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captainsblogAll kinds of things, really. Most of them with spoilers, yo.
We've got five to go. We've also got, by my count, no fewer than ten threads awaiting resolution in those weeks.
The Brain Surgeon. Yates the Shoe Guy (who probably isn't the BS). Vogel and her backstory with the Code. Quinn and his promotion prospects. Jamie and her entanglement with Quinn. Masuka and his kid. Zach the "Intern." Elway and his backstory. Deb's bouncing back from the horror of the prior year's finale. And, of course, Hannah's sudden reappearance.
That's a lot to work through in 1,100 minutes, but I suspect these guys can pull it off. I also hadn't realized that the novelist will likely reach his own denouement for the character a week or so before Showtime does, as he's got a novel scheduled for release on September 17th called Dexter: The Final Cut. Granted, these arcs separated long ago, with JL killing off Laguerta long before and keeping Rita alive through the last one I read, but still. I suspect there will be parallel finality in both; I'm just loath to guess what it will be.
I found episode 5 to be complicated, and convoluted, and almost as arc-y as the same night's Dex by the time I finally got to it today. Then, though, I realized Sorkin's point: "News Night With Will McAvoy" was essentially a real-time episode, beginning right at 8 eastern and running through, with subplots taking up "commercials" and "actuality" that was running on ACN at the exact same moments.
This whole season has been a gear-grinder, beginning in the relatively recent past through the eyes of network lawyers, and flashing back, week by week, to the events of the preceding summer and fall. This week's Hour In Time broke that pattern, as we saw blonde Maggie and unsued Charlie and still-borderline Will in the heat of those sixty moments.
It was hard, but it was good hard.
This was my long-delayed gift to elbiesee, who I knew had to get a copy as soon as I saw a bootleg on a Shore Leave table two weekends ago. In this WB studios' abandoned pilot for a televised Wonder Woman series, you don't pilot that plane invisbly. We see her plane- and we see her putting on her bracelets, and boots, one at a time just like everybody else rather than witnessing a super-Spin. We also see a largely meta-plot, where everybody knows who Diana is-but as only one of the two "characters" by that name. Diana T. is the corporate executive who shamelessly pimps her superhero character through costumery and dolls. Yet she still puts on her glasses and goes home to a quiet existence as Diana P. away from the coverage, cuddling with her cat and eating junk food in front of the tv while the rest of the plot unfolds.
This could have worked. The lead was cruel but fair; she had Cary Elwes as her non-romantic partner; and a nice cast of otherlings, good and bad, did nice work, too. The pilot itself had more of its share of CGI, and at least one "insert more police car crash" note on the video portion of the pilot- but I've seen hellz worse, and so have you.
Longtime TV imagineer David E. Kelley was behind this reboot, which he pulled off on a clearly limited budget. One would hope that when the studios get round to this franchise in the coming years, they'll give his concept a chance.
I've left most of my disk of Children of Earth for marathoning on a lazy afternoon, of which I've had none in recent days. I did catch enough of the premiere, though, to wonder if RTD is just working the same basic formula that he played out in the succeeding Miracle Day:
Inexplicable event strikes the earth. Potential consequences of it are great. Jack and the team immediately realise that and try to figure out the Bad Guy connection to it. Sex ensues, because, you know, Jack.
Granted, I'm still less than an episode in, but this seems to be tracking the successor series bit by bit. Hopefully by this time next week I'll have figured out whether it is, or isn't, the same old Jack Shit.
And that's all hewrote saw.
We've got five to go. We've also got, by my count, no fewer than ten threads awaiting resolution in those weeks.
The Brain Surgeon. Yates the Shoe Guy (who probably isn't the BS). Vogel and her backstory with the Code. Quinn and his promotion prospects. Jamie and her entanglement with Quinn. Masuka and his kid. Zach the "Intern." Elway and his backstory. Deb's bouncing back from the horror of the prior year's finale. And, of course, Hannah's sudden reappearance.
That's a lot to work through in 1,100 minutes, but I suspect these guys can pull it off. I also hadn't realized that the novelist will likely reach his own denouement for the character a week or so before Showtime does, as he's got a novel scheduled for release on September 17th called Dexter: The Final Cut. Granted, these arcs separated long ago, with JL killing off Laguerta long before and keeping Rita alive through the last one I read, but still. I suspect there will be parallel finality in both; I'm just loath to guess what it will be.
I found episode 5 to be complicated, and convoluted, and almost as arc-y as the same night's Dex by the time I finally got to it today. Then, though, I realized Sorkin's point: "News Night With Will McAvoy" was essentially a real-time episode, beginning right at 8 eastern and running through, with subplots taking up "commercials" and "actuality" that was running on ACN at the exact same moments.
This whole season has been a gear-grinder, beginning in the relatively recent past through the eyes of network lawyers, and flashing back, week by week, to the events of the preceding summer and fall. This week's Hour In Time broke that pattern, as we saw blonde Maggie and unsued Charlie and still-borderline Will in the heat of those sixty moments.
It was hard, but it was good hard.
This was my long-delayed gift to elbiesee, who I knew had to get a copy as soon as I saw a bootleg on a Shore Leave table two weekends ago. In this WB studios' abandoned pilot for a televised Wonder Woman series, you don't pilot that plane invisbly. We see her plane- and we see her putting on her bracelets, and boots, one at a time just like everybody else rather than witnessing a super-Spin. We also see a largely meta-plot, where everybody knows who Diana is-but as only one of the two "characters" by that name. Diana T. is the corporate executive who shamelessly pimps her superhero character through costumery and dolls. Yet she still puts on her glasses and goes home to a quiet existence as Diana P. away from the coverage, cuddling with her cat and eating junk food in front of the tv while the rest of the plot unfolds.
This could have worked. The lead was cruel but fair; she had Cary Elwes as her non-romantic partner; and a nice cast of otherlings, good and bad, did nice work, too. The pilot itself had more of its share of CGI, and at least one "insert more police car crash" note on the video portion of the pilot- but I've seen hellz worse, and so have you.
Longtime TV imagineer David E. Kelley was behind this reboot, which he pulled off on a clearly limited budget. One would hope that when the studios get round to this franchise in the coming years, they'll give his concept a chance.
I've left most of my disk of Children of Earth for marathoning on a lazy afternoon, of which I've had none in recent days. I did catch enough of the premiere, though, to wonder if RTD is just working the same basic formula that he played out in the succeeding Miracle Day:
Inexplicable event strikes the earth. Potential consequences of it are great. Jack and the team immediately realise that and try to figure out the Bad Guy connection to it. Sex ensues, because, you know, Jack.
Granted, I'm still less than an episode in, but this seems to be tracking the successor series bit by bit. Hopefully by this time next week I'll have figured out whether it is, or isn't, the same old Jack Shit.
And that's all he