And finally the campaign is in full swing. We start off with each of our favorite Veeple speaking to Selina’s newly acquired campaign volunteers. Of course, each person has something different to say. Gary of course describes how the Veep likes her coffee (she likes Peppermint, but thinks its Chamomile, don’t ever tell her though). Amy reassures them that even though Selina will ignore them, she knows they’re there. Dan goes the inspiration bullish!t route and Sue basically sums it up: “don’t f**k up.”
Amy and Dan continue their competition for campaign manager. Campaigning for campaign manager if you will. Little do they know Selina was meeting, or “not meeting,” with a potential new campaign manager who tells Selina to fire everyone, which throws Selina in the best way possible.
This could put Mike on the chopping block considering he hasn’t been exactly present. During a run in in the bathroom, we learn the Mike and his wife are doing in vitro fertilization, which Mike was “supplying for” in the bathroom at work. When Selina asks where he was, she asks if his mind was thinking about her, to which he swiftly responds no, much to her dismay. About her campaign… get your minds out of the gutter people.
After thinking Selina might let Gary go because he would be unable to hold a bag anymore due to his injury, he lets slip, or frankly says with much intent, that mike is masturbating at work. Let me insert here that Julia Louis Dreyfus is the master of facial expression.
This episode finds Selina out in the country… fishing. Yeah, you can just picture it. She is meeting with Former Secretary of Defense Maddox to (a) dissuade him to run, and (b) offer him something lucrative like state. I should also mention that Maddox hired Jonah as his bag boy.
This is where we get the best scene, hands down, of the season. Maddox and Selina talk about the “prestige” of the position of Vice President. Then, Maddox and Selina offer each other the position to which Selina responds: “I’d rather be shot in the f**king face, than serve as Vice President again.” Genius.
Back home, Amy hosts a dinner for the staff to campaign for campaign manager. She of course sets a seating chart for everyone. One of Veep’s best running gags is and will forever be Amy dealing with people.
This episode sets Selina’s competition. We have Maddox, Danny Chung, and Joe Thornhill, a former baseball team owner. During the last few scenes, a few thoughts passed my mind about the future of the series:
1. Is there going to be a Dan and Selina affair? He talked about being with older women and how his relationship with the Veep had to be intimate.
2. Is Selina going to lose the election and become Veep under Maddox?
3. Joe Thornhill has to play some bigger role in the scheme of the series. Just like Chung did starting off in season one.
This episode reminds me so much why I love Veep. It handles forward momentum so well with hilarious one-liners and characters that constantly remind us how incompetent those in Washington are. Now that this campaign is in full swing, I can’t wait to see who, in the words of Sue, f**ks up.
Every summer, tucked between the blockbusters, romantic comedies, and 500th Transformers movie, are hidden gems that satisfy our thirst for quality movies until Oscar season rears its ugly head. So, I compiled a list of ten movies that I personally can’t wait to see this summer.
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7. Maleficent (Directed by Robert Stromberg | Starring Angeline Jolie, Elle Fanning, Sharlto Copley, and Sam Riley | May 30, 2014) Now usually there is no way in hell I would add a Disney movie to any list I was making (good or bad), although Saving Mr. Banks did make it to my sh!t list, but just watching the trailer to Disney Origins: Maleficent is reason enough to pay attention. It also doesn’t hurt that (a) she is one of the most menacing Disney villains and (b) visual effects guru Robert Stromberg is at the helm.
https://www.youtube.com/watch?v=w-XO4XiRop0
6. Jersey Boys (Directed by Clint Eastwood | Starring John Lloyd Young, Erich Bergen, Michael Lamenda, Vincent Piazza, and Christopher Walken | June 20, 2014)
“You ask four guys, you get four different answers. Have we got a story for you!” That is the beginning of the musical “Jersey Boys”, which is an incredible story covered by a merely functional musical. However, with a darker tone, real talent, and Clint Eastwood, I am confident that Jersey Boys is going to live up to the legends that it is based off of.
5. If I Stay (Directed by R.J. Cutler | Starring Chloë Grace Moretz, Mirelle Enos, Lauren Lee Smith, Lilana Liberato, and Jamie Blackley | August 22, 2014)
Odd choice, I know. But just watching the trailer to this movie made me want to cry, but the fact that it is also based off a critically acclaimed book that I haven’t read made me want to watch it even more (even if someone said that book would appeal to twilight fans). It also stars the incredibly talented Chloë Grace Moretz and Mirelle Enos. Looks like I’m in for at least two tearjerkers based on young adult novels. Whoops. Spoiler alert.
The first 3 episodes of Veep‘s third season were honestly some of the best and funniest episodes of comedy I have seen in some time. The fourth episode? Not so much. I’m not saying that is was bad. I mean the concept of having a dimwitted, awkward Washington politician taking on the brilliant, awkward Silicon Valley tech wizards is one that is destined for success. However, I think Veep was in over their heads for this episode.
Part of the brilliance of Veep is the writers’ ability to focus an episode and wrap all of their characters’ storyline around the main story of the episode. I think the biggest issue here was their inability to allow each of their storylines fully develop.
Let’s start off with the positive first. As usual, every single member of the ensemble was on fire tonight. However, I’d like to pay special attention to Reid Scott who was able to take Dan’s usual kiss ass routine and turn it into something actually fleshed out and absolutely hilarious as he vies for the position of campaign manager. Seeing Dan fail is probably one of the show’s biggest successes and in the only storyline that worked for me, Dan was on a collision course with a mental breakdown.
However, after hearing that Danny Chung allegedly tortured Iraqis, Dan decides to use that information to impress Selina and bring down Ryantology in one fell swoop. By feeding Jonah the unconfirmed torture story, Dan was able to associate the words “Chung” and “Torture” together and completely discredit Ryantology. First of all, Timothy Simmons is actually for once doing great work here, but I attribute most of his performance to Jonah falling completely on his face.
Outside that storyline, we have Selina touring a pseudo Google in Silicon Valley. In addition to her general dimwittedness when it comes to technology, there is the added issue that technology sometimes isn’t as smart as we’d like it to be. For example, when Clovis founder Craig (pronounced Cregg, or is it Crayg? Either way it was the single funniest running gag in the episode) shows Selina a new Smart Watch he struggles to get it to work and when she tries to use its voice controls to open her campaign site Meet Meyer, she inadvertently opens Meating Meyer, which displays Selina being “taken from behind”. When Gary tries to cover up the image with a sign, Selina quips “now he’s fucking me harder.” Possibly the single greatest line since the Croissant scene in season 1.
This trip to Clovis also finds Amy being offered a job at Clovis by CFO Melissa who is aching for another adult among the sea of “kids”, but we all know how Amy is with kids (see “Alicia”). Again this storyline never really reached its full potential, other than her reaction to their generous offer Chlumsky didn’t get the great material she deserves.
The episode was full of great small moments like Craig’s use of “Selina” instead of “Madame Vice President” or Gary’s issue with his bag shoulder (another storyline that never fully panned out), but as whole the episode didn’t do it for me.
As her campaign revs up I’m sure episodes are going to find more focus, but this is a small bump in the road for an otherwise amazing season.
Every summer, tucked between the blockbusters, romantic comedies, and 500th Transformers movie, are hidden gems that satisfy our thirst for quality movies until Oscar season rears its ugly head. So, I compiled a list of ten movies that I personally can’t wait to see this summer.
10. Sex Tape (Directed by Jake Kasdan | Starring Jason Segel, Cameron Diaz, and Jack Black | July 25, 2014)
I can see this movie being a complete and utter disaster. I can also see it being comedy gold. With Jason Kasdan at the helm and Jason Segel and Cameron Diaz in tow, this could be the comedy of the summer.
9. Wish I Was Here (Directed by Zach Braff | Starring Zach Braff, Kate Hudson, Mandy Patinkin, and Josh Gad | August 1, 2014)
I think this film could end up being a disaster. I mean trying to follow up an instant classic like Garden State is no easy task, but I have feeling that this could be a home run for Zach Braff. Despite the clear connection to Garden State and the less than inspired title, it looks like everything is falling in line for this film.
8. Boyhood (Directed by Richard Linklater | Starring Ethan Hawke, Patricia Arquette, and Ellar Coltrane | July 11, 2014)
The fact that this is a film about a boy’s childhood over a span of twelve years that was filmed over a span of twelve years with the same actors is reason enough to see this movie. Throw in the fact that it stars Ethan Hawke and Patricia Arquette, then you’ve got a good deal. Want me to do one better? It was also directed by the Before trilogy’s writer and director Richard Linklater. This one looks like it can’t lose.
Well, f**k. If that wasn’t on of the best episode of Veep, then I have no damn clue what I’m talking about. Episode 3 of Veep’s already brilliant 3rd season, titled “Alicia”, reminds us why Veep is one of the best comedies currently on air. The episode followed Selina and her Veeple as they prepared for the announcement that she will be running for president. An announcement aptly titled, “Operation Lady POTUS”.
This episode found Selina at her absolute worst, which is the absolute best for us. However, instead of telling the episode from the Veep’s perspective, we watched the events unfold from the perspective of Alice Brice, wonderfully played by the incredibly talented Tracie Thoms. Alicia is an activist rooted in universal child care, who was drawn to be “next to the Veep” during her announcement as a VIP. Little did she know, other VIPs included an injured fireman, cancer survivor, and disabled farmer.
She first had to deal with Amy who according to Sue sounded “uncomfortable, like she’s dealing with a member of the public,” when she first met Alicia and her daughter. SIDE NOTE: Amy dealing with children is one of the most hilarious running gags on the show. Amy has the pressure of constantly dealing with Alicia and her daughter to keep them happy, including a fun trip to the bathroom.
Dan, who felt it was necessary to remind Alicia that she was an inspiration every time he passed her, had to deal with an SNL sketch that poked fun at Selina and her pony to which she responds: So what, I had a horse as a kid. Who didn’t? I mean, have a pet, is what I meant.”
However, best B-storyline has to go to Mike who accidentally calls Alicia a cow after being tasked with disinviting her from the announcement after the party tells Selina to drop universal child care. Mike then has to deal with Jonah who threatens to release the story and ruin Mike’s career. Mike decides to give into Jonah and begs him, on his knees, to not run the story. Jonah, like the ass he is, makes Mike sing “Goober Peas” with a little twang. However, Jonah, like the ass he is, still threatens to run the story.
Selina must also deal with some… difficulties. First of all, she has to deal with everyone’s opinions on what to include in her speech. Space? Universal childcare? Seniors? Well, the party prefers the latter. When she refuses, some party members “hit some traffic” and are unable to make the announcement. After a small blow up, with some balloon casualties, Selina gives in and drops universal childcare.
Then falls into a fugue state, that Catherine has to snap her our of. Also, did I mention that she had to deal with Catherine wearing the same outfit as her?
In the end things work out for Mike and Selina when, using Alicia’s daughter, Selina is able to convince the party to allow universal childcare. Alicia is back on the Veep’s side, which puts her against Jonah when she denies to him that Mike ever said anything.
This episode brought the characters of Veep to hell and back, but that’s what makes great television. It also continued the incredible build of this campaign that is going to end either spectacularly and disastrously, which is great for us either way.
LAST NOTE: Best Jonah insult of the night goes to Leon with, “Amy, what is this bushel of f**k talking about?”
I would like to start off this review by saying that I was skeptical that The Good Wife would be able to sustain its quality post-Will Gardner. This episode proved me wrong.
Throughout the entire season we have had this odd isolated storyline concerning the NSA and a wire tap that surrounds Alicia, 3 hops to be exact (anyone she talks to and anyone they talk to). However, it seemed like the storyline wasn’t really going anywhere. Well, we just found out where it’s going.
The episode surrounded Jeff Dillenger, one of the NSA employees who was working on Alicia’s wiretap. He becomes concerned that he is being investigated for taking confidential files out of the workplace and goes to the one law firm he knows, it also happens to be the law firm that he has been helping spy on for the last few months. Dillenger was portrayed by Zach Woods, better known as Gabe Lewis from The Office, who absolutely killed it in the role. He was able to delve into drama so well, but still slyly maintain some goofiness that was key to the success of the episode.
The episode was genius in its handling of the case. Cary and Clark (Nathan Lane has been a wonderful addition to the cast by the way) walk Dillenger through the process of taking the focus off of himself by becoming a whistleblower.
The Good Wife has always been so good at storytelling, but this episode really took it to the next level. First off all, the episode began with exposition about Alicia’s grief and the potential firm mergers through the NSA wiretap, then we see Cary and Clark telling Dillenger exactly what to say when he reports his boss for spying on his ex-wife by merging the two scenes together.
After the firm realizes that they have been tapped, the firm goes into lockdown. Then, Alicia realizes that they are also spying on Peter, which leads to a wonderfully awkward encounter between the two. In the end, Peter uses his pull to stop the wire tap on himself and Alicia. There is something in the works for the two of them, I just don’t know what that is yet.
The episode also found the return of Louis Canning (Michael J. Fox), who merges with Lockhart/Gardner, adding his name to the end as a remembrance to Will. Diane is skeptical and Kalinda is furious when he refers to himself as the new Will and frankly so was I.
Finn Polamar continues to deal with becoming the scapegoat for the courthouse shooting. Alicia comes to his defense in a not so Alicia way, mostly because she has been moping around for the past two episodes (not that I’m blaming her). Of course, she gets a kick in the ass when she talks with Louis Canning and he fire is running like good ol’ Alicia.
The final scene? An incredible discussion between Peter and Alicia discussing which events Alicia needs to attend. Actually gave me chills.
The Good Wife has found two niches in its writing and directing. They have been able to side step the categorization as a procedural or serial drama by dealing in both arenas. On the one hand we have the NSA case, which take the “case of the week” spot. On the other hand, we have the firm mergers, Alicia’s depression, her defense for Finn Polamar, and the NSA case has been underlying the entire season. As for the directing, don’t even get me started. It is a beautifully directed show. Everything from the classical underscore, the storytelling devices, to even shots of a computer screen, the show has really matured into what I’m calling the best network drama since The West Wing.
I was one of the people that was tepid toward season 6 of Mad Men. I thought it still had its honest writing, complex characters, and impeccable style, but it was missing the forward momentum that is needed to sustain a series week to week. When I binge watched the season later on I found it to be more satisfying, but it made me eager for the upcoming season because I knew Matthew Weiner couldn’t keep the show stagnant for too long.
The season premiere, titled “Time Zones”, may have been the boost I was looking for. The episode, in my opinion, was one of the strongest premiere they have had in their entire history. The entire episode was so well-balanced, stylish, and strongly acted, but what captivated me is that Matthew Weiner is able to create the plot development that I was straining for, while also so intently showing us where each character is in their own growth and decay.
The episode didn’t start off with Don, or Peggy, or Roger, or Joan, but with Freddie Rumsen who is pitching an idea to Peggy for a watch, which becomes the center of Peggy’s storyline. Let’s just say Peggy doesn’t have the easiest time in this episode.
It revealed later, in a slightly more off kilter reveal, that Freddie is getting his ideas from Don, who is striving to continue working. The reason I found it so off putting is it just felt too easy. The point of the show is to chronicle the decomposition of Don Draper, so I suppose this is him striving to stay afloat, but I wish that Weiner portrayed it in a more subtle way.
Don, who has become bicoastal during his leave, visits Megan who is introduced in an extended slow motion sequence at the airport set to Spencer David Group’s “I’m a Man.” If that wasn’t a 70s entrance, then I don’t know what it.
However, not all is good with the Drapers. Their marriage is getting stale. Unlike when they were first introduced, the couple isn’t constantly grabbing at each other at the first moment of privacy. They have become an old couple. Tired, even. After Don buys a television, much to Megan’s dismay, she says “you’re not here long enough for me to fight with you.”
However, while on the plane back Don is able to resist the advances from a widowed woman (Neve Campbell, who I’m hoping continues to appear) and avoid an affair. His excuse? He had to work. Don may not have been able to maintain his marriage with Betty and it looks like his marriage to Megan is going down the toilet, but he will always have that mistress called work. However, what is deeper is that whenever she talks about her sea husband, it seems as if she is referring to Don. She had said her husband died of thirst and that one day “all of them would be.” Is this Matthew Weiner’s biggest clue to Don’s demise?
Roger, who is at the tail end of a “party”, receives a call from his daughter asking to have lunch. His new hippie lifestyle is obviously becoming more serious. Complete with orgies, drugs, and freedom. His daughter is persistent that the two reconcile. Where Roger ends up I don’t know, but it will certainly be an interesting ride getting there.
Joan spends the episode trying to retain Butler Footwear as a client. It was nice to see Joan making strides to reaching her full potential, including seeing a professor to help her on her marketing knowledge. The result is her schooling Wayne (played by Dan Byrd) and solidifying her place as a partner at the firm and reaffirming her strength. However, there is still room for growth. The people around her still treat he like a glorified secretary. To see her finally reach her full status is going to be so gratifying.
Going from the episode’s biggest success to the episode’s biggest failure. Peggy has to deal with two separate, but draining issues. First is of course her falling out with Ted. She is reeling and lonely, as displayed by that wonderful scene about the coffee. Her other problem is her new boss, Lou Avery. Unlike Don, he doesn’t care about quality, only formality. It is something Peggy can’t wrap her head around. Even he brings up that her charm is ineffective.
In the end, Peggy is alone in her apartment, crying and broken set to the song “You Keep Me Hanging On”, which is pretty much the theme of the episode. Broken people hanging on.
Not often do series that are suddenly cancelled have a chance to wrap up in such a perfect way, but for “Raising Hope” they got that chance.
The series finale of this amazingly underrated show saw the return of Jeffrey Tambor as Virginia’s father. He came back to Natesville to try and make amends and marry his partner, Oliver. The family is tepid until he offers to pay for Hope’s college.
With three days to plan and Arnold’s credit card, Virginia took the rains to plan the wedding of HER dreams.
Meanwhile, Maw Maw, with the hunch that Arnold is up to no good, recruits Frank who is a professional “stocker” to spy on him.
On the wedding planning front, Virginia and Arnold hold auditions for a Kenny Loggins impersonator, while Burt prepares Hope for her college experience, beer pong, fake ID, and all.
The best part of this montage is that it combines the ridiculousness of the writing with the quirkiness of the characters we have learned to love. Everything from dancing Dan trying to be Kenny Loggins to the “Footloose” background music was pitch perfect. Of course, there were the well timed Hope reaction shots.
Virginia is ready to smooth things over with her father after he admits that he has enjoyed his time planning the wedding, until Frank and Maw Maw discover that Arnold does not have a partner nor is getting married.
However, in a twist, it is revealed that Arnold was using the fake wedding to allow Virginia to plan the wedding of her dreams, since she didn’t get it because she was pregnant with Jimmy. Virginia doesn’t buy it until Arnold gives Virginia the Princess Diana dress she dreamt of. Spoiler Alert: it’s as ugly as you think.
At the “royal wedding” ceremony, Burt promises Virginia that he would punch anyone that hurts her. Then, the pope, I mean, pastor, I mean lawyer, pronounced them still man and wife.
Then, in typical “Hope” fashion, Kenny Loggins appeared to perform “Danny’s Song”, which was performed by Virginia and Burt in the pilot to put Hope to sleep. Jimmy admits that this song gave him his first lesson as a parent, that’s where the emotional part starts.
It’s all good until Arnold reveals that he sold his condo in Sedona, which was used as collateral for the college tuition. However, he sold it to pay for the wedding. Burt punches Arnold in the face per his promise.
Jimmy offers Arnold his old room since he had no place to stay and tells his mother, “if you really want him to be a better father, you’re going to have to give him a chance at being a father.”
Kenny Loggins finished his song as the family dances and sings along.
At the end of the series the entire family is seated around the table for breakfast the next morning. Jimmy’s voiceover brings the series’ arc to close. “Not everyone becomes a parent at the perfect time. Some of us do it way too early. Some of us do it way too late. The important thing is when you get the chance you make the most of it.”
Then, Maw Maw walks in to try to stab Arnold, then make out with Jimmy. The ridiculous end to the perfectly ridiculous series, which ensures us that for the Chance family, life goes on.
The series finale of one of the oddest, quirkiest, and lovable sitcoms has finally come. It of course starts off with pure nostalgia of the gang sitting in MacLaren’s listening to Lily telling them the only way one of them hooks up with Robin is if they marry her…. and Barney does.
Barney tries to get Ted to play “Have you met Ted” with the bass player/the mother, then all of a sudden, Ted reveals that he had to leave right away, which led to emotional goodbyes and one of the most epic high-fives to hit television, but of course it ends in both Ted and Barney hurting themselves, but knowing it was all “worth it.”
Then at the Farhampton train station the old woman that was introduced in the season premiere points out to Ted that the mother is standing at the same station. She pushes him to talk to her, but he refuses.
Then we cut to 24 hours later where Marshall and Lily see Ted in MacLaren’s much to their content and discontent, Ted reveals that it’s because he met the mother, yet again we don’t know how.
Then, we cut to the mother revealing she’s pregnant, Marshall revealing he’s now in corporate law, and that Robin and Barney were divorced.
Pause. Most of this episode was probably one of the best paced “where are they now” episodes of any sitcom or drama. It moved at such a great pace, but still had the dramatic and comedic impact.
Play. Then the episode slowed to where Barney and Robin are dealing with the falling out of their divorce and the Lily attempts to keep the gang together and ensure that they are all there for “the big moments.” Which includes Lily revealing she is pregnant with their third child and realizing that they are quickly outgrowing the apartment, so they decided to move.
In a goodbye to the apartment, they threw a halloween party, but the group dynamic wasn’t the same anymore as pointed out by Robin. And in yet another emotional twist, Robin knew it was over. We are left with Lily alone in the empty apartment.
The episode was so well paced and balanced and to be honest one of the best episodes that the series put out in a while. It reminds us why we fell in love with the series in the first place, because these characters are impossible to not like, but now on to part 2.
MVP: Ensemble
PART II
The half saw the fast paced timeline continuing. Barney came to the realization that he will never change in one of the character’s more human moments. It also revealed that Marshall finally got his judgeship.
In 2019, we saw the return of the playbook, but a now 40’s Barney found out the final girl in his perfect month was pregnant.
Moving right along, Ted and a much older Penny are touring the city when he ran into Robin, who hasn’t seen most of the group for years. Also at the same time Barney’s love child is born, and well he falls in love with her. Neil Patrick Harris proves again what an incredible actor he is, not only comedically, but all around.
Pause. This incredible pair of fast forward episodes were so well written and impeccably paced, but it also didn’t feel like a real “How I Met Your Mother” episode. It has the incredible characters that we love, but the ridiculousness and gut busting moments weren’t there. It’s like a more matured version of the show.
Play. Ted reproposed to the mother and planned a wedding for later in that week. It led to our introduction to the new Barney and a the group being reunited for one of the biggest moments. Then, the mother took a picture of the gang in the bar and my emotions were tickled.
Then Marshall said to a group of “kids” that “a lot” happened in that bar. Then the wedding finagled happened all the way in 2019.
Then an incredible montage of pictures featuring Ted and the mother, that led to what some of us were dreading, but also expecting. It is revealed that the mother did become sick, but also finally showed how he met their mother.
There they pieced together their entire of close calls through the iconic yellow umbrella and realized that it was destiny. Oh yeah, also we find out her name was Tracey.
However, my entire perception of the series was ruined when it was revealed that Ted told that entire story to his kids because he was still in love with their aunt Robin and wanted to get their approval.
To be honest it was a terrible reveal, but I have to admit that it was very well executed, especially bringing back the blue horn. These final two episodes were incredible well-written and directed, but I still can’t believe that they took this entire time just to put Robin and Ted together.
I can see a lot of people loving this ending, but for me I can’t help but feel jilted by the creators. You spend nine years trying to get your audience to care for a nameless and faceless character. They spent episode after episode making us root for their success, to just throw it all away in the end.
I will admit though, they knew their end game and they got themselves there in an overly long, but still fun manner. Goodbye How I Met Your Mother, I will never watch you ever again.
SPOILER ALERT! If you haven’t watched this week’s episode of “The Good Wife” stop reading now!
MVP: Julianna Margulies
Emmys! Emmys for everyone. No, but seriously. Usually after a major death on a television show there is an episode where the characters grieve. Sometimes it’s the funeral, the hospital, or even six months later (a la “Downton Abbey”). However, the writers of “The Good Wife” had the episode surround the events immediately following Will Gardner’s death.
I don’t know if this is my place to say this, but this episodes is one of the greatest “grief” episode to ever be aired on television (although “All Alone” from “Six Feet Under” and “The Son” from “Friday Night Lights” still surpass it). The writers of the show have captured such an honest reaction to death and also in turn created such a beautiful episode for the character of Alicia.
Much of the episode surrounded the different ways each of the main characters dealt with the death of Will Gardner. For the sake of organization I’m going to split this review up into each of the characters’ story lines.
Cary was in an interesting position regarding Will at this point in the series. He had a respect for Will that couldn’t be taken away, but he also had a drive to take him down. That is what made his reaction to Will’s demise so surprising. With the absence of Alicia, Cary had to handle a deposition involving a wrongful termination suit that was introduced to us in the episode “Hitting the Fan”. During the deposition, which the opposite attorney threatened to delay if they didn’t do it that day, Cary went on a rant saying that he wanted to “get out his anger and aggression by destroying [the defendant].” First of all, Matt Czuchry was never one of the standouts from the series, but here he absolutely proves he can play in the big leagues. He also was fortunate to get the single greatest line of the episode.
Diane was also in an interesting position. Although she had just lost her best friend, she still had an entire firm to run. She had the uneasy task of notifying the partners of Will’s death, then also dealing with clients that were looking to jump ship. Diane made all her decisions by asking herself what would Will do, which led to some tension between her and David Lee (Zack Grenier also did a wonderful job here). When one client demanded that he has a meeting with Diane regarding his future with Lockhart Gardner, she allowed him to come in. However, it wasn’t an easy welcome. Not only did Diane fire him as a client, she also called other firms to ensure that they would not pick him up, and told him that no one likes him. Christine Baranski has always been an incredible presence on the series, but she was merely that, a presence. This episode gave her the material she needed to break out and hopefully finally win her deserved Emmy for this series.
Kalinda spent most of the episode doing what she does best and that’s investigating, however this time her investigation hit way too close to home. She tasks herself with discovering whether Will was killed by Jeffrey Grant (Hunter Parrish), or was hit in the crossfire. After listening to testimony from the courtroom officer (who is equally guilty in my eyes) and Grant and his new attorney, her investigation leads her to the conclusion that Jeffrey Grant indeed killed Will. With the help of Detective Jenn Villette Kalinda gets to the cell where Grant is being held, where in Kalinda fashion shows him his belt and tells him to kill himself, but just as he reaches for the belt she pulls it away telling him that he should feel the guilt everyday of his life. Not only does Archie Panjabi do excellent work here, Hunter Parrish is absolutely incredible. I really hope Emmy voters don’t forget about him come Emmy season.
However, Alicia was of course one of the most affected by the death. Her storyline was what set this episode and series apart from any to ever air. Most of her storyline focused on her attempts to find out what happened in the courtroom and why Will left a mysterious voicemail for her. However, before all this happens Margulies is allowed to give such a great amount of emotion and grief. Throughout the episodes she pictures why Will said in the voicemail, ranging from anger to a truce. Throughout she also has memories of Will. Nothing specific. No flashbacks, but simply images. The writers were so genius is keeping everything so real and emotional. There is one scene, when she goes to the hospital and she pictures Will coming up to her saying that they misidentified the body because it was shot in the face, but again it faded away. The writers were able to show so much of what people go through when they grieve that it feels so familiar.
The best scene of the episode was between Alicia and Grace who talk about heaven and hell and whether they exist. Such a realistic and beautifully executed piece of writing that anyone would think about following a death.
After a lengthy scene with Finn Polmar (newly minted series regular Matthew Goode), she comes to her own conclusion that Will was calling to profess his love for her. Bad news for her, she comes to this realization as she is embracing Peter. Bad news for us, that is where the episode ends.
It was truly an incredible piece of work. I don’t think any network drama attempted anything close to what “The Good Wife” just did. They showed what true grief is like and they showed it so intimately through these characters. The rest of this season is shaping up to be an incredible piece of television. (A)
TWO-SENTENCE REVIEW: Although Darren Aronofsky’s biblical epic has been shrouded with controversy, the visionary director was able to walk a very thin line to please both the religious and the regular movie goer. Bolstered by strong performances by the entire cast, strong visuals, and a filled out script, “Noah” may be one of the better biblical adaptations.
THE GOOD: The visuals. Aronofsky is always careful to capture a film in the best way possible, but “Noah” may take the cake. From the beautiful cinematography to the stunning effects, he was able to capture the beauty of the landscape, while also showing its danger.
The performances. Every single actor is at the top of their game, particularly Jennifer Connelly, Emma Watson, and Anthony Hopkins. Each actor was able to deal with material that may not have been as deep as it needed to be and added so many layers. Watson is heartbreaking as Noah’s adopted daughter who must deal with the ramifications of the needs of the mission and shows that she is an actress that can past a decade long role. Connelly is wonderful as always, but Hopkins returns in a role meant more for comic relief, but does so well with it.
However, the biggest feat for the film must be its careful screenplay, which allowed room to please those who are spiritual, religious, or simply looking for an entertaining film. There is a blanketing theme of doing what is right even thought it hurts, but also makes it’s way into the territory of sin and forgiveness. Aronofsky was able to include something for everyone.
THE BAD: The dialogue. There is some questionable dialogue. Not too many cringeworthy lines, but there is enough for one to take notice.
There are small directorial mistakes. One of the more prominent is that the family uses incense to put the animals on the ark to sleep, however it doesn’t affect any humans even it was able to put a full grown elephant to sleep.
THE UGLY: Unnecessary violence. This was one of the points of controversy and it shows up more than I would have liked. In an early scene Noah has a lengthy and highly choreographed fight sequence with a group of thieves who he eventually kills. He kills the men because they killed an animal. Noah then uses this to explain justice to his children, which is fine, but the fight was out of place.
SHOULD YOU SEE IT?: Yes. It’s a great night at the movies and it also makes you think and feel, which is lacking in today’s movies.
SPOILER! If you haven’t watched this week’s episode of The Good Wife stop now! Seriously.
MVP: Josh Charles
Television has hit an odd age. It’s not the Golden Age of television that we hear so often, but the “Dark Ages” (I came up with that one). This year alone we have experienced countless shocking events and deaths that leave us screaming at our televisions and cursing the world, however we may have found the most shocking death of the year.
Will Gardner has made his way to the big courtroom in the sky. Yes, the male lead on “The Good Wife” was killed off in last Sunday’s episode appropriately titles “Dramatics, Your Honor”. Although I, and many others, were expecting the actor Josh Charles to leave the show at the end of the season.
Now, I have to try to be objective in my review of the episode. Yes, it may have contained one of the most ballsy moments of the year, but there was still an episode the surrounded that moment.
So, let’s start from the beginning. The first shot of the episode is of Jeffrey Grant (Hunter Parrish), a college student we are introduced to earlier in the season, who is accused of murdering a fellow student. A strong rock instrumental is playing in the background while Jeffrey is looking around the courtroom during the prosecutor, Finn Polmar (Matthew Goode), is delivering his opening statement.
Now, when “The Good Wife” first started out I never looked at it as an achievement in directing, however across the last couple seasons they have actually refined the look and feel of the show. Each episode is impeccably shot and scored. David Buckley doesn’t underscore the each episode, he drives the mood and matches the feelings of the characters.
Let me just say that it was a genius way to set up Jeffrey’s slow mental deterioration. Most of the episode revolved around Will’s attempts to prove his defense of touch DNA, which would explain why Grant’s DNA was under the victim’s finger nails.
This brings him across several theories from exchanging the DNA on a book, coffee shop, and gurney. However, what is more wonderful is the dynamic between Will and Kalinda and actors Josh Charles and Archie Panjabi. The actors portray the characters’ relationship and trust so well on the screen.
Another story point was Kalinda’s decision to leave the private investigator business and this is where the writing because absolutely wonderful. It was such a well placed red herring for fans who were aware of the gravity of the episode to chase. It also allowed for Archie Panjabi to have some material in an otherwise weak season for the character.
The storyline also allowed for one last drink for Kalinda and Will, where Will offers the parting words to convince Kalinda to stay in the business: “That feeling you get when you figure something out? You live for that. Anyway, I’ll miss you. There aren’t many people I like left there. Is that a better pep talk?”
This episode is also the third installment in a group of episodes that involved Peter’s voter fraud case. In this episode Alicia gives a voluntary deposition to determine what the investigator (Eric Bogosian) would ask Will if he decides to question him. And it was essentially Alicia at her absolute best. Julianna Margulies has grown so much with the character that even when she is being sarcastic, it feels in character.
This finally brings us to THE scene. Will calls for a sidebar with the judge to ask for time to pursue a new lead. The entire court begins to lose interest, the jury ignores Jeffrey, the witness on the stand pulls out his phone, the lawyers and the judge look like they’re having a conversation rather than discussing the case.
The music that played in the opening scene returns, Jeffrey begins to lose it. Hunter Parrish proves that again what a wonderful actor he is. There is so much pain in his face that you can’t help but feel for him. He notices that the courtroom officer’s gun is unholstered.
The genius of the scene comes when we cut to Diane in a different court in the same building as the first shot is fired. Then, the second. Without hesitation Diane finds Kalinda and tells her to check on Will. When she gets to the courtroom Jeffrey is still firing (exactly 6 shots, which was appreciated). The shooting ends and all Kalinda can focus on is a lone shoe and a pair of feet. This is my one gripe with the sequence. There was a few too many shots of the lone shoe and the pair of feet.
Jeffrey is behind the judges bench with the gun pointed at his throat pulling the trigger of the empty gun, which was probably one of the most heartbreaking images of the episode, then we see Finn grasping an unconscious Will as Kalinda screams for paramedics. I was a little tepid toward Panjabi’s Emmy win for the first season, but with this episode she proves she deserves to be back in the Emmy pool.
The final sequence happens in the Emergency room where Diane and Kalinda wait for news on Will and decide to call Alicia, not before finding his body on a gurney. There was no goodbye, no deathbed confessions, just the real world of death.
Kalinda calls Alicia, but before we can hear what she says it cuts to black.
What started off as a great “Good Wife” episode quickly turned into an inspired goodbye to a beloved character and an incredible episode of drama. (A)
Who will take the top prize in Hollywood? Find out tonight on the 86th Academy Awards
I will be live blogging my reactions to the 86th Academy Awards. Refresh this page for my latest thoughts (and frustrations) on winners, the ceremony, and all things Oscar.
Check out my predictions here to see how I’m doing, and check out Craig Ismali’s predictions here! Check out my twitter more frequent updates (https://twitter.com/karl_delo)
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Update 45: Overall it was a boring year for the Oscars. Almost every single frontrunner ended up winning, which screwed with my predictions. The great thing is that the deserving winner won most of the time, it was a good show and I’m happy for most of the winners. Check out our full thoughts on Indecent Disclosure on 91.3 FM on Wednesday @ 6pm.
Update 44:Best Picture: 12 Years a Slave.From the minute I heard about the movie I know it was going to win. It is pure Oscar bait, but also a phenomenal movie.
Update 43:Best Actor: Matthew McConaughey, Dallas Buyers Club.I couldn’t buy into the hype. Does anyone ever know what he is talking about?
Update 42:Best Actress: Cate Blanchett, Blue Jasmine.Gasp, I’m shocked. Great speech. Class act. That’s it.
Update 41:Best Director: Alfonso Cuarón, Gravity.And the sweep is complete. He is a visionary director. Again, I have to say, I know a lot of people credit the film’s success to the visual effects, but he kept the film grounded (heh) in something human.
Update 40: The legendary Sidney Poitier should have presented Best Picture, but Best Director works too. For a kick I would definitely watch his Oscar win, it’s lovely.
Update 39:Best Original Screenplay: Spike Jonze, Her.Can I be Spike Jonze when I grow up? Literally the perfect balance between awkward and charming. He really deserved this, it was the most ORIGINAL screenplay of the year, it just so happens to be laced with emotion and heartbreak and humanity.
Update 38:Best Adapted Screenplay:John Ridley, 12 Years a Slave. BOOM! 12 Years just sealed the deal with that one I’m pretty sure. Although I would have loved it to have been Before Midnight, it is still a deserved win.
Update 37:Best Original Song: “Let it Go”,Frozen.Get that EGOT Bobby! And that was a freakin’ Oscar speech. Hands down the best of the night, closely followed by Lupita.
Update 36:Best Original Score: Stephen Price, Gravity.I knew he was going to win, but I was still holding on for Her to take it.
Update 35: THAT IS HOW YOU GIVE AN OSCAR PERFORMANCE! Idina Menzel killed it in her performance of “Let it Go” from Frozen. #datbeltdoe
Update 34: We have lost some giants this year. This generation has some enormous shows to fill. Thank you for all the memories.
Side note: That is how you do an In Memoriam segment. For once it was well ended and fascinating to watch.
Update 33:Best Production Design: The Great Gatsby.This is one of those cases where I should have gone with my gut opposed to my head.
Update 32: That was odd. I don’t understand these “tributes”. A song and a clip package don’t seem like that’s the due that these films (The Wizard of Oz this year and James Bond last year) deserve.
Update 31:Best Film Editing: Gravity. I tried to be ballsy with my prediction and it nipped me in the bud.
Update 30:Best Cinematography: Gravity. A well deserved win. I know a lot of people say that this is a CGI film, but there is still no film without the photography. And the Gravity train keeps on rolling.
Also, what a touching and simple tribute to Harold Ramis from Bill Murray.
Update 29: I must also mention that with that loss American Hustle lost what little chance they had left at winning Best Picture.
Update 28:Best Supporting Actress: Lupita Nyong’o, 12 Years a Slave.A well deserved win and standing ovation. For once the Oscars did something right. I don’t care if you never watched the movie, you just can’t help but love the woman. I wish her all the best in her career.
Update 27:Best Sound Editing:Gravity. Shocker x2.
Update 26:Best Sound Mixing:Gravity. Shocker.
Update 25: Most epic selfie ever.
Update 24: I really appreciate what U2 was trying to do with “Ordinary Love”, but I really need “Let it Go” to win. However, with that standing ovation I’m not so confident now.
On a side note, what the hell happened to this Heroes theme. It’s mentioned twice and that’s it.
Update 23:Best Foreign Language Film:The Great Beauty. Eh.
Update 22: Kevin Spacey doing Frank Underwood on the telecast gave me life.
Update 21:Best Documentary Feature: 20 Feet from Stardom. A good documentary, but compared to the crop of nominees this year it feels like a bit of a safe choice.
Also, where the hell did that come from?
Update 20:Best Documentary Short Feature: The Lady in Number 6. Such a great and worthy winner with a great story to tell. I’m just sad that “the lady” couldn’t be there. RIP.
Update 19:Best Live Action Short Film:Helium. Damn it. I wished I called that one. It was such a simple prediction, but everyone was going for The Voorman Problem.
Update 18: That was an absolutely gorgeous performance of “The Moon Song” from Her by Karen O and Ezra Koenig. That was literally every hipsters wet dream. Now, why didn’t they think of letting the song nominees perform before?
Update 17:Best Visual Effects:Gravity. And let the sweep begin.
Update 16:Best Animated Feature:Frozen.Finally happened for Disney. A well deserved win. It was beautifully animated, written, and if you don’t love the song “Let it Go”, we might not be able to be friends.
Update 15:Best Animated Short:Mr. Hublot
Update 14: Harrison Ford wins the award for most disgruntled elderly Oscar presenter.
Update 13:Best Makeup & Hairstlying:Dallas Buyers Club.Looks like they won an Oscar and a pair of Globes.
Update 12:Best Costume Design: Catherine Martin, The Great Gatsby. A well deserved win for a terrible movie.
The craft category winners tend to give cut and dry, and sometime awkward, speeches, but Martin did a great job.
Update 11: Points to Pharrell for wearing his infamous hat during his performance of “Happy”. Extra points to Lupita Nyong’o, Meryl Streep, and Amy Adams for their dances. Bonus points for getting the crowd to actually get up and dance. The Oscars are now not mediocrely dull.
Update 10: I’m liking the fact that they actually are somewhat carrying through with their theme this year, other than having Catherine Zeta-Jones lip synch to a badly choreographed version of “All the Jazz”.
Update 9: Leto gave an absolutely inspiring and emotional speech. That was a damn good speech. He thanked who he needed to thank and delivered it with eloquence.
Update 8:Best Supporting Actor: Jared Leto, Dallas Buyers Club.Shocker.
Update 7: Ellen Degeneres gave a solid, but safe monologue. I did find the line: “Option #1: 12 Years a Slave wins Best Picture, option #2: you’re all racists” absolutely hilarious.
Update 6: Ellen looks like she should jump on a horse and yell “the British are coming! The British are coming!”
Update 5: Watching Kevin Spacey speak without his southern accent is the oddest experience now. I kept on expecting him to turn the camera and say: “What fools. They think they can join the elite group of Oscar winners so easily. I pity them.”
Update 4: In other news, Tyson Beckford called Julia Roberts “Jessica Roberts.”
Update 3: Jennifer Lawrence fell… again. She really needs to learn how to walk.
“The Great Beauty” is the frontrunner for Best Foreign Language film
I feel really bad about this category. Not because it’s a weak category, or because there is a lack of competition. Mostly because I haven’t watched the majority of the nominees.
Either way, I must trudge on and attempt to predict. The general sentiment is the Italy’s “The Great Beauty” will take the category and I agree. I see no reason why it wouldn’t. It is one of the two nominees that I actually watched and while I found it a bit pretentious, I understand the appeal.
The film I would say has a good chance to upset also happens to be the other film that I watched from the category. “The Hunt” already won the Best Actor prize at the Cannes Film Festival and is similar in its dark tone and sheer brutality to last years winner “Amour”.
Check out my predictions below and my other Oscar predictions here!
Will Win: “The Great Beauty” (Italy) Could Win: “The Hunt” (Denmark) Should Win: “The Hunt” (Denmark) Should have been nominated: “Gloria” (Chile) (Picture a spanish “How Stella Got Her Groove Back”)
Will “Inside Llewyn Davis” follow in the footsteps of musical films like “Les Miserables” and “Dreamgirls” and win Best Sound Mixing?
This category is pretty much locked up. “Gravity” probably will and deserves to win. Even I, a complete idiot when it comes to sound design, can tell that the sound mixing is something to marvel at.
If I had to pick a spoiler, I would go with “Inside Llewyn Davis”. Music films tend to do well here (“Chicago”, “Ray”, “Dreamgirls”, “Les Miserables”). The only reason I don’t have the winning is because of the film above.
