The title ’Course Correction’ is an apt name for an episode predominantly focused on determinism and avoiding a fate prophesied. Another few pieces of the jigsaw slot into place for both the audience and the Mosaic investigation. Old sub-plots are re-addressed, some possibly unnecessarily, but they stimulate some interesting ideas and continue the theme of the meandering flow of time.
Quick Notes: This is my first TV review, I normally write for the video game section of Player Affinity. However, I felt like dipping my hands in the TV section for once, since I’ve been a fan of Glee since the first episode.
Spoilers are in this review.
This weeks Glee was excellent, if not flawed in some ways. It was pure fun from the great song selection to the choreography, you just could not help but to be entertained while watching this episode. The first 10 minutes set up a great arch for the rest of the episode; a “glist” was made that ranked some of the Glee members on their promiscuity, Rachel being the lowest.
About ten minutes into this episode, I started formulating a basic blueprint of what I was going to write about this episode. I was going to go on a lengthy tangent about how Lost should be spending less time with pointless, expository scenes and focus on answering some of the long-standing questions. I was going to ramble on about how there’s only three episode left after this, so time shouldn’t be wasted on scenes that don’t matter in the long run. But it appears the phrase “don’t judge a book by it’s cover” is still important advice to follow. Tonight’s episode of Lost was heart-breaking, action-packed, emotional and written incredibly well. While I don’t believe it was the best episode of the season, it certainly elicited the strongest reaction from me once the credits started rolling, and if this episode tells us anything, it’s that Locke means business and that he’ll stop at literally nothing in order to get what he wants so he can prove to Jacob that man is inherently evil. There was a lot going on tonight, but unlike previous episodes, the writers took the time to flesh out these more emotional scenes.
After a superb start, which consisted of charred corpses and moral conflict, this episode slides quickly into mediocrity and eventually disaster. The lowest point in the series, Hearts and Minds, acts as a lesson in audience alienation (pun not withstanding), containing glaring plot holes, illogical character behaviour, and lazy direction.
The episode begins frantically with Hobbes aiming a ground-to-air missile at a V shuttle. After the inevitable explosion and destruction of the aircraft, Ryan, Father Jack, and Hobbes scurry to explore the result of their most outlandish strike against the V’s. To their horror, amongst the wreckage, lies not the husks of dead lizard people, but the burnt remains of Human passengers. At this point, the title sequence commences and I rub my hands together like a trench coat wearing, curb crawler.
A return to the more comical and whimsical Castle that we now know and love, after last week’s more dramatic set of events. Plenty of great one-liners and an escalation to the sexual tension between the two lead characters.
The crime mystery in Food to Die For, unsurprisingly revolves around the death of a star Chef; who after winning a reality TV cook-off, has been thrust into the spot-light and Castle and company are quick on the scene to sift through the slew of suspects and false leads. Like an Agatha Christie novel, every character seems to have motive for the murder and like any good whodunit, the audience is kept guessing until the very last moment.
I still remember the day I watched the Season 1 finale of “24.” I was curled up on my couch with a blanket draped around my shoulders, a bowl of popcorn to my left, and my hair disheveled from a long day of trudging through school and working for six hours. As the minutes counted down, I could feel the tension building inside of my chest, the kind of tension that sits heavy on your lungs and makes each breath feel troubled. It’s the feeling of adrenaline and the weight of suspense. When Nina Meyers made the phone call to Jack Bauer and informed him that they found his wife’s body in the harbor, the coldness that Kiefer Sutherland portrayed as he doled out his vengeance upon the terrorists still chills me to this day. I remember thinking to myself, “I’ve never seen such rage and madness in a character’s eyes.” Over the course of seven seasons, Jack has been in this type of situation again and again, yet nothing had ever come close to that Season 1 episode, where Jack’s world seemed to be coming down around his head. However, last night’s episode of “24” nearly surpassed that level. Episode 20 of Season 8 continued Jack’s vendetta against the Russians, and with Dana Walsh’s death, Jack’s character has taken yet another turn. Killing somebody in cold blood as a means to revenge is something he’s never taken lately and has rarely done, but tonight, he seemed to be caught in the midst of a fury storm, which is something that will likely last for the rest of the season.
Another enjoyable installment in the saga of our favourite geeky superspy, with the added bonus of some really famous guest stars. Add in some romance, some heartwarming buddy-bonding, and a nice little cliffhanger then you’ve got it just about right.
This is the second of the six “bonus” episodes that the network tacked on after what was supposed to be the season – possibly series – finale, and it continues in the vein of the previous episode by fleshing out the “happily ever after” that we have been presented with.
This is the first episode after Chuck and Sarah got together that actually takes place in Burbank. From the opening, with poor half-asleep Morgan coming face to face with a scantily clad Sarah in the kitchen, to the major clean-up job in Ellie and Devon’s apartment. It is apparent that the team is back on familiar stomping grounds and they’re exploring how their new relationship will affect their daily lives and long-term plans.
Goodbye Yellow Brick Road injects a much needed dose of background information and subsequently delivers a slew of satisfying ‘oh, I see’ moments, that although overdue, are excellently explained and most importantly, quite believable.
The opening sequence alone is worth the price of admission in this episode. An Assassin bursting into Ava’s bedroom with a sawed off shotgun blazing away in the night. Raylan and Ava diving for cover. Raylan then jumping up and wrestling the attacker out the window. He drops to the floor grabs his firearm and fires out the window hitting the perpetrator as he runs away. Bam! This episode is on!!!
The last time CBS and CTV teamed up, the result was Flashpoint; a highly successful mix of action and emotion, following the exploits of an emergency task force, set in Toronto. The latest collaborative effort, The Bridge, follows a newly elected Police Union Chief, who after growing impatient with the manipulative influence of politics and bureaucracy on policing, aims to shake up city hall and put an end to corruption.
