85. Melrose Place: "The Bitch is Back"
  • 86. Scrubs: "My Musical"
  • 87. Happy Days: "Fonzie Loves Pinky"
  • 88. Magnum, P.I.: "Did You See the Sunrise"
  • 89. Beauty and the Beast: "Orphans"
  • 90. Malcolm in the Middle: "Bowling"
  • 91. Beverly Hills 90210: "Spring Dance"
  • 92. Party of Five: "Intervention"
  • 93. Big Love: "Come, Ye Saints"
  • 94. Ally McBeal: "Cro-Magnon"
  • 95. Supernatural: "No Rest for the Wicked"
  • 96. Rescue Me: "Baptism"
  • 97. Mary Hartman: "Chicken Soup"
  • 98. Breaking Bad: "Peek a Boo"
  • 99. Family Guy: "Blue Harvest"
  • 100. The Brady Bunch: "The Subject Was Noses"
Big Love is in italics because I'll be watching it later this week.

101 Was the Pilot Episode for Friday Night Lights (which I've seen and loved).

First of all I absolutely agree with Six Feet Under's entry; the finale "Everyone's Waiting" is one of two episodes which battles it out whenever I try to decide which was the best finale I've ever seen. (The second one doesn't make an appearance on this list). Likewise the entries for The Shield, Supernatural, Arrested Development, Rescue Me, Family Guy, The West Wing, Breaking Bad, Mad Men, Buffy, Freaks and Geeks, My So Called Life, How I Met Your Mother and Twin Peaks are all greatly deserving. I'd even give a nod to House's "Three Stories" (but only after I went away and reminded myself what it was about).

The Homicide episode "Subway" was a real pleasure to see on the list, Homicide: Life on the Streets is a show which just needs more exposure in my opinion and Subway is a seriously powerful episode amongst a whole battalion of amazing stories.

Call me a cynic, but I'm not surprised TV Guide went with Seinfeld as a winner; The Contest is a great episode, possibly the best Seinfeld episode (not my favourite mind you) but there are better episodes on this list.

Dexter, Heroes, Lost and Damages all have their entries marred somewhat by what followed after them, both episodes are superb when you look at them in the context of what came before, but let down by what followed afterwards. In every case it's the season after the one which the episode appeared in which sucked somewhat.

I'm rather surprised to see My Musical in there for Scrubs, that was an episode which really didn't impress me and felt like a bit of an attempt to cash in on "Once More With Feeling". Scrubs has provided a lot of more moving and funnier episodes.

"Bowling" from Malcolm in the Middle was a surprise entry, I'm not sure it really deserves to be in there, but it's split story showing the difference between each parent supervising the boys bowling (like Sliding Doors) was certainly memorable. I don't think Malcolm in the Middle would have made it onto

There are a few noticable abscences; there seems to be no non-American shows at all, and there's a glaring abscense where Firefly should be present (which episode, is a different matter for debate) and there are a few other shows with episodes I can't help but feel should have made it on there; The Dead Zone "Precipitate", Futurama's "The Devil's Hands are Idle Playthings", Doctor Who's "Blink" or "Family of Blood" and I'm sure shows like Boston Legal, Justice League Unlimited, Nip/Tuck (Season One or Two) and Deadwood have at least one episode strong enough to make an appearance.

Still, agree or no. This has inspired me enough to consider sitting down and writing up the ten or twenty best episodes I've ever seen. That will turn up later this week. With possibly a top five finales list as well because I've been mulling that one over for some time.

Edit: Probably a little late to add this in, but a warm hello to those of you visiting my little site from Brazil and South America!
Direct Link
 


DVDs in Review #69: The Complete Fawlty Towers

Category: , , , , By Rev/Views

I'm feeling rather whimsical and yearning for a simpler time today, a time where a trip to the British sea side meant staying in a quaint little hotel owned by a lovely couple and spending time relaxing on the beach and soaking up what little sun there is available. Of course, Fawlty Towers resembles a relaxing vacation spot as much as a desert resembles a bathroom. But there is absolutely no doubt it is one of the finest examples of a Brit-com (British Sit-com) since well, ever.

Spanning just two series for a total of twelve episodes John Cleese stars in and writes this wonderful treasure of a show about one Basil Fawlty. A man so with entirely the wrong disposition required for running a pleasant sea side hotel and as such proving repeatedly and grossly incapable of performing the job. He is assisted, corrected and berated by his long suffering wife Sybil (Prunella Scales ), the live in maid Polly (Connie Booth - who also co-wrote the series) and Manuel (Andrew Sachs), a Spaniard with a loose grasp of English who usually ends up receiving the brunt of Basil's anger when things go wrong.

Fawlty Towers belongs to that most precious of situation comedies, the painful yet funny inevitable situation genre. Other such alumni of this include both versions of The Office, Mr. Bean and Some Mothers Do 'Ave 'Em. But there is really no debate when one states that Fawlty Towers is the best of them. Every single one of the twelve episodes is filled with classic moments of slapstick, verbal comedy, energetic performances and this complete collection has all of them right here. All ready for your repeated viewing pleasure.

It's rather incredible to think that this show came out in 1975, around twenty nine years ago - because the writing seems as fresh as ever. Inspired by a stay at a hotel owned by one Donald Sinclair, a man who John Cleese described as 'the most marvellously rude man I've ever met', John and the other Pythons were treated to an incredible display of a eccentric behaviour (something which is of course disputed by Mr Sinclair's family), and this became the inspiration for Basil and the show.

Of course, you should already know all of this and I'm most likely preaching to the choir, but this show is one of the greatest telly vision shows of all time, and this complete boxed set is (currently) the definitive version of a much beloved British comedy. A show which has inspired so much which followed after it and should be enshrined in entrance to the comedy section the Museum of Modern Telly Vision, alongside Monty Python's Flying Circus.

Extras:
Interviews with John Cleese, Prunella Scales and Andrew Sachs
Commentary on Series One by John Howard Davies (Director)
Commentary on Series Two by Bob Spiers (Director)
Artist Profiles
Outtakes
Torquay Tourist Guide (documentary film)

Details:
Aspect Ratio: 4:3
Region: 2 + 4
Runtime: 6 Hours 14 mins approx
Soundtrack: English Dual Mono
Subtitles: English, French, German and Dutch
Direct Link
 


DVDs in Review: #68: King of Queens: The Complete First Season

Category: , , By Rev/Views

In 2007 King of Queens was the last of the 1990s live action sitcoms to finish airing, it first aired back in 1998 and stars Kevin James (I Now Pronounce You Chuck & Larry, and Leah Remini star as UPS deliveryman Doug and legal secutary Carrie Heffernan, a married couple living in Queens. At the start of the series Doug has just put the finishing touches to his basement den by fitting in his new big screen TV and he's a very content chap. He has a lovely home, a beautiful wife, a job he loves, friends and a room specifically for them to hang out in.

Unfortunately for Doug this doesn't last, Carrie's father Arthur Spooner (Jerry Stiller) moves into the basement after his wife dies and he proves incapable of looking after himself. So Doug has to move his couch and TV out into the garage and put up with the rather eccentric Arthur pootling about the house. Fortunately he's got his friends Deacon (Victor Williams), Spence (Patton Oswalt) and Richie (Larry Romano) to fall back on when he's feeling stressed.

King of Queens is a pretty stereotypical sitcom for the era with only a few variations, it remains light hearted and has quite enjoyable characters. Kevin is exceptionaly likable as the warm but slightly emotionaly stunted Doug, and Leah is fantastic as Carrie - providing a mix of beauty, comedy and sheer courseness which makes for an endeering mix. Jerry Stiller, who was the prime reason I decided to watch this is every bit as good as he was on Seinfeld as Frank Costanza. At first his character shares more than a few traits with Frank, but as time passes he settles into a different and distinct personality who is perhaps even more bizzare and emotional than Frank was.

Now, there is a bit of an odd blip in this season as originally Lisa Rieffel was cast as Sarah Spooner, Carrie's attractive wanna-be actress sister. But when the writers struggled to think of stories for her they just dropped the character and never mentioned her again, she's around for just five of the first six episodes. It's a bit jarring and frankly a shame as Lisa is both funny and attractive, but the show doesn't really suffer too much without her presence.

Still, if you're looking for a light hearted comedy show which provides entertainment and laughs all the way you can't go wrong with King of Queens. It's not quite at the level of the heavy hitting 'big' comedies like Seinfeld or Arrested Development, but it has a charm of it's own thanks to an exceptional cast and some fun crossover episodes.

Extras:
None

Details:
Aspect Ratio: Full Frame
Rating: PG
Region: 2
Runtime: 8 hours 58 mins
Soundtrack: English, French
Subtitles: English, English HOH, Danish, Dutch, Finnish, French, Norwegian, Swedish
Direct Link
 


Watching The Wire: Season Two: Episode Three - Hot Shots

Category: , , , , , , By Rev/Views



“What They Need is a Union”
-- Officer Beatrice "Beadie" Russell

Teleplay by David Simon
Directed by Elodie Keene

Starring:
Dominic West (Officer Jimmy McNulty), Lance Reddick (Lieutenant Cedric Daniels), Sonja Sohn (Sergeant Kima Greggs), Wood Harris (Avon Barksdale), Idris Elba (Stringer Bell), John Doman (Colonel William Rawls), Wendell Pierce (Bunk Moreland), Paul Ben Victor (Spiros "Vondas" Vondopoulos), Clarke Peters (Lester Fremon), Amy Ryan (Beatrice "Beadie" Russell) and Chris Bauer (Frank Sobotka) and J.D Williams (Bodie)

With:
Jim True-Frost as (Detective Roland "Prez" Pryzbylewski), James Ransone (Ziggy Sobotka), Pablo Schreiber (Nick Sobotka), Al Brown (Major Stan Valchek), Delaney Williams (Sergeant Jay Landsman), Luray Cooper (Nat Coxson), Ted Feldman (George "Double G" Glekas),Charley Scalies (Thomas "Horseface" Pakusa), Jill Redding (Delores), Jeffrey Pratt Gordon (Johnny "Fifty" Spamanato), Michael Willis (Andy Krawczyk), Jeremy Nichols (Atlantic Light First Mate), Nat Benchley (Detective Augustus Polk), Ernest Waddell (Dante), Shamyl Brown (Donette), Michael Mack (Special Agent Marcus Lemmel), Kevin Murray (Special Agent Cleary), Isiah Whitlock, Jr. (Senator Clay Davis), Antonio Charity (CO Dwight Tilghman), Erik Todd Dellums (Dr. Randall Frazier), Antonio Cordova (Michael McNulty), Eric Ryan (Sean McNulty), Richard Burton (Shaun "Shamrock" McGinty), S. Robert Morgan (Butchie), Kristin Proctor (Aimee), Callie Thorne (Elena McNulty) and Michael K. Williams (Omar Little)

The Summary:



Read about digital cameras, "posion pills" and more reasons why you don't mess with Valchek beyond the link...

The Recap:


Omar has returned to the streets of Baltimore and he’s back to old habits, casing and working over the stashes belonging to dealers. He’s out in the streets talking with his newest boyfriend Dante about their next job and scoping it out, when the very stash house he planned to take is hit in broad daylight by two broads (Kimmy and Tosha).

As Omar himself says “That’s somethin’ you don’t see every day.”

Cue the credits.

After the credits we’re treated to a montage of interviews conducted by Bunk and Freamon, the common thread in each of them is the complete inability or unwillingness of any man to speak English. It’s the crew from the Atlantic Light who are being interviewed here and it is serious slow going, not surprising considering what went onboard that ship. None of the crew has anything to gain from talking, eventually they’ll move on – it’s not like they have to live in Baltimore. Needless to say Bunk and Freamon lose patience and express their impatience and annoyance in classic fashion, ranting gibberish, quoting Samuel L. Jackson and growing angrier as time passes.

The only things which are clear are that two crew members are missing and the can which contained the women came from this ship. The missing members are called Osman and Choksey, we know one of them was the handler and is now deceased (at Vondro’s hands) and the other one is the one who most likely killed both the floating Jane Doe and the others. At this point there is a high chance that the Greek and his men have either found the second one or are closing in on him, you don’t cross the Greek and get away with it.

The skipper (I think) when asked by Freamon notes that an unusual amount of crew members were asking for advances while on ship. The assumption was they were gambling, but Freamon thinks otherwise. The skipper then goes on to tell them that they’re unlikely to get any more information out of the crew than they have already, even with interpreters.

Nicky is at his girlfriend Aimee’s work with his daughter (Ashely), Aimee’s a hairdresser and Ashley is in pre-school, apparently Nick and Aimee have a few problems living a normal family life, most notable is the lack of money – which means they can’t afford a home. Nicky’s every bit as proud as his uncle Frank though, both with regards to his hair and his job. He ends up offending her and she walks away.

McNulty is down in evidence control where he meet Daniels, he muses on the Lieutenant’s misfortune about this posting. Cedric Daniels landed in a very similar kettle of hot fish at the end of the last season, he was influenced by McNulty significantly in the end, chasing after the case instead of following the brass’s orders – as such he got shit canned in almost exactly the way Lester Freamon was over thirteen years ago (Freamon got pawnshop unit but the job is similar). Things in The Wire tend to happen in cyclic natures, it’s because The Wire is modelled after Greek tradgedies and the Greeks believed in a cyclic nature of time – things just keep happening the same as before, only the players are different. But I’ll write more about this as time progresses, because it’s a theme which we will return to.

Daniels and McNulty share a little small talk about the fortunes of the other members of their original Detail. They then talk about the Gant case and Omar while McNulty returns some evidence. Then McNulty mentions how he reckons Daniels will be back out of Evidence control in a couple of years and Daniels responds that he’s put in his papers and will be leaving soon enough.

In west Baltimore the two girls who pulled the stick up job; Kimmy and Tosha, are celebrating while we see the menacing silhouette of a man with a large pistol. The two women are so busy celebrating that they’re caught by surprise as Dante and then Omar himself walk in. "Omar's Back".

In homicide Bunk and Freamon walk in with Beadie in tow. Landsman calls Bunk over to show him an unwittingly funny typo of the word prostrate, missing the second “r” and spelling it as prostate instead. Bunk then brings Landsman up to speed on their success at the Atlantic Light in Philadelphia, or more accurately their lack of it. Landsman isn’t too happy with this, but there wasn’t much either of the detectives could have managed. Landsman wants to know what they plan to do next, they have no answers. Landsman then heads over to talk with Beadie, in his own immutable way he tells her that she should start wearing plain clothes while she’s working this case. As always his delivery of the two descriptions for Bunk (“pinstriped, lawyerly affectations) and Freamon (“brash, tweedy impertinence) is just fantastic and hilarious.

Valchek is talking with an officer in the car park about the surveillance van; it’s been noticed missing. The keys for the van are still around, but the van is not, it was stolen last episode by Horseface. And sure enough, in Wilmington the van has arrived, a port bumper sticker is attached to it and a photograph is taken.

In the new detail offices Prez sighs as he looks at a picture of Frank Sobotka, he’s surrounded by lazy and incompetent detectives who aren’t interested or capable of insight. Prez attempts to introduce some of the techniques he was introduced to in the Barksdale case, but is met with indifference.

Kimmy and Tosha walk up to another stash house, watched by Omar and Dante. Elsewhere Stringer is talking on the phone about mobile phones; as he’s seen Poot and noticed he has two phones. He calls this an example of market saturation, as Tilghman arrives. Back in the street the two lasses walk over to talk with Omar and pass on the information about the stash house.

Later that evening, in a back alley Butchie is gambling with Tilghman, the subject of their betting being a rat and a small dog named Junk. The betting ends when Junk kills the rat and Butchie walks off laughing hysterically.

Omar and his boyfriend are together in their room talking about the plan, Dante isn’t happy about working with the two girls, he wants to do things the way they’ve always done them before, but Omar can see the potential in working with these women. The pair then embrace and kiss; a little something for the ladies.

Back at Butchie’s bar Tilghman is settling his bet and buying some “stuff”, he’s watched by Stringer’s men as he collects outside and then drives off.

McNulty and his boys pull up at his wife’s house, they argue about Elves (the difference between Santa’s and the ones in Lord of the Rings – for the record, both kinds suck), before he and his wife talk about a “separation agreement”. She goes back in the house and we watch McNulty through the door’s small window. His face trapped and confined by the frame before he turns and walks away.

Nicky and Zig are at the port the following morning, they’re talking about the lack of work. Nicky is concerned about a lack of solid wages coming in, Ziggy is happy about a day off. Ziggy shows his usual sensitive concern by responding to Nicky’s worries with an enquiry about Aimee’s sister. He then attempts to push the idea of selling drugs again but Nicky isn’t interested.

Bunk and Beadie are driving around looking for the place where the can was supposed to be delivered, but it’s clear the address is fake and the one at the other end probably is too. As Bunk says himself “it’s a can of dead girls sent from nowhere to nowhere”, a seriously hard case to crack. Later that day McNulty stands by the port looking at a picture of the dead girl and her family.

Stringer is talking with Butchie about Tilghman; Stringer wants to use Butchie for the set up, Butchie’s concerned about the money – Stringer says he’ll make it right and that it’s for Avon. Butchie agrees to help as it’s for Avon. He then says Tilghman will probably call by tomorrow.

McNulty is back talking with Dr Frazier about the girls, it doesn’t make any sense to him why the girls were killed and the one girl was dumped first. All that can be confirmed at this stage is they’re eastern European at least three of the girls were in Hungry, Budapest recently as their fake breasts can be traced through serial numbers. Additionally a lot of them had had sex before dying, Frazier goes on to tell McNulty that Cole is no longer on the job, instead it’s now Bunk and Freamon – McNulty looks annoyed at himself. He didn’t care about the splash hitting Cole, but Bunk and Freamon are friends.

Outside the stash house Tosha is walking a Chantelle to the stash house where she calls for Mr Stump, Stump opens the door to find Omar, Dante and Tosha with guns pointed. He rabbits.

Tilghman is loading powder (cocaine I believe) into cigarettes in preparation for smuggling them into the prison. This is how he makes a little money on the side, he buys the stuff from Butchie and then smuggles it in past the other guards, no-one thinks to check a packet of cigarettes and there are no sniffer dogs.

Back in homicide McNulty arrives and is immediately greeted by Bunk’s first “You happy now bitch?” of the season. McNulty is apologetic about what happened and has a few little bits of information for them. He has a theory about all of this, but Bunk and Freamon already know most of his theory and extrapolates it out in front of him. McNulty wants to help where he can as he’s a little bothered about the end fate for those girls if they’re not identified – medical cadavers followed by cremation and a mass grave. Beadie agrees with him on that one.

Father Lewandowski is hosting a meeting for many political types, giving Frank a chance to push his cause and try to win votes. Initially he talks to one guy, but he’s considered a safe vote already and Frank is told by DiBiago that he needs to talk to John Carney, Liz Tobin and Clay Davis (remember him?) to secure the hard to reach votes. Clay in particular is a difficult one; he’s already been brined with forty thousand and is still asking for more. Frank goes over to talk to Clay who makes it clear he expects more.

Bunk, Freamon and Beadie head over to talk with two special agents about the girls, they confirm that the lost earnings from that many prostitutes works into the millions. Bunk’s suspicions are confirmed as well, the address in LeHarve is also a dead end. As they sit there the magnitude of the business and revenue in human trafficking like this hits them.

Valchek and Prez are having dinner with their family while they talk about Prez’s detail. Valchek feels things should be progressing as people like Lieutenant Grayson came with Burrell’s recommendation. Prez tells him it’ll take a while and then admits not much is happening, he fills in everything which he thinks should be happening and isn’t. He then goes on to say how things should be done in full detail, how the Barksdale case could have been worth millions in real estate and even hit political candidates. He then goes on to explain how Burrell sank the case while Valchek listens.

Donette is at home when Stringer calls to visit, he’s checking up on the pair to make sure they’re OK. Or at least that’s what he claims. He goes on to ask if D’Angelo knows what he’s missing before sitting down. After a moment Donette comes out with a suit for Stringer, String isn’t happy about her trying to give away his clothes and tells her she should stop trying to forget about him and instead go visit him, because if Dee begins to crack then the Barksdales are in trouble. He then gets up and the pair kiss and begin to undress on the couch.

At the bar Bunk, McNulty and Beadie are having a few drinks. Beadie says she’ll have to leave now because she has kids at home. She attempts to pay but Bunk isn’t having any of it, so she leaves. McNulty then goes on to talk about the floater, he intends to find out who the girl was and who she is, give her a proper burial. Bunk theorises its McNulty’s Catholic upbringing making him feel guilty. McNulty responds with a “what do I have to feel guilt about?” Classic McNulty.

Next day Valchek arrives in his office and sits down to read his mail. One envelope in particular catches his eye, he finds inside a Polaroid of the surveillance van showing it in a can on the dock with some longshanks standing pointing to it. He’s not impressed.

Frank is in his office when Ring comes in to talk with him, Ring’s got a problem with his dues, he’s late on them and lacking hours. It’s a problem which is killing him and he needs to move on to a different area. Frank gives him a little cash and tells Ring to go to Delores’s bar and ask for a beer and a shot on him. One round and then go home and if Ring still feels like leaving the following day then it’s fine by Frank.

Up in the port can control Johnny is monitoring the cans; Ziggy comes in and asks for a winner. Nicky arrives with a truck cab and Johnny tells him where to go for the can, Ziggy heads over to talk with Horse, getting the can moved to K-122 for pick up by Nicky. The pair of them get it hitched onto the cab and Nicky rolls out, giving Horse a quick wink when he’s seen by him. Johnny watches Nick drive out of the port with the can as a ‘misdelivery’.

Tilghman is in Butchies paying for his goods. Junk starts barking at him and then he leaves. Butchie comments that Avon has “no flex”.

Dee is in the library putting books back on the shelves when Avon comes to talk with him. Avon asks how Dee’s finding working in the library and then hints that he sorted it out for him. Dee is still very angry with Avon, but Avon tries to convince him that it’ll all be sorted and that he’ll be out soon enough. Avon is unhappy with what Dee’s doing in here, talking drugs and so on. Avon isn’t happy with this, he believes in selling, not using drugs, and he asks Dee to stop. Dee agrees for a few days at least.

Nicky and Ziggy arrive at an electrical outlet store, they’re out back when they are met by George "Double G" Alexander Glekas the manager, they have around four hundred digital cameras which should go four around five hundred. They’re looking at about two hundred thousand at retail, Nicky wants twenty percent of that, but is offered only eight percent for a total of sixteen thousand. Nicky pushes for twenty thousand and gets it. Ziggy takes a picture, George snatches the camera from him angrily and smashes it.

Polk and the others are playing cards when Valchek storms in; apparently Lieutenant Greyson is on the street. Valchek looks around and sees how little progress is made. Later on Burrell is talking with people when Valchek arrives, less than impressed with the humps that have been sent for his detail. Burrell wants to talk about this later, but Valchek wants to talk now, he threatens Burrell with various things. Valchek is a powerful political animal and could sink Burrell’s chances at becoming commissioner with just a few conversations. Burrell asks him what he wants and Valchek asks for a new detail, one headed up by Daniels. Burrell tells him that Daniels is out of the department and Valchek tells him to talk to Daniels otherwise there will be an ugly fight over Burrell’s promotion.

In prison Tilghman hands over the cigarettes to an inmate who re-cuts them and then hands them out elsewhere. Dee is on his usual route, but passes on it.

George talks with Vondros about the cameras, Vondros is interested in who delivered them, when he hears it’s Ziggy and Nicky he’s a little reticent, but they are both of the opinion Nicky is smart enough to make up for Ziggy’s shortcomings. So Vondos tells him to make the deal.

In Delores’s bar Ziggy is quiet, Delores wants to know what’s up with him and he says he made money today. Then Ring arrices, asking for a drink which Frank says he needs. She then hands him his change, a significant amount of money for Ring. Ziggy watches the whole thing unfold and then Delores turns to Ziggy and tells him Frank’s a good man.

Mcnulty arrives back at his house; he opens up the paperwork for the settlement, glances at it and throws it on the floor.

In prison Dee and the other inmates are awoken by several inmates falling ill. Dee watches through the frame in the door (similar image to the one which framed McNulty earlier) as people are carted away on dollies. Then the camera pans towards Avon’s cell, where we see through the window that he’s laying back, relaxed and reading. He already knows what’s happened, what will happen and where Tilghman is going to end up…






The Review:


The title of the episode refers not to the rather fun comedy movie starring Charlie Sheen, but instead to the package given to Tilghman. Hot shots are poisoned drugs, used to kill someone (or in this case make them very ill in order to bring Tilghman under suspicion.) But it also has connitations elsewhere in this season, the concept of a hot shot is not something which can be limited to just poisoned drugs. There are plenty of "good deals" with poison consequences abounding in The Wire. So it's a concept which you should keep an eye out for, in more subtle forms at least.

The second, more ironic element is Beadie's tag line about the prostitutes needing to form a union. It's quite a statement coming from a female officer, but it's also exceptionally ironic in the context of the second season which is showing a Union struggling to stay alive and protect it's members.

Hot Shots is probably the largest lull in the storyline of this season, the honest truth is very little actually happens. The story continues to provide development, character and a few more bits of progress here or there but the major events are few and far between. The most significant of which is probably Frank Sobotka's surviellance van hijinks, which goad Valchek into action. He has considerable pressure, and turns on Burrell, seeking a new and fresher detail filled with skilled people. Burrell isn't a man with enough power or spine to face down Valchek at this point and as such wheels have been put in motion. Most likely if Frank didn't provoke Valchek any further the detail assigned to him would waste time playing cards, Prez would whine a bit and then it would be shut down. A proper Polk operation.

Instead Burrell now has to take it seriously, and this could be bad news for Sobotka and the Stevedores.

While The Wire is always a visual treat, this episode in particular is filled with stunning scene after scene. So many of them are well shot and meaningful, I was very intrigued with the multiple "through the window" door shots, there's the one of Daniels in evidence control, one of McNulty at his home and then another pair at the end of the episode - one showing Dee and the other Avon. I'm sure there's meaning behind them, but right now I can't put my finger on it...

I suspect it's something to do with the characters positions, stuck on the wrong side and forced to look through a window at the world they want to be in. But I'm not sure. I'm open to suggestions here.

Direct Link
 


Forced Viewing... Week One

Category: , , By Rev/Views
At the tail end of this week I really got into watching shows I would normally avoid. I didn't really take notes while watching them, so it's mostly going to be vague impressions and I might even forget some of the shows I watched, but here we go.

First of all a thank you to Dan Owen over at Dan's Media Digest for pointing me in the direction of some trashy TV yesterday. I didn't watch all of your suggestions because other things interrupted (e.g. Have I Got News For You). But I did indeed watch Total Wipeout, which I must admit I didn't hate. In fact I had a bit of a grudging admiration for the contestants and a bit of a dislike for the editors who felt some need to make people having to perform difficult and humiliating tasks look even more foolish with replays. Mostly I was impressed with the sheer nuttiness and grit shown by the contestants and I enjoyed rooting for whomever looked least likely to win.

Of course I was drawn back to watching Robin Hood again, mostly because I wanted to see if the quality shown in the previous episode would continue. Sadly I don't feel it did, the show was back to it's usual nonsense and I think my main assessment is this. Robin Hood is bad, Jonas Armstrong is a complete fish out of water (and bad) and Richard Armitage is just brilliant. Seriously he needs his own starring role in a fantasy/medieval series where he can play a character with dubious morals, maybe a British Firefly type show with a band of rogues chugging about the universe. I could see him as a Captain Malcolm Reynolds sort easily. Anyway, I shall probably watch until the end of the series, at least then I'll have some context for Dan (DMD) and Aaron's (Snark and Fury) reviews of the show (which is how I've been following it without watching up until now). Apparently there are some deaths promised in the series finale, I'm holding out for Robin Hood popping his clogs.

I also attempted to watch some Big Brother 10, but I did find it exceptionally difficult to follow anything which is going on. When there's fifteen (I think) people around it's rather hard to follow anything, especially when quite a few of them look and sound similar. I can barely tell the difference between the two blondes at all, apparently one of them is now called Dogface after changing her name on the show (I can only assume it was for a task). That's pretty amusing, especially whenever Marcus Bentley narrates about her in his always amusing accent.

It was really difficult going watching any of the "highlights of the past 24 hours" and I could barely keep my attention for more than five minutes before wandering off to sandpaper my face away in an attempt to clean off the stain caused by watching. But the absolute worst moment occurred during the live eviction show on Friday, which I was watching while waiting for 8 out of 10 Cats to start. Housemate Cairon, who's London born but raised mostly in America had some major problems with Sree, a sweet overly sensitive soul who'd asked him to treat women with respect. How dare he suggest such a thing, as the age of the gentleman is dead and gone, dem is all bee-hatches and garden ho's now innit?

As such the scene unfolded with this bizarre hat wearing pseudo-wannabe gangster/rapper type just rapid fire attacking poor Sree. It was an exceptionally vile and horrible moment of bullying, made all the worse by the total apathy from many of the other housemates around. It was like watching one of the less intelligent street lads from The Wire verbally abusing a Disney character in the Playboy mansion - it was almost funny just how one sided and unpleasant the whole thing is, thankfully Big Brother stepped in where everyone else failed. All I can hope is the very moment Cairon is up for eviction he's turfed out of the house faster than you can say "gimp".

The highlight of the awfulness for me though was Embarrassing Illnesses, a show which takes members of the public with... well... embarrassing illnesses and brings them on the show to try and see if the medical profession can help out. Sort of like a TV GP. This in itself is quite an altruistic idea, it's a reality TV show which is genuinely looking out to help people and I initially found myself nodding in approval.

But gradually I began to notice the insidious and disturbing undertone to the show. These poor members of the public are paraded out and put on display for the public to ogle at like the old freak shows of yesteryear. One poor chap had his infected (and obviously very painful) scalp infection described as "manky" by the technician examining his skin cells and just about every single moment is punctuated by terrible puns and one liners just highlighting the humiliation these people are going through. All that was missing is a few amusing "You've Been Framed" style sound effects, canned laughter (and other such audience noises), a little "WAA, Waa, waaa, waaaaaaaaa" music and you'd realise just how perverse this show actually is.

I'm pretty used to human suffering being exploited in the name of "reality television" by now, but I think Embarrassing Illnesses managed to push the envelope all the way out with it's underhanded and sneaky handling of the whole thing. I wasn't exactly offended, I think it's impossible for TV to offend me short of showing something absolutely illegal or so debasing I can't even bring myself to suggest the acts here (I guess I'm just too desensitised by all the violence on the telly vision these days), but Embarrassing Illnesses did manage to make me feel dirtier than Big Brother did. And that's an achievement to be proud of.
Direct Link
 


DVDs in Review #67: The Shield The Final Act: Season Seven

I was half tempted when I sat down to write this to post the following:

"It's amazing. Quite literally the best thing I've ever seen on television, and most likely the best thing I'll ever watch in my life."

And then just sign off the review at that. It would be completely true in every aspect and there doesn't seem to be much point writing anything more. I'm still left somewhat speechless when I try to express just how unbelievable and perfect the final season was. The last few moments of the show just blew me away, left me emotionally drained and pretty much unable to comprehend normal speech.

I have trumpeted my love for The Shield pretty much since I started writing here, it's the one show I'd almost profess to being a fan of, and that's saying a lot because I have the following definition of the word fan:

fan - A person marked or motivated by an extreme, unreasoning enthusiasm, as for a cause.

Yeah, over here in my book fan = fanatic. Mind you, my book is written in crayon and has bold easy to understand pictures about a boy named Bill and his ball, his big, red ball. But still, as much as I adore The Shield and consider it the single greatest piece of television I've ever had the pleasure to watch, I still hesitate to call myself a fan, because there's solid reasoning behind my claim.

Ever since The Shield burst onto the screen all the way back in 2002 it's been a show which has pushed the boundaries of both television and quality all the way. I was gripped from the end of the very first episode and amazed more television just wasn't this visceral. If you were to liken The Shield to an animal it would be a shark, swimming in your bathtub, with your privates already in its mouth and a tendency to shake while biting down - it's that darn intense and gripping.

Still, many shows can't manage to keep up such a level of intensity and devotion to their chosen path. 24 devolved over time from a truly unique concept into a laughable and at times disturbing parody of itself, Lost had a truly atrocious second season and even The Wire slipped a little when it reached it's fifth and final season. Considering the pedigree of shows like The Wire (and Lost), what chance does The Shield have at keeping up a consistent level of quality?

The short version is; every damn chance in the book. Because not only does The Shield keep up in it's consistency, delivering eighty eight episodes without a single one slipping in quality; not only that, but it manages the simply staggering feat of getting better with each passing season. And the seventh season, this final season contained within this boxed set, it is THE best season of The Shield by not just a bit, but by a huge margin. It's a season which brings a seven year story thread to a final and utterly devastating close. It's a show which remains utterly dedicated to it's own unique style and vision right until the final moment the credits hit, leaving you feeling drained and emotionally wrung out.

That's not to say the season is perfect, it isn't - initially the season takes a little time to get going, you can be left feeling a little "where's this going?" at times, but looking back on each episode now that I understand the entire picture I can see why things happened the way they did. It all builds up to a staggering set of pay-offs. The only other show I've seen which has managed to pull such a meaningful multi-season story is The Wire, where the character Bubbles, a minor character for much of the show (respectively speaking) closes out his five season "life story" with such an amazing earned moment. The Shield manages the same thing, it earns those final scenes and savours them with such poise and grace.

Yes, The Shield is not for everyone. It is a controversial show for good reason, it's a very macho and even misogynistic show at times. The leads are thoroughly unpleasant pieces of work and the crimes they commit in the name of law enforcement are absolutely revolting at times. But the show manages to highlight the duality of the characters, you begin to understand why they're doing what they're doing. The actions of Vic and the Strike Team paved the way for many morally grey (or outright black) characters to arrive, Dexter in part has a lot to thank Vic for.

I could go on for a long time, and I'm sure that this isn't the last time I talk about The Shield. So all that's left to say is this; if I still bothered with star ratings this one would go all the way to eleven.

Now if you excuse me, I'm going to go watch it all from the beginning again.

Extras:
Episode commentaries from the cast and crew
A Special behind-the0scenes Featurette (which is must see)
Deleted Scenes
Commentaries on the Deleted Scenes

Details:
Aspect Ratio: 1.78:1
Languages: English, French
Rating: 15
Region: 2 (though the Region 1 release is identical)
Runtime 11 Hours 20 mins
Subtitles: English, Arabic, French, Hindi
Direct Link
 


Forced Viewing... Robin Hood

Category: By Rev/Views
A rather peculiar thing happened last Saturday. I got home from a long day of work, spent dealing with a rash of genuine POS members of the public, RSI in my wrists and a blinding headache caused by a lack of sleep. Additionally due to flooding on the train lines I'd been delayed a further half an hour longer than usual in getting home.

I arrive back, put everything away and turn on the telly box, looking forward to watching some episode of Top Gear I've already seen five or more times before over on Dave. Pretty much the perfect television for winding down in front of, which is what Dave is all about for me and that's why it's my favourite British terrestrial television station - even if they do keep showing the same episodes of QI over and over (enough with the A series please Dave, I want something a smidgen more recent!)

But after turning on my box and TV I have a sudden and terrible realisation. For the first time in pretty much my life the channel remote has gone missing. For some of you this might be a pretty common occurrence, but for me it's a rare thing indeed, I keep all five of my remotes together, in order of height and colour. Yeah, a little OCD, I know. But the unthinkable happened and I was stuck with the TV on BBC 1 - left there from the previous night where I decided to watch The One Show because Adrian Chiles is quite likable and Christine Bleakley is a strange collection of physical and personality traits - which when taken separately are quite annoying, but when put together become simultaneously lovely and attractive.

This time though The One Show was not on, no - it was seven o'clock on a Saturday and this meant one thing. Robin Hood was on. As soon as I realised this I pretty much let out a cry of despair at the ceiling and began frantically hunting for my remote, pleading with anything which might be willing to me help out - my previous experiences with Robin Hood have always resulted in my switching the TV off.

After searching for five minutes unsuccessfully I sat down in my chair and considered my options. I could either switch the TV off and read a book - but I really wasn't in the mood to read, change the TV channel to the DVD setting and watch something from my collection, but glancing at it didn't reveal anything which grabbed me at the moment. I could turn on the 360 and either play Left 4 Dead or Castle Crashers, but I wanted an activity which would allow me to nurse my headache without forcing too much activity. So no luck there.

But, while sitting there I began to realise I was there was another option, so surrendered to the fates which caused my remote to be mislaid and actually watch an episode of Robin Hood again. So I began to pay attention - it seemed that the trendy, escaped from our time Robin Hood (Jonas Armstrong ) was sat by a fire with the more realistic (and frankly better) Guy of Gisborne (Richard Armitage) and they were being talked at by some mysterious hooded figure with a wheezy voice. He told them a story and I got to watch an episode with virtually none of the characters from the show in it. This turned out to be a genius move as the actors they had in for this 'one off' were much, much better than 90% of the current cast.

Now this story was rather predictable and pedestrian, and included more than it's fair share of retch inducing moments - combined with a pretty cruddy performance from the boy playing 'Young Robin'; but on the whole it was quite watchable. I found myself paying attention and understanding why there are people who watch and enjoy this mind-numbing tripe - it just doesn't try and offend in any way what so ever. No surprises, no need to philosophise or understand character motives, just sit back forget about any sort of realism or a remote jot of period accuracy (I can't call it historical accuracy because it's hardly history) and enjoy!

I also found myself thinking how much better this was without the normal cast doing the acting and wistfully remembering Robin Hood: Prince of Thieves, Robin Hood: Men in Tights and the Errol Flynn's The Adventures of Robin Hood with a forlorn remembrance of how much better each of those was than this (aye, even Costner's Robin is better than this one.) But I did continue to watch even though I had the option to switch off the TV and go paint a wall. I stuck with it until the episode finished and at times enjoyed the events.

And even though my only gains from the experience were the following...

a) If your cast is as rubbish as a lot of the Robin Hood one is (from previous viewing experiences), don't highlight it by giving the viewer a great episode episode which is well written and acted - without including your main cast for most of it. Then again, if this is some plan to boil Robin Hood down to Guy & Robin then I'm all for it.

b) Richard Armitage as Guy is just about the best thing in the show and as such I'd be very happy and content if he killed Robin and everyone who knows what he looks like then take over the job. I'd watch the "Guy of Gisborne" show on a weekly basis.

c) A Knight's Tale is more realistic and historically accurate.

d) I absolutely hate, HATE that CGI archery target board transition with a passion.

e) I forgot just how much I enjoyed the scene where Guy slew Marian at the end of the last season. That was a well written moment, even if it was a tad misogynistic... Then again, what do you expect to happen if you taunt a heartbroken and violent man carrying a sword? Bravo Guy and bravo the writers for that one.

...the experience was a lot less painful than I expected it to be. At times it was actually fun.

Frankly I wouldn't go out of my way to watch Robin Hood again any time soon, but as the experience was not as awful as I remembered earlier episodes being it did give me with an idea. So each week I'm going to find a show I normally wouldn't watch and give it a go, then I'll write about the experience here on either a Friday or a Saturday. Maybe I'll find some new gems, get a new perspective on something old or just revise my opinions (which believe it or not I have actually done where RH is concerned, as I now class it as light entertainment instead of "must avoid").

As for the remote? It turned out to be hiding behind my Rock Band guitar.
Direct Link
 


Good News Everyone!

Category: By Rev/Views
As today has been such a fantastic day for television I like I'm going to break down the highlights, complete with links.

The Shield's final season is available for purchase on DVD this week, managing to make it to both sides of the Atlantic at the same time. A big thumbs up to the production company for managing this. Get out there and support quality TV by picking up either this or the complete set (I shall get both!)

Fox see sense and renews Futurama for another season with 26 episodes. I hope my purchasing of all the DVD movies helped in some small fashion. (Thanks to Rob Buckley for bringing this to my attention - always cite your resources!)

Rob, in a double whammy also let me know about an interview David Simon held with Simon Mayo and Treme is mentioned. I shall be listening to it on the train tomorrow.

Shawn Ryan (The Shield's creator) has his pilot "Terriers" greenlit. (Rob mentioned this as well, but I didn't notice it in the excitement over Futurama and found out about it elsewhere).

Mad Men's 3rd season hits the screens August 16th.

Seriously, as I have such a specific set of tastes in the world of Telly Vision (finding 99% of it out there utter rubbish and hiding from it like some TV hermit) days like this are so rare they have to be savoured and celebrated.
Direct Link
 


Why You Should Watch... Extras

Category: , , , , , By Rev/Views



"...She's scrabbling around to get them back on again, but even before she can get her knickers on, I've seen everything. Yeah. I've seen it all."
-- Patrick Stewart

It's no secret that I care very little about Ricky Gervais's earlier creation The Office, as I found Gervais's performance as David Brent completely unwatchable. I know and understand many people found it hilarious and a spooky parody of "the office boss", but I found it as tolerable and puking inducing as watching a snail being crushed by a shoe in slow motion. Backwards. While Aria on G String plays. Mixed with the Cheeky Song. Backwards.

I know it was Gervais who made the show so utterly intolerable for me, because Steve Carrell on the US version of The Office doesn't elicit the same bodily response from me. Instead of wanting to pull out a hammer and cave in my own skull while watching I actually have an enjoyable experience with laughing and genuine empathy for Michael Scott (Carrell).

So there was a genuine level of wariness when I first heard about about Extras from friends and family, as it was mostly coming from people who admitted they loved The Office (UK) - most of them still haven't seen the superior US version, philistines! As such I missed out on watching the first season when it aired on the BBC. Not even the mention that HBO was involved in the production made me come out of my shell and take a peek.

But then I saw the first series available for purchase at a ridiculously low price - I can't recall exactly how much, but my mind is telling me it was around three quid. So I decided to give it a go, I'd sat through the experience of H2O in the cinema and that cost more. I'd also seen Gervais's stand up live and that was very good. So how bad could Extras be? Crappy lightning doesn't strike twice, it's too runny.

The short answer is not bad at all, not even in the slightest. Gervais's character Andy Milman is a far more likable and sympathetic individual who manages to be flawed without being an inhuman caricature of a cardboard goblin. He feels quite genuine in his struggle to 'make it' and be recognised as an actor. But more importantly here Gervais is supported by some fantastic actors who are willing to throw themselves into the project. Ashley Jensen plays Maggie Jacobs, a fellow extra like Andy who's also searching to 'make it' or make it with mister right, and she's a lovely character indeed. It's almost heartbreaking to follow her struggle throughout the series, but she remains sweet and funny throughout.

Then there's Stephen Merchant as Andy's rather incompetent agent Darren and Shaun Williamson as Barry "off Eastenders" aka himself. Shaun in particular is a great sport in this, more than willing to send up his career as he shuffles around like a man who's been beaten into submission. And Shaun Pye as Greg, Andy's nemesis, a fellow extra who's talents are recognised and enjoys a meteoric rise while Andy wallows in mediocrity.

But the real star turns are the ones performed by the guest stars each week. Many famous Hollywood and British actors take part in this show, playing often hideously inaccurate and offensive caricatures or stereotypes of themselves with a passion and sense of irony which shows that they're more than willing to send up themselves and famous actors in general. In the first series we have the likes of Ben Stiller, Ross Kemp (who's brilliant as a pretend hard man), Samuel L. Jackson and the brilliant Patrick Stewart (Who's write a script about a man with the ability to change the world with his mind. But just uses it to make women's clothes fall off like a dirty old man. The second series brings us; Orlando Bloom, Keith Chegwin, David Bowie, a fantastic Daniel Radcliffe (as a pervy teenage version of himself), Sir Ian McKellen and Jonathan Ross. While the finale/special brings a host of actors including Clive Owen, George Michael, Gordon Ramsay, David Tennant, Hale & Pace and more besides. While it's no surprise that so many actors are willing to get involved with one of Merchant and Gervais's projects, it's refreshing how willing they are to lampoon themselves on screen.

Extras is a great piece, not just because of the outlandish performances from all the celebrities involved (big or small), but also because of the humanity in the show. Extras are an essential piece of television, they plod along in the background fleshing a scene out, bringing realism to shows, all the time hoping that they might get recognised or even just get a line. And Gervais knows about this business, his experiences in it bring a weight and emotional edge to the show which just isn't present in The Office. This really is a show which tries to celebrate the struggle to become famous and then demonstrates how meaningless it is when you succeed.

Andy's course across the series, culminating in the ultimate humiliation/last ditch remember me experience - the celebrity reality show - is a chilling example of what happens to most people involved in the industry; the machine ignores them until they show ability for making money, then it sucks them in, chews them up and spits them back out. Left with a taste of what was like for a brief moment to be noticed. Andy's speech on Celebrity Big Brother is a powerful one and a great way to close out the entire series.

Extras is a genuine piece of telly culture; a sit-com which manages to be both funny and thought provoking simultaneously. It's something which holds up to repeated viewings and also has something meaningful to say to those watching and the industry itself. Of course; if anyone is listening is another matter entirely, and if Extras is right...

No-one is listening and no-one cares.
Direct Link
 


Nurse Jackie - Two Episodes, One Set of Thoughts

Category: , , , By Rev/Views

I'm not really sure what to make of Nurse Jackie, Showtime's latest addition to a growing stable of programming. It's a thirty minute hospital comedy drama starring Edie Falco and based around her as the titular nurse - instead of being focused on doctors like the umpteen other drama, comedy and comedy-drama hospital shows. I watched the pilot episode and hadn't really formed an opinion, so I then watched the second episode and still didn't really form a serious opinion. The hour of watching passed by pleasantly enough, neither episode seemed to drag, but by the end of it I was left feeling an hour of my life lighter but none the wiser as to how good the show actually is.

I think the big problem I had is there was no real big punch to either episode, things just kind of happened, some were mildly amusing, nothing was really shocking and the characters are sort of very one dimensional. Of course, this early on in a shows run it's difficult to break the characters down into complex individuals, especially the non-titular ones. My notes about the characters run down as follows; gay male nurse, newbie nurse, British doctor and best friend, problematic young doctor seeking attention, another gay nurse, Jackie's affair doctor, Jackie and her family (husband plus two daughters). That's about as far as I could distinguish them, Jackie herself has a quite a bit going for her on the complexity front, but nothing I haven't seen before elsewhere.

Likewise Jackie isn't doesn't seem to have anything unique about her; she's a drug taking, straight talking, philandering, seen it all before nurse with a heart of gold. Who gets through her days on a mixture of cynicism and prescription drugs. You could almost call her a mixture of House, Cox and Gray in a nurses uniform. But, I also found that she's a bit of a success in some aspects because I didn't automatically judge her negatively which we find out she's married and cheating on her husband. It's good when a character can do bad things without automatically being hated. Some of my very favourite shows have exactly that happening.

Visually the show is quite stunning, there are some great moments, especially the 'cracking the pill' sequence from the pilot episode, a shot of which I've decided to include here.

But it really doesn't do the whole sequence justice. Likewise the opening credits, which first make their appearance in the second episode, are very striking to watch - but I found the theme tune chosen annoying. It was at odds with the appearance of the shows credits, it's rather pushy/aggressive when the credits are more sort of broken window glass in mid flight in style.

Over the pilot and second episode we're treated to multiple drug related scenes, two boob grabs, a deceased biker, fake organ donations, a flushed ear with diplomatic immunity, an affair, a kitchen floor romp in fruity pebbles, the diplomatic ear unflushing itself, newbie nurse throwing up twice and a mother who took her son's safety helmet off him in order to get better skateboarding shots. An eclectic mix of drugs, sex and death - which might well be enough to keep the show interesting, especially if there turns out to be several long term plots built up, a solid sense of time and stronger comedy in future episodes.

Right now I'd call it a mix of House, Gray's Anatomy, Green Wing and Weeds. Which means it might do quite well as it's positioned on Showtime's line up right after Weeds and has several elements in common the show. It's these elements which have one thinking I should keep an eye on this show, Weeds is something I grew to love greatly - in part because of the W.W.V.M.D? A scene which inspired me to go have a T-Shirt made. And in part because of the mix of great camera work, funny moments and ongoing drama. But unlike Weeds, which has several gripping and often funny characters, at the moment only Jackie herself is interesting here.

This is a show which bears watching and might grow into something special as time progresses.

For some additional takes on Nurse Jackie I'd like to recommend Rob Buckley's review over at The Medium is Not Enough and Memles over at Cultural Learnings. Because it's always good to get a second or third opinion on something and Memles makes some interesting comparisons between the structure of the pilot and Mad Men's pilot.

footnote: Eve Best's performance as Dr. Elenor O'Hara is pretty good in this, but her accent is that strange percuiliar creature which seems to exist only when the English are placed in an area surrounded by Americans. It's almost exactly the same accent as the one Tara Summers had in Boston Legal.
Direct Link
 


DVDs in Review #66: Boston Legal - Season One

Category: , , , , By Rev/Views
[My hand is still messed up at this point, so again this is a one handed typing job, apologies]

Boston Legal's first season aired back in 2004 and was born out of The Practice's final season - it was created as a spin-off from The Practice, which was sagging in the ratings and so was used (in part) to set up Boston Legal, a show with a mostly different cast and a different flavour to it. Boston Legal ran for five seasons and the first is often considered to be one of the best, if not the finest. But regardless of which season you prefer, Boston Legal is without a doubt one of the best spin-off shows to have aired on telly vision alongside great alumni like Frasier, The Colbert Report, The Simpsons and Happy Days (which reminds me of a brief time I entertained Spin-Off Sunday, a tribute to the greatest spin-offs and a look at some potential fictional ones, maybe I should revive that - if there's interest).

Fresh from the events which closed out The Practice's final season, Alan Shore joins the law firm Crane, Poole and Schmidt which represented him the previous show. He and Tara have both been hired into the firm by Denny which sparks a long and lasting friendship between the two men.

Boston Legal is a light-hearted law based drama with a huge bent for the comedic, at no point does the show ever take itself seriously, many of the court cases are at least slightly humorous in their nature and Denny's antics alone across the seventeen episodes which make up the first season are enough to place the show firmly as 'comedy-drama'. It's got a smart, witty, sexy cast who aren't afraid of looking foolish at times - including greats like Candice Bergen, Rene Auberjonois, Mark Valley and Christian Clemenson (who guest stars in this season).

Over the first season Crane, Poole and Schmidt deal with problems within the law firm and legal cases; dealing with a prominent member of the firm being institutionalised, disturbed ex-lovers, Alzheimer's, a transvestite Santa Claus, Denny being arrested for solicitation, science teachers refusing to teach creationism, Alan hiring men to fight in a bar brawl for him and many more. As you can see this is not a show which shies away from unusual issues, politics and the absurd.

Now, unfortunately for the viewer who wants the complete story arc this set (from FOXTVDVD) fails to include the episodes from the final season of The Practice's eight season which introduced Alan Shore (James Spader), Tara Wilson (Rhona Mitra) and Denny Crane (William Shatner) which some of the other versions of this set do. It's not going to spoil your enjoyment as such, but it is a shame because the performances from Spader and Shatner are just fantastic. It's worth tracking down the final season to watch their performances in my opinion as it's very much the prelude to Boston Legal.

Extras:
Deleted Scenes from the pilot
Court is now in session: How Boston Legal came to be
An Unlikely Pair: Alan Shore and Denny Crane

I've always felt that Boston Legal could do with Mystery Science Theatre 3K style riffing commentary from Alan and Denny - unfortunately this hasn't happened... yet.

Details:
Aspect Ratio: 1.78:1
Rating: 12
Region: 2
Run time 11 hours 37 mins approx
Soundtrack: English 2.0
Subtitles: Danish, Finnish, Norwegian, Swedish, English HOH
PPM: 4.4
Direct Link
 


DVDs in Review #65: Battlestar Galactica - The Final Season

Category: , , , By Rev/Views
[Note: Apologies if this one is a little taciturn and not as verbose as normal, I've been forced to type it one handed due to an injury]

So the re imagining of Battlestar Galactica is over and the final season is out for DVD on general release. Battlestar Galactica is one of those shows I've had something of a love/hate relationship with, when it's good, it's very good, but when it's bad, it's horrid. Season Three was the biggest culprit for this, containing huge swathes of episodes filled with stuff I just couldn't care less about. Fortunately the final episodes of the third season more than made up for this, and Razor followed by the fourth season continued with many fantastic moments and episodes. It seemed that slimming things down and combining them with the sense of urgency that the end of the line brought really resulted in

At the end of the fourth season boxed set the crew of Galactica along with the human fleet had found Earth a dead planet, destroyed and torn down to ruins and dust. This leaves the fleet without direction and as such the despair is so palpable you can taste it. The final season goes to some truly dark places as humanity, morale and even the fleet begin to fall apart. Some of the episodes in this season are BSG at it's absolute finest, the acting, directing and script all have a sense of urgency and desperation to them which hasn't really been palpable since the start of the third season (and before that in the mini-series & season one). There's a real return to the struggle for survival, but while the Cylons were the largest threat before, now it's the nature of humanity and the stresses of prolonged space travel which rise up.

This season features rebellion, religion, racism and so much more as it touches upon real life issues in the way which BSG does best, true at times the show has in the past handled things a tad ham-fisted, but the final season (for the most part) is a more elegant creation and far more subtle. The show remains true to itself all the way up until it's final moments, but the best episodes are not the final one.

Which brings me to the final episode, which is something of a disappointment, while it does include some fantastic moments, it also suffers from 'repeated endings' a symptom of poor editing which Return of the King also has. This is where a scene is provided which is pretty much a perfect ending, then the show cuts to black for a little too long before opening up with another scene. The final moments of BSG had so many of these that I found myself getting increasingly more irritated as time passed and wishing that the show would just 'hurry up and finish'. That's not really the kind of reaction you want to inspire in a viewer - in comparison the finale of a show like Six Feet Under brought out a profound level of sadness and loss in the viewer, most people who saw that were emotionally crushed and uplifted by the events. BSG's finale instead just brings out irritation and impatience. Which is a shame, because the individual scenes are fantastic and heartfelt - they're just put together badly.

I can't let the massive spoiler sat right on the front cover of this DVD pass without remark, while the 'last supper' imagery used is a spoiler in it's own right it's the tag line which really ruins it. I hadn't seen the last six episodes of BSG when this set was released, and while I could easily make an educated guess as to how it would finish once I read the tag line I knew exactly. Needless to say this spoilt my watching, not as much as the old '24' DVDs which spoiler the events of each disc in the bleeding menu, but still, it shows a lack of thought and concern for the viewer who might have not already watched the season.

So I guess the question remains, is this season a great one and does it close out Battlestar Galactica as well as the show deserves? Fortunately, for the most part, it is. The show remains true to itself all the way until the final moments, it might have a few hiccups near the end but I'm sure knowing how it is edited will make re watching a far more pleasurable experience and BSG is a show worth re watching. Likewise this DVD set is a piece worth having for anyone who's already got the earlier seasons - for the rest of you I'd suggest picking up the complete collection instead.

Extras:
Deleted Scenes
Commentaries
Caprica sneak peak
An unrated version of the episode 'A Disquiet follows my soul'
Ten minute wrap up called 'What the frak is going on with Battlestar Galactica'
A look at the show's sound track with composer Bear McCreary.

Details:
Aspect Ratio: 1.78:1
Rating: 15
Regions: 2, 4 and 5
Soundtrack: English 5.1 and English Stereo
Subtitles: English SDH
Direct Link
 


Watching The Wire - Season Two - Episode Two: Collateral Damage.

Category: , , , , , , By Rev/Views


“They can chew you up, but they gotta spit you back out.”
-- McNulty

Teleplay by David Simon
Directed by Ed Bianchi

Starring:
Dominic West (Officer Jimmy McNulty), Lance Reddick (Lieutenant Cedric Daniels), Sonja Sohn (Sergeant Kima Greggs), Wood Harris (Avon Barksdale), Idris Elba (Stringer Bell), John Doman (Colonel William Rawls), Wendell Pierce (Bunk Moreland), Paul Ben Victor (Spiros "Vondas" Vondopoulos), Clarke Peters (Lester Fremon), Amy Ryan (Beatrice "Beadie" Russell) and Chris Bauer (Frank Sobotka) and J.D Williams (Bodie)


With:
Jim True-Frost as (Detective Roland "Prez" Pryzbylewski), James Ransone (Ziggy Sobotka), Pablo Schreiber (Nick Sobotka), Michael Hyatt (Brianna Barksdale), Al Brown (Major Stan Valchek), Delaney Williams (Sergeant Jay Landsman) Chris Ashworth (Sergei "Serge/Boris" Malatov), Luray Cooper (Nat Coxson), Jeffrey Fugitt (Claude Diggins), Hassan Johnson (Roland "Wee-Bey" Brice), Ted Feldman (George "Double G" Glekas),Charley Scalies (Thomas "Horseface" Pakusa), Jill Redding (Delores), Bus Howard (Ott), Robert F. Colesberry (Detective Ray Cole), Maria Broom (Marla Daniels), Gerard Ender (Sam), Jeffrey Fugitt (Claude Diggins), Brook Yeaton ("White" Mike McArdle), Kelvin Davis (La La), Jeffrey Pratt Gordon(Johnny "Fifty" Spamanato), Antonio Charity (CO Dwight Tilghman), Leslie Elliard (Officer Kevin Reynolds), Michael Willis (Andy Krawczyk), Jeremy Nichols (Atlantic Light First Mate), Nat Benchley (Detective Augustus Polk) and Bill Raymond (Old Man/The Greek)


The Summary:

Major Valchek gets back at Sobotka for the church gift fiasco, and a feud begins. Avon Barksdale continues to run his empire from a prison cell. On the waterfront, Port Police Office Beatrice Russell gets stuck investigating the contraband found in The Greek’s container. McNulty lends a hand with the investigation, though for vindictive reasons.


Read about passing the buck, why you don't mess with Valchek and the price of business beyond the link...


The Recap:


The bodies of the thirteen young women found in the container which The Greek's man Sergei refused to collect (in Ebb Tide) and Frank Sobotka had dumped in the pile are laid out on the floor of a warehouse in white body bags, it’s speculated they are from Eastern Europe and that the air pipe was accidentally crushed during off loading. Doctor Frazier confirms that he will start cutting the bodies for examination this afternoon and asks that any identification found should be passed onto him. He then asks who’s responsible for these bodies, there’s a hesitation and a discussion breaks out, no department or authority wants thirteen Jane Does dumped onto them, statistics and clearances are of huge importance to any Baltimore police department. Baltimore State agrees to ‘eat’ the charge, there is no evidence of foul play so they don’t plan to open a case folder or investigate. Beadie is the one left (figuratively) holding all the paperwork, surrounded by the bodies.

Cue the credits…

The old man is at Little Johnny’s restaurant reading a Turkish paper when Frank and Nicky arrive to talk with them about the dead girls. Frank is understandably upset about this and has harsh words to deliver at an exceptionally calm Vondos. He explains why they did not pick up the cargo and they try to placate him. Frank wanted to know why he wasn’t informed there were live women in there – Vondos enlightens him on a whole range of things which might be in the cans with a joke. Frank tells Vondos next time there are living things in the cans he needs to know and then leaves, Nicky apologises for Frank and leaves as well. Vondos gets up and goes over to talk with the old man.

Brianna Barksdale is talking with her brother Avon about the problems with supplies from New York, Roberto and his men are refusing to deal with the Barksdales because of what’s happened. It’s all over unless Avon knows of a new supply, he puts forward someone from Atlanta, one Vargus, who might be able to sort things out if Stringer talks to him. Brianna then asks about Dee, Avon hasn’t seen him and Dee’s girlfriend Donette is stepping out instead of bringing Dee’s boy to see him every week. Dee paid a high price for the Barksdales and Brianna is afraid he’s being left in the gutter like trash, she wants Dee cared for. Avon promises to do so, once Dee “adjusts” and stops giving him the cold shoulder. But he promises he’ll protect him no matter what.

Bunk is in interview room one eating crabs with McNulty, he moves to open the door and get some air in the room, but McNulty asks him to avoid doing so. If Rawls sees him here he’ll ream him for the stunt he pulled over the floater in the previous episode. Bunk asks him just how much effort it took to stick the body to Homicide and Rawls, McNulty admits to three hours of hard work, and shows no remorse – even though it’s Detective Cole who ends up taking the hit hardest as he’s the one stuck investigating. Bunk then moves onto the pressing need to find Omar for the Gant case, but McNulty is distracted by the news about the thirteen girls found down the port printed on the paper used to wrap the crabs up. Bunk presses about Omar, McNulty needs to deliver.

Tommy “Horseface” is talking with Frank about a can, he claims that the customs seal was broken before the can arrived and the sailors got into it before the stevedores took a little. He’s not talking about The Greek’s can here, but different one. Then Ott walks in, apparently the police are ticketing all the stevedore’s cars.And sure enough, Sergeant Carver is one of the cops out there doing Valchek’s dirty work; all of the stevedores are being hit hard with parking fines for various minor and petty offences. Frank talks a little with him about this, and Carver confirms to Frank that this is all from Valchek and even goes a little further, warning Frank that twice a day this will be happening. Carver just wants to be left alone and cites the old ‘chain of command’.

Wee-Bey’s cell is being tossed over (fun side note, when the adult magazines are found under his mattress the subtitles actually put up ‘BLACK TAIL’ in big, bold, capital letters. I’m not sure why this is – maybe people who are hard of hearing are sometimes unable to read… except for subtitles I guess). Bey is on the prison guard’s shit list because of the charges he copped to previously. Even his tank of plastic fish are tipped onto the floor (remember how much Bey loves the fish from last season?)

The following day, Valchek arrives at the Union office; Horse walks into the office and indicates to Frank that he’s here. Frank heads out to talk with him and Valchek lays it out on the line for him. Vlachek wants the spot Frank got for the stained glass window, Valchek promised a lot of people that his window would be the one to go into that knave. Frank is not moved about this, Valchek mentions that there is another window space which can be used for one of the two windows, he then goes on to warn Frank that he should be the one to move to the less desirable spot. Frank isn’t impressed with threats, he’s known Valchek for a long time (they are both of Polish descent) and he tells him to sling his hook quite graphically. He’s not afraid of Valchek, but maybe he should be.

McNulty is tethering up the boat with Claude, badly I might add, before he heads over to the warehouse to talk with Beadie about the bodies. She’s trying to make sense of identities with he colleagues when he walks in, assuming there is a detective on the case. Beadie and her co-workers confirm that she’s the one dealing with them. He introduces himself and asks a little about the case. He’s curious, but as he’s also McNulty he has a second agenda, he’s interested in a connection between these girls and the Jane Doe floater. Beadie confirms there were fourteen bedrolls, but just thirteen bodies. McNulty then tells her that his was a murder and she was from a foreign country. They then head to have a look inside the can, McNulty is interested in the can and after looking inside he decides to take a look up top. Beadie fills him in on the ins and outs of human smuggling during this, McNulty notices something wrong with the air pipe at the same time as Beadie becomes curious why he’s involved.

Valchek is talking about Sobotka, as he’s looking to apply political pressure to get the window taken out. Valchek is going to lose a lot of face over this if it isn’t rectified. He’s also still curious about the amount of money which was donated, there’s a lot of money going around and Valchek repeats his suspicion that Frank’s into something dirty. He takes a look at the planned apartments for the Grain pier and they talk about Burrell’s possible promotion to Commissioner.

Beadie and McNulty are talking with Doctor Frazier about the bodies and the damage to the air pipe. McNulty feels that the pipe was pounded closed, Frazier wants to talk with the metallurgist to be sure, but it looks like these girls were murdered.

Valchek talks with Burrell in his office about his possible promotion to Commissioner, Valchek promises to help Burrell out with this promotion and in exchange he asks for a detail to be assigned; One which will investigate into a few stevedores, specifically Frank Sobotka. Burrell agrees to six men and six weeks, with Rawls picking who.

Daniels is walking home with his wife, she brought up his career position again, asking him to move out of the police force and consider a career in law. Daniels agrees with her and tells her he’ll put in his papers.


Nicky, Zig and the other stevedores are having breakfast at Delores’s place, if you can call alcohol breakfast anyway. Ziggy then takes Nicky aside and talks to him about a possible deal. White Mike has offered Ziggy a package to deal, Zig wants Nicky to come in on this, providing a little more cash in order to provide a bigger pay off. Nicky isn’t interested and heads out to work. But the stevedores are stopped by Carver and other policemen, they are to be breathalysed for driving under the influence.

In Rawl’s office a representative - Robbie from MSP - is talking to Rawls about the thirteen bodies which have now become homicides. He’s unwilling and unable to deal with this many bodies, but Rawls isn’t willing to eat them because it will drop his clearance rate from 51.6% to 39.4%. Statistics are king here in BPD and he’s unwilling to take anything which will hit him that hard. Also, as Rawls is able to roll that percentage drop off with great ease it shows that he’s already been considering this might happen, someone has warned him about the thirteen bodies in advance. Rawls heads out of his office, observed by Landsman, Lester, Bunk and Cole. Landsman heads over to and stands by Rawls while the rest all watch nervously. They’re all clearly concerned about receiving these thirteen homicides as it will bury their department. Rawls walks back to his door, pauses and pumps his fist to indicate that he’s got them out of this. The relief is palpable.

Avon is approached by a Bey and a guard, is seems that despite Bey’s low status in the prison and lack of stock with the guards Avon has more than enough pull to overcome this. Avon is living in relative comfort compared to Bey’s situation, he’s also willing to keep sending stuff into Bey’s cell no matter what happens. Bey doesn’t mind most of the harassment; it’s what’s happening to the fish which gets to him and also it turns out that Bey’s pleading to the murder of Ladontay is what’s landed him in this situation. Avon promises to help him out over this.

McNulty, Frazier and Beadie are talking about the bodies now that Rawls has refused to take them. Frazier knows the score with regards to McNulty and Rawls and McNulty admits to it much to Beadie’s discomfort. So Frazier and a man from the State Bureau of Mines set to work with the numbers.

Back in prison Avon attempts to talk with Officer Tilghman about Ladonaty, Tilghman is unwilling to talk with him under any circumstances.

McNulty is in the office, he signs a set of papers with a grin on his face and it’s clear he’s found a way to stick Rawls with all thirteen bodies. He sticks the papers into the fax machine while Claude watches him.

Rawls meets again with Robbie over the bodies, it turns out that the women suffocated inside Baltimore City jurisdiction and this means that they will have to eat the homicides and take the loss of their statistics. Rawls attempts to fight this, trying to pass it onto any other department. But they are all united against him in this and so Bunk, Landsman, Cole and the other members of BPD Homicide have to stand and watch thirteen more Jane Does go up on the board in red.

Ziggy meets with White Mike about getting another package, but it turns out that Ziggy screwed up the previous two packages his was given and Mike isn’t willing to give him another chance.

Stringer meets with Avon in prison, he thinks it’s about the supply situation, which is now sorted, but it’s actually about Tilghman. Avon wants him sorted; he also wants Stringer to talk with Donnette about visiting Dee. Stringer wants to know how Dee is doing, Stringer inquires if Dee is still sticking to his plea and hasn’t wandered out of the Barksdale’s influence. Avon confirms he’s under control as he’s family.

Bunk is drinking with McNulty and Freamon. He’s to down fourteen shots, one for each of the homicides he landed on Cole. Freamon and Bunk can see the funny side of this because they haven’t been stuck in this little stunt. Rawls, Cole and Landsman on the other hand have stink all over them from McNulty’s stunt. Freamon tells him he’s buried himself for good for this one, McNulty isn’t worried because there’s nothing worse they could do to him and he’s going to ride the last eleven years on the shelf. McNulty finishes the fourteenth and final shot.

Frank and the other stevedores head out of the station, Frank has managed to bail them all out and admits that the problem is being caused by Stan Valchek. He’s told he needs to handle the situation and he tells them he will before walking off with Nicky.

Bunk and Freamon return to homicide in high spirits when they are met by Landsman, who has his “someone’s going to get shat on and it ain’t me” face on – grinning while he dumps the thirteen bodies on them and moves Cole off to an easier case. Landsman knows Cole won’t be able to clear these cases, so he wants his best two men on it. Cole is thrilled as he hands over the case to them both.

At Ronnie’s place we’re treated to a bit of McNulty side-arse (for the ladies and discerning gentlemen) while she pulls the sheets off a hung over Jimmy. Ronnie berates him a little and then warns him if he shows up at two in the morning ever again then she’ll have the cops haul him off. Ronnie asks McNulty what she means to him, and he replies that they’re good together. She presses for an answer and he tells her that his wide wants to get back together and he’s going to go for it. Ronnie slams the door on him, while all he does is ask for some aspirin.

Horse is at the police car park, he breaks into a surveillance van and hot wires it. Driving it away while a pair of unwitting police officers wave.

Bunk and Freamon walk up the stairs to meet with Beadie, she’s on hold while trying to get the ship held. Rawls has pretty much pissed everyone else off, so all they have to help with the case is Beadie. Freamon tells her to head on out, she asks if they know McNulty and Bunk replies “Yeah, he’s dead to us.”

The detail is assembled for the first time to meet with Valchek in their new offices. Prez is in charge and they are told that they will be heading after Frank. Amongst the people brought in is Detective Polk (remember him from the early part of the first season?) who repeats his line from the first season about overtime, Prez looks around and realises the men he has aren’t great workers – they’re even worse than the first detail appeared to be when Daniels was in charge...

Frank and the other stevedores are thrilled with Horse’s theft of the surveillance van, this is a great way for them to stick it to Valchek, they load the van onto a can and watch it head off for shipping.

Sergei arrives in the port of Philadelphia, the area he pulls into is restricted – but he flashes some i.d. and the guard lets him through with a “Sir”. On board the Atlantic Light the crew have realised the ship is being held. Which is of great concern for one crew member – the shepherd of the girls – he grabs some papers and heads off ship quickly, watched by Sergei. He attempts to run from the car load of men, but he has little chance and is quickly caught, beaten and loaded into the car. The guard watches dispassionately and allows them to leave with the man.

Avon meets with Dee in prison; Dee has turned to snorting coke on the inside. Avon asks after him and tells him that they need to talk. The alarm sounds for lock up and Avon leaves.

Beadie, Lester and Bunk arrive at the Atlantic Light to talk about the crew. It costs the hauling company massive amount each day the ship is held, but it’s a crime scene and Bunk doesn’t care about the costs to some company.

Sergei is beating on the man they captured, who is now sat on a chair naked. The man claims to know no English and know nothing about the girls. The door opens and another man walks in. As he reaches the top of the stairs we find out that it is the old man from the diner. He tells Sergei to get the man his clothes and then offers the man a cigarette. He talks with the man, asking about what happened to the girls. They converse a little in Turkish and then switch to English. The old man tells him that once he learns about what happened then they’re done.

The sailor proceeds to tell the story about what happened on the Atlantic Light. The girls were allowed out for a breath of fresh air and the sailors wanted to use their services. But one of the girls did not want to do this any more, so one of the other sailors got rough with her and killed her. The other girls saw what happened and he panicked, but apparently another man killed them all. The old man then tells them he gave him his word just as Vondros cuts the sailor’s throat. He dies slowly and The Greek (the old man) tells them to make sure the body has no fingerprints and no face. Vondros and The Greek leave Sergei to deal with the disposal.


------


The Review:


Much like Ebb Tide previously, Collateral Damage is another episode title with multiple indications and meanings. This time there are a lot of examples of collateral damage spread across the episode; Bunk directly refers to Cole as being it during the crab eating with McNulty. But there is also the girls in the can, Beadie, Bunk and Freamon – who’s stuck with the case, the stevedores themselves who are suffering collateral damage from many sources, not just the bodies, but the changes in the American work life, and from Frank’s feud with Valchek. Frank Sobotka himself has been hit hard with collateral damage from the dead girls and also in the fallout around the church windows – but that is at least in part something he brought on himself. Valchek is a small, petty man who doesn’t care who gets hurt when someone gets in his way and this, combined with the huge amount of power he wields, means he’s able and willing to trample a lot of people into the dirty in the pursuit of revenge. Frank is quite aware of this, but it seems he’s too proud to back down in the face of a ‘small minded punk’.

Much like Ebb tide previously Collateral Damage is an episode which continues to force the viewer to either sink or swim. It continues to follow the fresh new characters for a large amount of it's plot, while also bringing back characters from the previous season. Even with a large amount of viewings under the belt it can be difficult to recall who's who. I especially have difficulty with the names of the minor characters, there are just so many of them to keep a track of and it's rare that these characters refer to each other by name enough to allow the viewer to cement their names in their head. For example, I didn't recall Brianna's name until Avon used it, I knew exactly who she was and where she fit in with the Barksdales, but her name was beyond me. Same problem with Ott, I recognise him on sight but his name is always beyond reach until I go back and look at the cast list I have written up to remind me of who's who.

I actually do like this density to the show, yes it's hard work for most and sometimes you'll just end up giving up and following the flow until things stick, but it brings an additional level of realism and strength to the show.

The main things to note in this are the continued persistence of hubris for several characters. McNulty is the prime example of this, no matter how deep he is in the shit box he continues to dig himself in further. Previously he was driven by a desire to prove himself better than Stringer and the Barksdales, now he's doing it to screw with Rawls, partially for revenge but also almost certainly to prove to himself that he's better than Rawls. Fortunately while his motives are less than pure, the result is the right one. Once again, without McNulty's personal agenda another crime would go completely unnoticed. Yes he's a gigantic, egotistical, martyr complex driven arsehole - but he's also a cataylst for a lot of good. That's the position I see McNulty in for the most part, he's the primary catalyst for the events and the investigations, without his prescence all that would of happened is these girls would have been written up as accidental murders. Just like in the first season, without McNulty the Barksdales would still be in full operation almost unnoticed by the BPD.

Frank's another person with a major hubris, in his case it's pride, in himself and his union. If he had just backed down from Valchek and accepted that he should move his window, then Valchek wouldn't have bent Burrell's ear and got Prez assigned to a detail looking into Sobotka. Remember Prez has learnt a lot from Freamon and Daniels in the Barksdale investigation, it's unlikely he's going to want to do a half-arsed job, which is what he expressed to Valchek in Ebb Tide.

I would like to quickly acknowledge that this is another appearance for Eric Todd Dellums as Doctor Frazier, Eric also appeared in Homicide: Life on the Street as the major kingpin Luther Mahoney, he’s wonderfully underused in The Wire as Doctor Frazier, especially for an actor of his brilliance. He appeared in the first season when dealing with the William Gant case and it's great to see him return here. But David Simon likes to use some of the same actors from one series to the next, I guess it's because he's dealing with a known quantity then, while also rewarding people who've worked with him previously.

Direct Link
 


Why You Should Watch... Carnivale

Category: , , , , , By Rev/Views



Carnivale is an unusual beast in the world of television; airing between 2003 and 2005 and set in the American dust bowl during the great depression era but the events of that time are only lightly touched upon. Instead the show focuses on a travelling circus, a priest and a supernatural struggle between good and evil. Originally the show was planned to run for six seasons, with each "pair" of seasons telling a tale in the trilogy and while cancellation resulted in just the one full story being told. This story is still an absolute dooz and warrants attention.

Carinvale is a deeply distinctive show; every aspect, from it's look all the way to it's music speaks as an unusual and striking piece of work. The show tells a series of self contained stories in each episode combined with and over-reaching arc told between two separate and distinct plot lines. The first of which deals with the carnivale itself and the one of the lead character Ben's (Nick Stahl) experiences with the travelling folk, the second deals with a deeply religious man - Brother Justin Crowe, who is played with a high level of competency and skill by Clancy Brown.

Over the course of the two seasons we come to know more about Ben and the people he joins and starts travelling with in the carnivale; there is Samson (Michael J. Anderson ), the diminutive ringleader and nominal head of the troupe. But he answers to the Management, a mysterious individual who lives entirely inside a caravan and may or may not exist - many suspect Samson created Management as a fiction and in truth he is the management. There's the snake charmer Ruthie (Adrienne Barbeau), Tim DeKay is Jonesy the co-manager, Patrick Bauchau is Professor Lodz - blind mentalist of great ability and then there is the catatonic seeress Apolloina and her daughter Sofie (Clea DuVall) who reads and interprets for her - but there are also a host of other characters involved in the carnivale, both as stars and as reoccurring guest stars.

The cast in Brother Crowe's story is smaller, mostly centered around himself, his sister Iris (Amy Madigan), a second priest Reverand Normand Balthas (Ralph Waite), Eleanor McGill (K Callan) and Tommy Dolan (Robert Knepper) a local radio. We learn much of his life, his gradual discovery of the power inside him and his acceptance of his position. Clancy gives an exceptional performance as Brother Crowe, avoiding many of the stereotypical aspects his character could have shown and instead giving us a magnetic and interesting man who draws the viewer in and carries them along for the ride.

The visuals of the show are as stunning, if not more so, than the plot and the authenticity of the series. Carnivale is a show which looks the part, you can almost taste the ever present dust and dryness which cloys everything in some scenes. The costumes are great, the sets are just stunning and everything feels very real. Apart from the strong supernatural bent to the show this is something which paints a very real picture of the 1930s Dust Bowl existence.

There's a great deal of depth to the show; much of the mythology in the show is quite profound and subtle at times. It's not entirely clear as to who stands for what and you only find out as time progresses over the two seasons. Gradually the meta-plot moves forward and the show brings events to a head in it's final few episodes. Resulting in a satisfying collision of plot lines. The show is also very authentic outside of it's supernatual areas, and has been praised for this authenticity by experts. In some ways it is a distant kin to Deadwood, there are parallels which can be drawn between the two shows - especially in the attention to detail and authentic nature of the shows.

Now there is one large warning which has to be delivered when talking about Carnivale and I touched on it earlier, the cancellation of the show. Because this project was conceived and designed as a long term story, there will be certain threads left hanging at the end of the second season and never resolved. You'll just have to steel yourself against the mysteries and accept that not everything is explained. In truth the cancellation is a shame, because while Carnivale does have it's flaws it also has a very unique and gripping vision. There is also some hope it will be finished in some form as Daniel Knauf has not yet given up trying. Unfortunately HBO still own the rights to the show and are refusing to do anything with them, and considering the climate of the media currently, they are unlikely to do so.

This warning aside, Carinvale is still a piece which is worth watching thanks to it's unusual style and unique vision.


Direct Link
 


DVDs in Review #64: The Wire: The Complete Fifth Season

Category: , , , , By Rev/Views

I was a little astounded and somewhat ashamed when I looked at the page of contents and realised a glaring omission in the W section. One which I intend to correct today by looking at the boxed set for the fifth and final season of The Wire.

I've written a lot about The Wire elsewhere on this site and later (probably next year) I shall go into the fifth season in more detail. But here I'll go with a simple and mostly spoiler free rendition of the shows final season. A season which looks at the final piece in the puzzle - the last part in David Simon's portrait "Death of the American city" - a season which examines the role of the media in reporting and influencing events while also looking at the decline in journalism due at least in part to the advent of the Internet.

Still, be warned this must contain spoilers about events from the previous four seasons and they start below...

...

In the city of Baltimore Marlo Stanfeld's star continues to rise; over the fourth season he cemented his position as the top dog in West Baltimore, filling the void left by the Barksdales - who more or less tore each other apart in the show's third season. With the help of Snoop and Chris he's placed a firm grip on the drug trade and with the despicable (and untouchable) Maurice Levy he's set in a powerful position.

In this world the young lads we first met in the fourth season; Dukie, Michael, Randy and Namond have moved at least partially their own ways. Namond has done the best, the interest in him placed by Howard "Bunny" Colvin has seen him moved away from the streets, Michael and Dukie are working in the Stanfeld Organisation as low level dealers and Randy has been put into a foster home.

McNulty has returned to homicide (partnered again with Bunk) after spending the fourth season sidelined but content as a foot patrolman. Bodies murder at the end of the previous season brought him back, determined to do something - this drive fuels a lot of his actions over the season and those actions affect the others around him profoundly. Omar Little has retired from the business and is no longer living in Baltimore.

The big block of characters introduced in this season are the journalists from the Baltimore Sun; the most one being Clark Johnson as "Gus" Haynes, but the others have their parts to play.

Meanwhile, on the streets Bubbles struggles with his long search for redemption.

...

I'll get this out of the way first, the fifth season is not The Wire's finest season; that spot remains in the hands of the fourth season with a nod to the third which in my opinion is pretty close behind. While the fourth season managed to bring in the four young lads, introduce us to them and immediately draw us into their situation, the fifth season mostly fails to do that with the newspaper cast. Personally, while I get why they're introduced and what the "point" to their presence in the season is. I feel the season would have been better served if the media had been introduced earlier in the shows run as a more dominant plot force.

A lot of the scenes set in the newspaper offices drag - they're not all bad times; Clark's performance as Gus is superb, Jimmy's interactions with Scott Templeton and Mike Fletcher's report on Bubbles's struggle are good. But the rest of them remain very undeveloped, especially when you consider the amount of screen time they receive.

But it's not all negative; the rest of the show remains strongly on message and delivers some truly fantastic moments, finally culminating in a superb finale which manages to rank itself as the third best show finale I've ever seen (behind Six Feet Under and in first place The Shield). The show ends well and the journey getting there was well worth the effort. It's just a shame this season isn't the shows finest one (it's possibly the weakest) - but it still stands far ahead of just about anything else on television and as such it is a must have work.

Extras:
"The Wire: The Last Word" - A documentary looking at the role of the media
"The Wire Odussey" - A retrospective look back at the first four seasons
Audio Commentaries on six episodes.

Details:
Aspect Ratio: 5.1 and 2.0
Audio: 1.33:1
Languages: English, French
Rating: 15
Region: 2
Run time: 10 Hours 22 Mins approx
Subtitles: English, French, Dutch, Danish, Finniish, Greek, Hungarian, Norwegian, Portugese, Swedish
Direct Link
 


DVDs in Review #63 Life: Season One

Category: , , , , By Rev/Views

Life is a police procedural show which runs on NBC, starring Damian Lewis as Charlie Crews - a detective who was imprisoned wrongfully for murder and finally released and cleared of all charges twelve years later. As part of his settlement he's reinstated to the force; with a new outlook on life, fifty million dollars, a new appreciation for fruit and the determination to find out

Life's first season is something of a grower, it starts off strongly and then flounders a little before solidifying into something truly special. The core cast is small, but performances from all of them are nothing short of superb. Charlie is partnered with Dani Reese (Sarah Shahi) who's a tough, competent and independent woman with a few problems - she's a recovering addict and her father might be involved in the people who framed Charlie. Then there's Ted Earley (Adam Arkin) who lives in Charlies home and works his accounts; Ted and Charlie met on the inside, Ted was locked up for embezzling pensions. Robin Weigert is Lieutenant Karen Davis, Charlie's commanding officer seeking for a reason to have him fired. And Brent Sexton rounds out the cast as Charlie's ex-partner Robert Stark.

The first season of Life runs for eleven episodes, each episode is a self contained case but there is also an overarching story involving Charlie's burning desire to find out who actually committed the murder he was framed for and why he was framed. His driven need to do this sometimes interferes with his ability to work smoothly and without incident.

Over the course of these eleven episodes we're introduced to a wide range of cases, some of which are very intriguing and all of which have the stunning and stylistic visual shots which Life loves to employ. Charlie and Dani will investigate a fallen "angel", half a man standing by a fridge, a buried alive Zen instructor and more besides. Many of these cases are quite interesting in their own manner, which is very important when you're dealing with a procedural show - you need to have gripping stories which can run in around forty minutes if you're going to be a success. Life manages it with increasing confidence as the season develops: "Farthingale" is an excellent episode, but the crowning moment is the final two episodes "Dig a Hole" and "Fill it up".

There is a lot to like about Life, but it's not a perfect construct. The small cast does put a lot of pressure onto Damien Lewis's performance, fortunately he delivers, but this is an issue - personally I find shows which focus too heavily on one character risking too many eggs at once. There are also parallels which can be drawn between the character of Charlie Crews and one Doctor Gregory House, and while I personally don't have any issues with this, it might irritate some.

Still, if you're looking for a beautiful, stylish, police procedural which switches things up a little and takes the stereotypical "quirky main sleuth" in a new direction Life's first season is something you should consider checking out.

Extras:
Life Begins
Fruits of Life
Still Life
Life's Questions Answered
Deleted Scenes
Blooper Reel
Audio Commentary with Cast and Crew

Details:
Aspect Ratio: 1.78:!
Rating: 15
Regions: 2, 4 & 5 PAL
Run time: 7 Hours 36 Mins approx (Extras: 22 mins)
Soundtrack: 5.1 English
Subtitles: None
PPM: 4.4
Direct Link