New Fringe & Supernatural: All Is Right!

Ah, last night was great for TV watching. Wasn’t home to see the new episodes of Fringe and Supernatural but I DVRed them and finally caught up to them today. Wow, both new episodes hit the mark(s) with some amazing, wonderful and disturbing developments.

Fringe began its run of the final eight shows for the season (and maybe the series unless Fox renews it for a fifth season) with “A Short Story About Love.” There were basically three storylines; one about Olivia Dunham (Anna Torv) realizing the memories and feelings from the Olivia of Peter Bishop’s (Joshua Jackson) universe were supplanting her own. The problem is that Peter’s Olivia is in love with him, while the “regular” Olivia has no romantic feelings towards him. Meanwhile, Peter is following clues left behind by the Observer that apparently died in the previous episode. The third storyline was pretty average procedural junk about a deformed madman out to create a love potion from killing lovers. It was the kind of stuff you may find in a typical X-Files episode. Luckily, this storyline didn’t dominate the show.

The big reveals were pretty surprising. It turns out (SPOILERS AHEAD) that Peter is in fact in his own universe so that Olivia’s new feelings for him is probably the universe correcting itself. Luckily for us soft-hearts, Olivia independently decided to give in to her new memories and feelings and the end was so blissful and romantic. It was a heartwarming reminder to us cynics that love is the greatest force in the universe. Even on Fringe.

Supernatural began airing new episodes last week, and just as it all seemed hopeless for the ally-challenged Winchester brothers, Sam (Jared Padelecki) and Dean (Jensen Ackles) Castiel (Misha Collins) returned!

Yay! Our favorite stoic Angel that supposedly died earlier this season (and gave rise to those dumb Leviathan baddies) is back. In this week’s episode “The Born-Again Identity” Sam is committed to a psychiatric ward because the Lucifer hallucination in his head has driven him crazy. Desperately calling anyone for help, Dean finds out about this genuine faith healer. So when he goes to the guy’s place it turns out the healer is none other than Castiel. It turns out that he lost his memory and doesn’t remember being an angel or anything else.

Anyway, he decides to help Dean out. It was so great to see our pal Cass, it helps that he’s easy on the eyes LOL. Eventually, he remembers who he is and is wracked with guilt over his previous actions when he tried to play God. He gets to Sam in time to save him from a demon. But it turns out he can’t cure Sam of his hallucinations so in an act of self-sacrifice he transfers the debilitating hallucinations onto himself and he winds committed. Frankly it sucks that they had to leave him there in that ward. I guess the producers still wanted the brothers on their own to take on those Leviathan. Still sucks anyway because I know Castiel would kick the Leviathan’s butt all over the place. It just makes me wonder why can’t the Winchesters find some supernatural allies to help them with the Leviathan? Hopefully, they will be done with when the season finale comes around.

Annette DeForrester

 

Rising Dread & Other Complications On The Walking Dead

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In the previous episode of The Walking Dead, “Nebraska”, Lori Grimes (Sarah Wayne Callies) set off to find and bring home her husband Rick but hit a walker on the way and crashed into a tree. The pre-credits scene of episode nine, “Triggerfinger”, shows Lori on the deserted road after dark , lying unconscious in the overturned car. A walker approaches, spotting the trapped and helpless woman and moves in for the kill. As the snarling creature smashes his way in, Lori awakes, and in a desperate fight, kills him.

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Back at the bar, Hershel (Scott Wilson), Rick Grimes (Andrew Lincoln), and Glenn (Steven Yeun) calm down and take a deep breath over the previous episode’s killing of Dave (Michael Raymond-James) and Tony (Aaron Munoz), two working-class strays who made not-so-subtle-threats about seeking shelter in Hershel’s farm. They confiscate the dead men’s weapons, but noises outside reveal some other men pulling up to the bar. From their conversation, we learn that they are part of Dave’s and Tony’s renegade group and are looking for their (unbeknownst to them) dead buddies. Their shadows in the glass show they are armed. glenn-rickThe trio dims the lights, and hide – guns ready – but the men prowl the perimeter and decide to check the bar. Calling in through the window, they ask about their friends with a frightened urgency; it seems that the town is rapidly filling with walkers. A deadly cat and mouse game begins, as the men try to find and (presumably) kill the trio…

Evan Rothfeld

Please click on the link to Deadloggers to continue reading about Episode Nine

Grieving & Lost Hope On The Walking Dead

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The pre-credits scene of episode eight of The Walking Dead, “Nebraska,” picks up at the previous episode’s conclusion. Ex-sheriff’s deputy Rick Grimes (Andrew Lincoln) lowers his gun after shooting the young Sophia (Madison Lintz) -who, unbeknownst to the survivors – was a walker and locked up in Hershel’s (Scott Wilson) barn with the other undead. As Carol (Melissa McBride) sobs over her daughter, the survivors stare in shock at the girl’s crumpled body. Shane Walsh (Jon Bernthal) – who busted open the barn door to free the walkers – is initially speechless but snaps out of it, boiling inside. Shane vents his anger on Hershel, who he blames for knowing about Sophia but staying silent about it, which in turn a) prolonged the survivors’ stay on the farm, and b) caused them to go on needless, dangerous searches, such as the ones that almost got Daryl Dixon (Norman Reedus), Shane, and Andrea (Laurie Holden) killed. Hershel denies the allegations and evicts the survivors.

Post-credits, it turns out that Shane isn’t alone in his suspicions: Glen (Steven Yuen) confronts Hershel’s daughter Maggie (Lauren Cohan), who responds with fumbling half-answers; Glen leaves it as it is. Daryl tries to comfort the silent and grieving Carol.

episode-8-dale-and-dead-walkers-russell-kayeThe survivors agree to dig graves for Sophia and Hershel’s wife and stepson, and burn the rest, a herculean task. As everyone gets to work, grumbling over this disgusting job (body parts keep falling off the terminated walkers), Rick broods over his failure to protect the girl. Dale (Jeffrey DeMunn) coldly eyeballs Shane with a knowing stare, causing Shane to explode and launch into an angry rant comparing each one’s contribution to the group.

Hershel presides over the funeral service, and takes it seriously, dressing in a suit and a tie, but not without staring longingly at his flask. Noticeably absent from the service is Carol, telling Lori Grimes (Sarah Wayne Callies) that the thing in the barn wasn’t her daughter but a different creature.

Hershel’s other daughter, Beth (Emily Kinney), in the meantime has taken ill, and is somewhat catatonic, but even odder is that the tee-totaling Hershel left his flask on his dresser and disappeared; the survivors presume he is at the town bar. Rick sets out with Glenn to find him and bring him back to check on Beth…

Please click on the link to Deadloggers to continue reading about Episode Eight

Evan Rothfeld

Secrets And Death In The Walking Dead

 

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Episode Five: The pre-credits scene of The Walking Dead’s season two’s fifth episode, “Chuapacabra”, opens with a flashback that takes place during the time when Rick Grimes (Andrew Lincoln) was in a coma and presumed dead. In a nighttime traffic jam, teeming with refugees, his wife Lori (Sarah Wayne Callies) waits with their son Carl (Chandler Riggs). Shane Walsh (Jon Bernthal) flips the radio dial, searching for news about the refugee center, but is frustrated by recorded messages and uselessly repeated emergency broadcasts. Suddenly an air convoy flies overhead, and as the stunned crowd watches, napalms nearby Atlanta. Lori breaks down into Shane’s arms…

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Post-credits, we return to the present. Camped out on Hershel’s farm, the survivors have settled into a routine. While doing laundry, Carol (Melissa McBride) confesses to Lori that she needs to keep her mind off her still-missing daughter, Sophie (Madison Lintz), and suggest that they cook dinner for Hershel (Scott Wilson) and his family. Lori agrees.

An eager Glenn (Steven Yeun) confronts Maggie (Lauren Cohan) in continuing their tryst. Maggie spurns his offer, and mocks their lovemaking as a waste of time. Glenn is left hurt…

Rick maps out new ways to search for Sophie, and the search parties arm themselves and split up. While searching out in the woods, Rick and Shane share a little private time between old buddies. What starts out as good-natured “guy talk” of sexual prowess and high school conquests turns ugly. Shane, angered, feels that Sophie must be dead by now, and that the sane thing to do is to head for Fort Benning; Rick disagrees.

Daryl (Norman Reedus), on Hershel’s horse (taken without permission), heads out by himself. From a ledge, the experienced tracker scans a river below and notices a doll lying limply in the water. Wading in to retrieve it, and assuming Sofia must be nearby, he calls out for her. With no response, he heads back to the trail with the doll. A snake startles the jittery horse, who throws him. Daryl slips and rolls down the steep rocky hill, but not before one of his arrows pierces him in the side. Bleeding and in pain, he uses his torn shirt as a tourniquet and begins the herculean task of climbing back up the mountain, but he slips and falls back down. episode-5-merle-daryl-walking-dead-gene-page[1]Laying in the river banks, a dazed Daryl hallucinates that his brother Merle (Michael Rooker) – not seen since the early episodes of The Walking Dead – approaches him and mercilessly taunts him into showing his resilience. Merle’s final words and vision fade out as a walker tries chewing on Daryl’s booted feet. Daryl snaps to consciousness and beats the walker to death, ripping out the arrow in his side just in time to use it to kill a second walker. Daryl sets out again, and after Merle’s vision re-appears, he scales the hill successfully. Later, as he approaches Hershel’s farm, a trigger-happy Andrea (Laurie Holden) mistakes a bloody Daryl for a walker and shoots him…

Please click on the link to Deadloggers to continue reading Episode Five

 

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Episode Six: The pre-credits scene of episode six of The Walking Dead’s second season, “Secrets”, shows Patricia (Jane McNeill) entering the farm’s henhouse. Grabbing a few chickens, she breaks their legs as they squawk in pain. Quietly entering the barn, she throws the helpless birds into the walkers’ pit. The snarling creatures scramble hungrily after their food…

Post-credits, Carl Grimes (Chandler Riggs) and Daryl Dixon (Norman Reedus) – the latter shot by Andrea (Laurie Holden) in the previous episode after being mistakenly for a walker – are recuperating. Glenn (Steven Yeun) – the only one in Rick’s group that is aware of the hidden and captive walkers – confronts Maggie (Lauren Cohan) about this gruesome development. Maggie reveals nothing but asks Glenn for secrecy. Later, Glenn confronts Lori Grimes (Sarah Wayne Callies) about her pregnancy, offering to go on another run for vitamins and other needed pregnancy supplies. Lori – like Maggie – asks only for secrecy.

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As Rick Grimes (Andrew Lincoln), Jimmy (James Allen McCune), and Shane Walsh (Jon Bernthal) pore over maps in their search for the missing Sophia (Madison Lintz), Patricia and Beth (Emily Kinney) request shooting lessons, explaining that they have Hershel’s consent. Carl, with his mother Lori’s grudging permission, joins. Shane and Rick take them and Andrea to a makeshift shooting range for instruction. Andrea turns out to be a natural shooter, hitting a stationary target with ease, but finds it difficult to hit moving targets. Shane presses her into bearing down harder, but angers her by mentioning her murdered sister, Amy. episode-6-andrea-walkers-gene-page[1]After calming down, the two go to look for missing Sophia in a nearby suburb. Paralyzed by the horrific sights – they find decaying and charred bodies scattered throughout the upscale homes – hordes of walkers appear in the streets, alerted to their presence…

Please click on the link to Deadloggers to continue reading Episode Six

 

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Episode Seven: The pre-credits scene of episode seven, “Pretty Much Dead Already” shows the survivors early in the morning, eating breakfast in their outside camp. The sky is overcast and the overall mood is glum, as the group silently munches on pancakes prepared on the makeshift stove. Glenn (Steven Yeun) suddenly stammers the truth about the walker-filled barn as the survivors stare at him, shocked. Approaching the barn warily, they stay at a safe distance as Shane Walsh (Jon Bernthal) peeks in through the cracks and sees the creatures shuffle aimlessly in the dark. Shane gets ticked off, demanding that the survivors clear out the barn or leave Hershel’s farm; Rick Grimes (Andrew Lincoln) objects, reminding him that they are Hershel’s (Scott Wilson) guests and need to stay and find Sophia (Madison Lintz). In the ensuing argument, Shane and Daryl Dixon (Norman Reedus) almost come to blows until Rick steps in. The noise alerts their presence to the walkers, who suddenly strain against the barn door from the inside. The survivors reel back in shock…

Post-credits, Shane later returns, fixated on the barn. After gingerly testing the lock and chains, the aroused walkers push suddenly against at the barn door. An ominous glimpse inside the barn shows the hungry creatures watching Shane, waiting…

Hershel’s daughter Maggie (Lauren Cohan) is upset with Glenn’s open revelation of the trusted secret and expresses her displeasure by smashing a raw egg on his head. Meanwhile, Carol (Melissa McBride) confronts a recovering Daryl as he saddles up to search for Sophia. Warning him that he can worsen his injuries, even she begins to openly express doubts about the search. Daryl, angry, curses Carol and storms off. After calming down somewhat, he takes her to a pond, showing her another Cherokee rose, a symbol of Sophia’s imminent safe return. Her spirits are lifted somewhat.

rick and hershelAs Hershel is eating a quiet lunch alone, Rick comes by and reveals that they discovered the barn and captive walkers, raising Hershel’s ire. In a curt, assertive tone, the country vet demands that the survivors leave at the end of the week. Rick argues that the world is different now and begs Hershel not to send them out there again, arguing that his wife is pregnant and they need the safe refuge that Hershel can provide. Rick storms out and finds Shane, still watching the barn and brooding about clearing it out. They argue and as Rick walks away, he tells Shane all about Lori’s pregnancy…

Please click on the link to Deadloggers to continue reading Episode Seven

Evan Rothfeld

Alcatraz Plays It Too Safe

Alcatraz is the latest show that premiered on Fox from executive producer J.J. Abrams (for anyone who doesn’t know, he’s the guy behind Alias, LOST, Fringe, Super 8 and the Star Trek reboot). It’s co-created by Elizabeth Sarnoff, Steven Lillen and Bryan Wynbrandt and is about the manhunt for prisoners who escaped from the infamous Alcatraz prison.

The twist? Back in 1960, 256 prisoners and 46 guards disappeared from Alcatraz without a trace and now they are popping up all over modern-day San Francisco and haven’t aged a day. Was it time travel? Hibernation? Not even the prisoners know. After being captured and interrogated, they reveal that they’re just as mystified as the show’s main characters, though there are hints of time travel during nuggets of revelation.

The show stars Rebecca Madsen as Sarah Jones, a local police detective with unexpected ties to one of the escaped prisoners; she is recruited by a mysterious government agent Emerson Hauser (Sam Neill), who was once an Alcatraz guard and knows a lot more about what is going than he’s willing to reveal. Sarah is teamed up with comic book store owner and geek Dr. Diego Soto (Jorge Garcia, well known as the beloved Hurley from LOST), who is a walking encyclopedia of Alcatraz trivia that proves useful in the investigations.

The rundown of each episode aired to date goes like this: some escapee appears in the city unaged and continues the same criminal activity that had him jailed in the first place. Sarah and Diego run around the city, tracking him down with half-hearted help by Hauser, (who sometimes seems as if he’s impeding them) and his aide Lucy Banerjee (Parminder Nagra), who like the prisoners hasn’t aged since 1960. In between, the manhunts, we’re shown flashbacks to life in Alcatraz before the prisoner escaped so that he can be fleshed out and given some motive. Here and there, viewers are given clues and riddles without an answer such as how did the prisoners and guards disappear and why? Who is behind this? What is the deal with Hauser’s assistant? Why hasn’t she aged? Will Hauser stop beating around the bush and just explain it all to Sarah? After all, she is supposed to be working for him now and should be privy to what is happening in order to better perform her duties.

There lies the flaw with Alcatraz. It has some good moments and hooks to keep viewers watching, but it doesn’t have the drive and real mystery that LOST and Fringe had. The mythology isn’t as compelling and many of the characters aren’t as interesting. Maybe it’s a response to complaints about J.J. Abrams’ shows being too mythologized, so he plays it safer this time. Sarah comes off as a pale imitation of Fringe’s Olivia Dunham, just a younger, bustier version without Dunham’s inner toughness. Hauser, as portrayed by Neill, seems bored half the time. Garcia’s Diego is the most interesting character but only because he isn’t a law enforcement type and the show wisely shows how he is more like an ordinary person swept up in this mystery. And while the stories about the prisoners are so far interesting, the basic setup of each episode is starting to get repetitious. In many ways, Alcatraz seems more like a procedural cop show that belongs on CBS.

Then there are some nagging problems about the premise. Chiefly with the way the prisoners so easily get by in modern society without drawing attention to themselves. Sorry but if someone from the early ’60s were to suddenly appear today, that person would experience a future shock over how things have changed. They would speak differently, act a bit strange, not know how to use modern devices or how to blend in. Yet none of this is shown, unless the prisoners are lying about not knowing anything and had time to assimilate into modern society.

So is it worth watching? Short answer: yes. When compared to ninety percent of the garbage on TV now, it stands above them. But so far it isn’t as captivating as Abrams’ other shows.

José Soto