It’s hard for me to not be insulted by this week’s episode Means to an End. The list of everything wrong with this episode is almost overwhelming, but what bothers me the most is the sacrifice of story integrity for the cheap thrill.
It’s hard to know where to start with an episode like this, so I’ll just go with the main factor: Jo. I like Jo—correction, I like Jo of the seventh season (hereafter MommyJo). MommyJo was laid back, respectful, considerate, fun, loving, and a family woman. MommyJo was quirky, unorganized but still competent. I understood—wasn’t a fan of, but understood—the show’s need to spend more time on her character last season. She was new and unknown, and I felt they did an adequate job of distinguishing her from Stella (a few lapses) and creating her own niche in the CSI:NY world. Season eight Jo (hereafter SuperJo) couldn’t be a bigger waste of screen time. She spent the last three episodes running around with a self-righteous stiff arm, while attempting to play the victim as well. Note as she tells Frank Waters that he gave her no choice, he made her confess his mistake. The phrase “gave me no choice” is as clichéd as it is untrue. Everything is a choice. I’m not arguing whether she made the right or wrong decision, but SuperJo is so quick to find blame with others. After Curtis is released on bail Mac finds her going through Lindsay’s evidence. Mac tells her she can’t do that it’s not her case (which is true for about 30 seconds, but I’ll get to that in a minute) and Jo replies she “can’t let this case fall apart.” So Lindsay following the evidence is letting the case fall apart? And I like how the writers, Zachary Reiter and Christopher Silber, conveniently ignored that rather blatant implication, and I guess just sat there with their fingers crossed hoping the audience would follow suit? (I don’t get paid nearly what the actors get paid…wait, I don’t get paid anything! So, no, I won’t ignore it! I was hugely uncomfortable with the fact that they brought in Lindsay’s husband to help Jo. A complete insult to Lindsay) MommyJo would have found a way to work with Lindsay. But if they had done that then SuperJo wouldn’t have found a way to be in such a contrived ending situation. My best guess is that the writers came up with that one line “people forget about the bullet in the chamber” and gave hearty high fives for their cleverness then manufactured a situation where they could use it. Cue SuperJo. It’s a bird. It’s a plane. It’s a character that has morphed into something so unrecognizable as to inspire images of a dark nothing consuming everything around it in Miyazaki proportions! Insult #1
Then we have the issue of Ali Rand’s murder at the hands of Senator Matthews. As soon as the validity of Rand’s accusations came under scrutiny it was clear what had happened. She had been hired to accuse Curtis of rape. The obvious answer would be that the Senator hired her; which turned out to be the case (though I was desperately hoping for something more surprising). When Rand gets spooked she tries to bail. Matthews freaks and kills her. Let’s back track a moment shall we? As Matthews, his daughter and Jo stood outside the courthouse following Curtis' bail hearing Matthews tells Jo that it’s because of “all the other daughters that had to suffer” that he is so upset. Yet, this guy is willing to bash a woman’s head in with a rock and his umbrella so readily. This woman that he’s been having a rather involved sexual relationship with (remember she’s been traveling around the world to be with him) and a woman who is someone’s daughter? No, you don’t paint someone as a cat lover and then show them beating a cat with a baseball bat. She wasn’t even threatening to expose him or blackmail him. She got scared so he brutally ended her life. And he killed her right by the river so please explain to me why he didn’t throw the rock he used to crush her skull into it? Insults #2 & #3.
Frank Waters (Michael Weston) appears for reasons beyond my understanding—except perhaps to continue the indignant looks from Jo. If he was supposed to be the “bait” we go for, it was an utter failure. Anyone paying attentions would know he was a distraction. There is no way he would be so obsessed with getting John Curtis that he would be stupid enough to dose Rand with the wrong amount of GHB, especially considering his FBI background. Hawkes even states as much. So what I (& Hawkes—thank you Doc!) knew in 30 seconds took the CSI team nearly 10 minutes of the episode to conclude. It’s like when a magician tries to perform magic but hasn’t quite pinned down the technique of slight of hand. But what I find most confusing is that Waters was so distraught by his actions he is willing to step in front of a bus, but not willing to give Jo the evidence he brought to the coffee shop. He storms out angrily and takes his evidence with him. Yeah, that makes sense. Insults #4 & #5.
And what is Mac’s role in all this? To let SuperJo do whatever she feels is necessary (oh, and to get the confession). He tells SuperJo she can’t work the case because it’s too personal, but when she explains to him it’s precisely because it is so personal that she should work the case he happily folds. (Umm…excuse me, but season 3 and season 5 Hawkes called, and he’d like to take the royal chewing out he got from Mac and tell him to shove it up his…sorry the message cuts off there.) Then Mac waltzes into the Senator’s hotel room and says tell me what I want to know or I’m going to have the press in here combing through your life! The Senator—now shaking in his wingtip loafers—them easily confesses. What the hell does he think is going to happen with the press after he confesses to murder?! Oh, well, he confessed so I guess we should just leave him alone. The press is always so reasonable, they’re really known for that. Insults #6 & #7.
And the list continues; Lindsay’s emotional involvement getting dropped like a hot potato caused all of her scenes to fall flat and unaffecting. John Curtis showing up at the apartment was utterly unbelievable. Curtis was about to walk free, but instead he tries to kill Jo? They have said over and over again that he is meticulous and careful but we’re supposed to believe he left so much evidence at that woman’s apartment? If he could get into her apartment so easily why wouldn’t he just take the stuff? Seriously I have many more examples of the failures of the resolution of this particular storyline. Last week’s episode was so strong, which may be why the contrast is so glaring to me.
As a fan who really thought Jo was a great addition to the cast, it is utterly disappointing to see her used in such a melodramatic, nonsensical and overpowering way—like a song one really likes until the radio plays it 15 million times. I try to find something good about each episode so I’m going to pull a Liz Lemon here: the lighting was really good. This episode truly was a means to an end for this fan, just probably not the end the show had in mind…I want my MommyJo.
Jo's survival skills got me thinking, if you were stranded on an island with a murderer which character from the show would you take with you for protection?
Over a month before the next new episode. A perfect time to pull out those DVDs and watch episodes passed!
Monday, December 5, 2011
Monday, November 21, 2011
Bikers, Russians, and Senators, Oh My! 8X08 Review (*****out of 5)
There’s real power in this week’s episode of CSI:NY as story met craftsmanship. Crossroads encapsulated true marriage between writer, director, and actor, and made this fan girl drool all over herself!
Writer John Dove is an established alum on the show and has a clear understanding of the characters, crime drama story telling, and the show itself. He weaves together a story with twists and turns that seem plausible and interesting. He broke from the typical format, and gave us an opening that was incredibly entertaining—showing us a different point of view as the supposed killer dashes out of his apartment. Even the setting of the murder was unique and outside the norm, introducing us to how a judge (complete with robes and cigar) and jury inspect a crime scene during a trial. The implication that the Russian mob is somehow involved is a pretty solid way to redirect the story and investigation, though further digging reveals a deep, dark, disturbing secret. Our murdered judge isn’t quite the “upholder of justice” he was believed to be. The case held my attention and maintained a bit of mystery until the very end. Of course the accursed “easy confession” made its dastardly appearance *grumble* Mac’s gaze is just too powerful *grumble* but I am always more willing to forgive the horrendous insult to viewers when there has been a bit of effort put into the majority of the story. I appreciated that there were consequences doled out, ultimately ending in the suicide of one perpetrator—a surprise ending since the show doesn’t normally push the envelope in that aspect, preferring to have the team magically talk every one down.
And I’m assuming Dove is the one responsible for this week’s portion of the John Curtis story arc, but whoever it is utilized the characters and the story itself in a much better, more powerful, and stronger way. Jo’s interaction with Curtis and Serena Matthews (Jenn Proske) was more believable (and effective) than the dribble that was dished out last week. She isn’t technically involved in the case, but she is clearly involved in the case. I don’t need trite dialogue telling me that. Dove instead allows the actors to communicate that—allowing Sela Ward the chance to show off her acting skills, and us a chance to connect with her. Likewise, Anna Belknap was allowed to demonstrate Lindsay’s emotional upheaval and uncertainty as she faced what has to be a nightmare for her personally (thank you John Dove for that sweet moment of support between husband and wife). It is impossible to not consider her own experience with wanting to see a man who haunts dreams put behind bars. Phenomenal acting and spot on writing.
However, to me, the shining factor of this episode belongs to director Jeff T. Thomas. His experience with the show has been a grab bag of decent, boring, and interesting episodes, but he really took this story to the next level. He integrated his role in the story telling process without detracting but instead adding. The clever rolling of the cigar from one scene to the next was creative without being distracting. He used the directing of the episode to be part of the story rather just a vehicle. Consider for a moment the scene where we are first introduced to Senator Matthews (Jeffrey Nordling) and his daughter. Mac enters and Lindsay makes the introductions and a conversation about the case ensues. The camera moves around each character from outside Mac’s office—all except Lindsay, her shots are clear and straight on without the interference of the glass or blinds. Thomas brilliantly communicates Lindsay’s role in this case showing she is the one responsible—the one “seeing clearly.” While everyone else is running on emotion, their vision being blurred, she is the one who has to make the hard decisions. A fact that is later established when Lindsay’s testimony cast doubt on the victim and her accusations. That is subtle and beautiful storytelling at its finest (and the equivalent of a cinematic turn on! *fanning myself desperately*).
There were a lot of parts to this episode and it had the potential of being clunky and convoluted yet Thomas managed to weave together each part with a delicate and skillful touch. I felt like there was a respect and partnership between Dove and Thomas, and that bled into the actors and, as a result, to me the viewer. Were there flaws? Yes (I still think there are way too many people apologizing to Jo these days) but I can’t argue there wasn’t a great deal of talent put into this episode. In a three part story arc this was the Empire Strikes Back and I thoroughly enjoyed it (pause to picture Danny as Han Solo…).
Let the speculation begin! Now that we are left to believe there's something fishy going on with the victim Ali Rand where should the team be looking? The Senator? The Senator's daughter? Jo's old college who screwed up in the first place? or Ali Rand herself?
Next up: The exciting conclusion of Jo Vs the Volcano! (The volcano of course being John Curtis' grade school nickname...)
Writer John Dove is an established alum on the show and has a clear understanding of the characters, crime drama story telling, and the show itself. He weaves together a story with twists and turns that seem plausible and interesting. He broke from the typical format, and gave us an opening that was incredibly entertaining—showing us a different point of view as the supposed killer dashes out of his apartment. Even the setting of the murder was unique and outside the norm, introducing us to how a judge (complete with robes and cigar) and jury inspect a crime scene during a trial. The implication that the Russian mob is somehow involved is a pretty solid way to redirect the story and investigation, though further digging reveals a deep, dark, disturbing secret. Our murdered judge isn’t quite the “upholder of justice” he was believed to be. The case held my attention and maintained a bit of mystery until the very end. Of course the accursed “easy confession” made its dastardly appearance *grumble* Mac’s gaze is just too powerful *grumble* but I am always more willing to forgive the horrendous insult to viewers when there has been a bit of effort put into the majority of the story. I appreciated that there were consequences doled out, ultimately ending in the suicide of one perpetrator—a surprise ending since the show doesn’t normally push the envelope in that aspect, preferring to have the team magically talk every one down.
And I’m assuming Dove is the one responsible for this week’s portion of the John Curtis story arc, but whoever it is utilized the characters and the story itself in a much better, more powerful, and stronger way. Jo’s interaction with Curtis and Serena Matthews (Jenn Proske) was more believable (and effective) than the dribble that was dished out last week. She isn’t technically involved in the case, but she is clearly involved in the case. I don’t need trite dialogue telling me that. Dove instead allows the actors to communicate that—allowing Sela Ward the chance to show off her acting skills, and us a chance to connect with her. Likewise, Anna Belknap was allowed to demonstrate Lindsay’s emotional upheaval and uncertainty as she faced what has to be a nightmare for her personally (thank you John Dove for that sweet moment of support between husband and wife). It is impossible to not consider her own experience with wanting to see a man who haunts dreams put behind bars. Phenomenal acting and spot on writing.
However, to me, the shining factor of this episode belongs to director Jeff T. Thomas. His experience with the show has been a grab bag of decent, boring, and interesting episodes, but he really took this story to the next level. He integrated his role in the story telling process without detracting but instead adding. The clever rolling of the cigar from one scene to the next was creative without being distracting. He used the directing of the episode to be part of the story rather just a vehicle. Consider for a moment the scene where we are first introduced to Senator Matthews (Jeffrey Nordling) and his daughter. Mac enters and Lindsay makes the introductions and a conversation about the case ensues. The camera moves around each character from outside Mac’s office—all except Lindsay, her shots are clear and straight on without the interference of the glass or blinds. Thomas brilliantly communicates Lindsay’s role in this case showing she is the one responsible—the one “seeing clearly.” While everyone else is running on emotion, their vision being blurred, she is the one who has to make the hard decisions. A fact that is later established when Lindsay’s testimony cast doubt on the victim and her accusations. That is subtle and beautiful storytelling at its finest (and the equivalent of a cinematic turn on! *fanning myself desperately*).
There were a lot of parts to this episode and it had the potential of being clunky and convoluted yet Thomas managed to weave together each part with a delicate and skillful touch. I felt like there was a respect and partnership between Dove and Thomas, and that bled into the actors and, as a result, to me the viewer. Were there flaws? Yes (I still think there are way too many people apologizing to Jo these days) but I can’t argue there wasn’t a great deal of talent put into this episode. In a three part story arc this was the Empire Strikes Back and I thoroughly enjoyed it (pause to picture Danny as Han Solo…).
Let the speculation begin! Now that we are left to believe there's something fishy going on with the victim Ali Rand where should the team be looking? The Senator? The Senator's daughter? Jo's old college who screwed up in the first place? or Ali Rand herself?
Next up: The exciting conclusion of Jo Vs the Volcano! (The volcano of course being John Curtis' grade school nickname...)
Tuesday, November 15, 2011
It's Just a Little Crush 8X07 Review (***out of 5)
It’s about murder, manipulation, and mayhem as nothing is sacred in this week’s episode of CSI:NY, aptly named, Crushed. Logic, reason and true characterization fold under the weight of “drama” and convenience, leaving me to wonder if the writers are actually a group of unmedicated A.D.D. preschoolers pulling out every toy they see before they are even done playing with the toy they have.
The most obvious reference to the title is the opening scene. Writer Kim Clements has created a situation where a party of youngsters goes viral—in a sequence very reminiscent of last season’s Do or Die cell phones are whipped out and the messages sent (we get it, this generation uses social media and cell phones in ways inconceivable to those who were impressed by DOS). As over “700” show up things go Animal House pretty quickly and soon a balcony couples under the weight and crashes to the ground, supposedly resulting in the death of a young girl, Libby Drake (Valentina De Angelis).
Of course all is not as it seems, and it is revealed that Libby does more than throw and insane party. The second reference to the episode’s name comes as it is revealed that young virgin girls are being manipulated into changing their clothes to meet the “popular girl’s” standard and then to take off said clothes to meet the “popular boy’s” standard. It’s She’s All That without the happy ending. Libby Drake is the driving force behind this disgusting game. This is truly one of the most interesting cases I’ve seen on the show in a while, but Clements mediocre writing and apparent lukewarm understanding of crime drama keeps it from reaching its full potential.
I despise obvious character placement and as soon as Danny spoke to the young girl at the hospital—where she revealed for no particular reason that she was going to run in a marathon, therefore giving the audience a big heads up—I knew she was guilty. It made the entire “bait and switch” scene involving Paul Blart Mall Cop—while entertaining since I thoroughly enjoy and well used Danny/Don scene—superfluous. I would assume one would need more finesse and subtly when writing for a big name like CSI, but that doesn’t seem to be the case. The cascade of conveniences continues, as let’s face it, they had practically zero evidence pointing to Rachel Webber (Shanley Caswell) as the killer. It seemed to boil down to her DNA being on the necklace and some sort of mustard on a window. Where was this girl’s lawyer? Are you seriously telling me that out of a group of 700 people this was the only girl who is a hardcore athlete? And she just willingly gave up a DNA sample? Then Mac’s “Don’t” as she tries to talk her way out of it, was completely unbelievable. We are meant to understand this is a generation that can create and exploit social media, taking over the world one text message at a time, but this girl doesn’t know to keep her mouth shut? That is not only lazy writing, but it is incompetent as well. Clements can’t stay focused on one story long enough to see it through to the end. Again, we have the magical confession at the end.
However, when the easily begotten confession doesn’t work for their story suddenly a guy is calling for a lawyer. The secondary story of the episode was equally as flawed. The final reference to crushing has to come from Jo. The reappearance of the case that drove her from the FBI was a real opportunity to add depth to Jo’s character. However, they went the typical, stale, and rehashed route. Jo is pissed so she gets to act like a total bit..uh…jerk. I don’t understand why they keep writing Jo like she is someone else. She has been well established as a laid back, easy going gal who is patient, understanding, and even compassionate. Yet she tears into a well-meaning Lindsay as if she was scraping poop off the bottom of her shoe. I’ve seen her be kinder to a murderer than she was to her co-worker. That was totally and completely out of character and utterly unnecessary. If the writers wished to show how truly effected Jo is by the case then why not show her at the end of the day crawling into bed with a sleeping Ellie, or putting her energy in helping and encouraging Lindsay? Why stick to a stereotype of a “woman scorned” and turn her into a walking cat fight? Been there, hated it when they done that (with both Stella and Lindsay—though it should be noted that Lindsay is the only one to ever go back and apologize). Now, not only do I feel like I’ve lost what little insight I had into her character, but I’ve lost a bit of my desire to know more about her as well.
They have a victim who is willing and able to identify her attacker, Mac even brings up the hotel staff, and bar tender to collaborate her statement, yet we have Jo calling foul when just moments ago based on a mustard smear they are getting an easy breezy confession from a killer and calling it good? And now the D.C. rapist John Curtis (Jason Wiles) is demanding a lawyer. It is so frustrating when they first make the rules and then break them.
The shining portions of this episode were Duane Clarks’ directing, as he maintains a decent pace and easy flow, Lindsay and Don Flack’s handling of rape victim Ali Rand (well portrayed by Beau Garrett), as well as Lindsay’s attempt to be the better person and apologize to someone who clearly doesn’t deserve it or, apparently from her lack of any true response, want it. Also included in the highlights of the episode is the potential of the case and again, at least they are attempting to tell emotional stories which is much better than last year, as well as the continued use of each cast member. I am glad they are finally giving Lindsay something decent to work with, but roll my eyes at the fact that they aren’t creative enough to do a better job of it.
This was an uneven episode that did as much as entertain as it did infuriate. That is an odd combination, and Clements really needs to iron out some of the kinks in her storytelling or go back to school and learn what it means to be responsible for an entire story.
Agree? Disagree? with my assessment of Jo and Lindsay? Could you think of a better way to demonstrate Jo's emotional upheaval or did the show hit the right note for you?
Next Week: Watch out Judge Judy because it's Judgement Day...yeah...sorry I went there...
The most obvious reference to the title is the opening scene. Writer Kim Clements has created a situation where a party of youngsters goes viral—in a sequence very reminiscent of last season’s Do or Die cell phones are whipped out and the messages sent (we get it, this generation uses social media and cell phones in ways inconceivable to those who were impressed by DOS). As over “700” show up things go Animal House pretty quickly and soon a balcony couples under the weight and crashes to the ground, supposedly resulting in the death of a young girl, Libby Drake (Valentina De Angelis).
Of course all is not as it seems, and it is revealed that Libby does more than throw and insane party. The second reference to the episode’s name comes as it is revealed that young virgin girls are being manipulated into changing their clothes to meet the “popular girl’s” standard and then to take off said clothes to meet the “popular boy’s” standard. It’s She’s All That without the happy ending. Libby Drake is the driving force behind this disgusting game. This is truly one of the most interesting cases I’ve seen on the show in a while, but Clements mediocre writing and apparent lukewarm understanding of crime drama keeps it from reaching its full potential.
I despise obvious character placement and as soon as Danny spoke to the young girl at the hospital—where she revealed for no particular reason that she was going to run in a marathon, therefore giving the audience a big heads up—I knew she was guilty. It made the entire “bait and switch” scene involving Paul Blart Mall Cop—while entertaining since I thoroughly enjoy and well used Danny/Don scene—superfluous. I would assume one would need more finesse and subtly when writing for a big name like CSI, but that doesn’t seem to be the case. The cascade of conveniences continues, as let’s face it, they had practically zero evidence pointing to Rachel Webber (Shanley Caswell) as the killer. It seemed to boil down to her DNA being on the necklace and some sort of mustard on a window. Where was this girl’s lawyer? Are you seriously telling me that out of a group of 700 people this was the only girl who is a hardcore athlete? And she just willingly gave up a DNA sample? Then Mac’s “Don’t” as she tries to talk her way out of it, was completely unbelievable. We are meant to understand this is a generation that can create and exploit social media, taking over the world one text message at a time, but this girl doesn’t know to keep her mouth shut? That is not only lazy writing, but it is incompetent as well. Clements can’t stay focused on one story long enough to see it through to the end. Again, we have the magical confession at the end.
However, when the easily begotten confession doesn’t work for their story suddenly a guy is calling for a lawyer. The secondary story of the episode was equally as flawed. The final reference to crushing has to come from Jo. The reappearance of the case that drove her from the FBI was a real opportunity to add depth to Jo’s character. However, they went the typical, stale, and rehashed route. Jo is pissed so she gets to act like a total bit..uh…jerk. I don’t understand why they keep writing Jo like she is someone else. She has been well established as a laid back, easy going gal who is patient, understanding, and even compassionate. Yet she tears into a well-meaning Lindsay as if she was scraping poop off the bottom of her shoe. I’ve seen her be kinder to a murderer than she was to her co-worker. That was totally and completely out of character and utterly unnecessary. If the writers wished to show how truly effected Jo is by the case then why not show her at the end of the day crawling into bed with a sleeping Ellie, or putting her energy in helping and encouraging Lindsay? Why stick to a stereotype of a “woman scorned” and turn her into a walking cat fight? Been there, hated it when they done that (with both Stella and Lindsay—though it should be noted that Lindsay is the only one to ever go back and apologize). Now, not only do I feel like I’ve lost what little insight I had into her character, but I’ve lost a bit of my desire to know more about her as well.
They have a victim who is willing and able to identify her attacker, Mac even brings up the hotel staff, and bar tender to collaborate her statement, yet we have Jo calling foul when just moments ago based on a mustard smear they are getting an easy breezy confession from a killer and calling it good? And now the D.C. rapist John Curtis (Jason Wiles) is demanding a lawyer. It is so frustrating when they first make the rules and then break them.
The shining portions of this episode were Duane Clarks’ directing, as he maintains a decent pace and easy flow, Lindsay and Don Flack’s handling of rape victim Ali Rand (well portrayed by Beau Garrett), as well as Lindsay’s attempt to be the better person and apologize to someone who clearly doesn’t deserve it or, apparently from her lack of any true response, want it. Also included in the highlights of the episode is the potential of the case and again, at least they are attempting to tell emotional stories which is much better than last year, as well as the continued use of each cast member. I am glad they are finally giving Lindsay something decent to work with, but roll my eyes at the fact that they aren’t creative enough to do a better job of it.
This was an uneven episode that did as much as entertain as it did infuriate. That is an odd combination, and Clements really needs to iron out some of the kinks in her storytelling or go back to school and learn what it means to be responsible for an entire story.
Agree? Disagree? with my assessment of Jo and Lindsay? Could you think of a better way to demonstrate Jo's emotional upheaval or did the show hit the right note for you?
Next Week: Watch out Judge Judy because it's Judgement Day...yeah...sorry I went there...
Monday, November 7, 2011
Dug Up Dead 8X06 Review (***1/2out of 5)
It’s Arsenic and Old Race to save a life this week on CSI:NY. Nothing says effective character moments better than Halloween…yeah, maybe not, but some how Get Me Out of Here, in a quirky way, managed to get the ambiguous white mask off and take a deeper look. However, the episode also scared up a number of disappointments as well. So for the first time in reviewing history (that’s right...the first time EVER) I am giving a half in my rating. There was just enough good to make the episode a four but just enough bad to make the episode a 3, and I couldn’t decide—also I finally figured out how to make that darn m&m a half.
Sorry to dig up the past but the show had a pretty high standard to live up to when touting a Halloween episode. Season four’s Boo was hugely effective in the “sleeping with the hallway light on” creepiness, as well as being emotionally strong, and show casing excellent CSI interaction and a real taste of New York City. This episode attempted to accomplish that, but came up short. For me it boils down to two main factors: Director Scott White is no Joe Dante and Writer Trey Callaway (as much as I have enjoyed several of his episodes) is no Peter Lenkov. Sticking with the Halloween metaphors that I am forcing down your throats, White and Callaway are more wearing the plastic masks of Dante and Lenkov.
The episode, rather than starting with an actual scare begins with what the show seems to really cling to: the “faux fright.” Oh look a girl running and screaming. I should be worried and scared for her except I’m not because I know that in 5 seconds it’s going to be revealed she’s playing flashlight tag or something equally inane. It’s a trick the show relies on much too frequently. A true “Halloween” episode shouldn’t have pulled that punch. (Remember in Boo when in the opening a body literally crawled its way to the surface? That’s some scary sh*t!)
Really, a big disappointment for me was the lack of fear. There wasn’t any real tension for me because the “scare” factor was never truly established or maintained. Which would have been fine, but it was clear they were trying to create that feeling. They just weren’t able to pull it off. No one ever assumed the guy buried alive would die. If that illusion is taken away then so too is the emotion and things become mechanical and boring. (Remember in Boo when they killed a family of four? Yeah, I felt that tension right away!)
Then—as one of my biggest pet peeves—the killer (who was so willing to MURDER another human being to protect himself) just gave a full confession in the end. No rhyme or reason is established; the show was just running out of time and Callaway knew he had trapped himself in a crypt and took the shameful road—Yes, shameful I say!—of the easy confession. (Remember in Boo when the killer is discovered it turns out he is absolutely bat crazy because he had accidently killed his sister? Talk about depth and well thought out motivation!)
And was I the only one to laugh out loud at the cemetery manager getting whacked ridiculously by the bulldozer? (Remember in Boo when that crazy ass old woman attacks Lindsay? Ok, I know those two things don’t really compare. I just like bringing up how incredibly fantastic Boo is.)
However, there was still plenty to like about the episode. In Boo the character stories were much more subtle and understated. I am always struck by the quiet sadness of Danny and Lindsay as they question the little girl in the hospital, but it is very understated. That has its place in story telling and works in that episode, but in this season I absolutely enjoyed every second of the obvious and over the top character exploration. There was nothing quiet about Danny and Lindsay here. They were entertaining and amusing. The topic of what to do with their bodies after death was macabre but playful (an interesting combination). The flow and progression of their conversation well communicated the shift in their dynamic, offering a glimpse in their too little viewed married life. It was wonderful to see a bit of that old chemistry again.
Likewise, Sid out of the morgue was a special treat. His pillow idea had absolutely nothing to do with the case and yet it didn’t feel forced or too out of place. I adore Robert Joy and his portrayal of Sid Hammerback is the reason he is my favorite M.E. across the franchise. Creepy Sid was well used in this episode. The same can be said for Adam and Hawkes as well. They all managed to get decent screen time and play pivotal roles in the episode. If the case had been better written and executed then it would have been an overall strong episode. It had strong pacing, and I can’t remember ever being bored or wanting a scene to hurry up and end.
I am getting a little sick of “Mama Bear” (and I typed Mama with a strong southern accent) Jo. That relationship has to be eased into and established; not forced down our throats. It would be nice to see someone else befriend Mac and show him affection for once. But even with Jo as the catalyst I love episodes that end with the entire cast doing something stupid like watch a dumb movie. (I will refrain from asking about Lucy since I’m beginning to wonder if she is just a figment of my imagination…you guys saw her once too right?…right?) It just feels like family finally getting the chance to connect for a moment. And for that kind of emotional manipulation I am a total sucker…OF BLOOD! Get it? ‘Cause I’m a vampire. (Does this mean I glitter in sunlight?)
So which do you prefer the Hokey Halloween or the Night of Horrors Halloween?
Next Week: Let’s Party like it’s 1999! And some poor balcony takes the fall for a murderer.
Sorry to dig up the past but the show had a pretty high standard to live up to when touting a Halloween episode. Season four’s Boo was hugely effective in the “sleeping with the hallway light on” creepiness, as well as being emotionally strong, and show casing excellent CSI interaction and a real taste of New York City. This episode attempted to accomplish that, but came up short. For me it boils down to two main factors: Director Scott White is no Joe Dante and Writer Trey Callaway (as much as I have enjoyed several of his episodes) is no Peter Lenkov. Sticking with the Halloween metaphors that I am forcing down your throats, White and Callaway are more wearing the plastic masks of Dante and Lenkov.
The episode, rather than starting with an actual scare begins with what the show seems to really cling to: the “faux fright.” Oh look a girl running and screaming. I should be worried and scared for her except I’m not because I know that in 5 seconds it’s going to be revealed she’s playing flashlight tag or something equally inane. It’s a trick the show relies on much too frequently. A true “Halloween” episode shouldn’t have pulled that punch. (Remember in Boo when in the opening a body literally crawled its way to the surface? That’s some scary sh*t!)
Really, a big disappointment for me was the lack of fear. There wasn’t any real tension for me because the “scare” factor was never truly established or maintained. Which would have been fine, but it was clear they were trying to create that feeling. They just weren’t able to pull it off. No one ever assumed the guy buried alive would die. If that illusion is taken away then so too is the emotion and things become mechanical and boring. (Remember in Boo when they killed a family of four? Yeah, I felt that tension right away!)
Then—as one of my biggest pet peeves—the killer (who was so willing to MURDER another human being to protect himself) just gave a full confession in the end. No rhyme or reason is established; the show was just running out of time and Callaway knew he had trapped himself in a crypt and took the shameful road—Yes, shameful I say!—of the easy confession. (Remember in Boo when the killer is discovered it turns out he is absolutely bat crazy because he had accidently killed his sister? Talk about depth and well thought out motivation!)
And was I the only one to laugh out loud at the cemetery manager getting whacked ridiculously by the bulldozer? (Remember in Boo when that crazy ass old woman attacks Lindsay? Ok, I know those two things don’t really compare. I just like bringing up how incredibly fantastic Boo is.)
However, there was still plenty to like about the episode. In Boo the character stories were much more subtle and understated. I am always struck by the quiet sadness of Danny and Lindsay as they question the little girl in the hospital, but it is very understated. That has its place in story telling and works in that episode, but in this season I absolutely enjoyed every second of the obvious and over the top character exploration. There was nothing quiet about Danny and Lindsay here. They were entertaining and amusing. The topic of what to do with their bodies after death was macabre but playful (an interesting combination). The flow and progression of their conversation well communicated the shift in their dynamic, offering a glimpse in their too little viewed married life. It was wonderful to see a bit of that old chemistry again.
Likewise, Sid out of the morgue was a special treat. His pillow idea had absolutely nothing to do with the case and yet it didn’t feel forced or too out of place. I adore Robert Joy and his portrayal of Sid Hammerback is the reason he is my favorite M.E. across the franchise. Creepy Sid was well used in this episode. The same can be said for Adam and Hawkes as well. They all managed to get decent screen time and play pivotal roles in the episode. If the case had been better written and executed then it would have been an overall strong episode. It had strong pacing, and I can’t remember ever being bored or wanting a scene to hurry up and end.
I am getting a little sick of “Mama Bear” (and I typed Mama with a strong southern accent) Jo. That relationship has to be eased into and established; not forced down our throats. It would be nice to see someone else befriend Mac and show him affection for once. But even with Jo as the catalyst I love episodes that end with the entire cast doing something stupid like watch a dumb movie. (I will refrain from asking about Lucy since I’m beginning to wonder if she is just a figment of my imagination…you guys saw her once too right?…right?) It just feels like family finally getting the chance to connect for a moment. And for that kind of emotional manipulation I am a total sucker…OF BLOOD! Get it? ‘Cause I’m a vampire. (Does this mean I glitter in sunlight?)
So which do you prefer the Hokey Halloween or the Night of Horrors Halloween?
Next Week: Let’s Party like it’s 1999! And some poor balcony takes the fall for a murderer.
Tuesday, October 25, 2011
The Brothers Rim 8X05 Review (***out of 5)
What happens when we get a mediocre writer, a competent director, and a storyline with a bit of heart? Surprisingly, a decent—if some what forced—episode of CSI:NY. (I won’t lie…I was very shocked I didn’t hate this episode.) When I see Aaron Rahsaan Thomas credited with writing an episode I cringe, and make sure to bring a book because I have thus far been bored to tears by the episodes he has presented. His color-by-numbers approach to storytelling sends me diving under the kitchen table as I have horrific flashbacks to my first year of Creative Writing class. The episode Air Apparent was just that—very apparent. However, there was enough skill in the directing and acting department to enhance Thomas’ attempts at emotion.
The episode opens with the juxtaposition of brothers; one in prison, one on the basketball court, or rather one in hell and one in heaven (the announcer to the game even calls the winning shot as one from “heaven”). The story begins moving between the two brothers, showing closeness in nuances and thoughts but clearly separated by circumstances or choices—Hank the Inmate and Riley the Good. I am not a big sports fan. I had enough of basketball growing up with three brothers who were obsessed with the game. Oddly though, basketball and prison sent my memory a’scramblin’ and I remembered reading a story about a basketball player from BYU named Jimmer Somethingorother (later found it was Fredette) who had gone with his brother to play basketball with inmates in prison. I can’t help but seriously consider this the idea that inspired the episode. Even the teams colors were blue and white (BYU’s colors) as well as having Jimmer…I mean Riley…shown as a clean-cut, religious young man. The dynamic is set up clearly from the beginning of the episode. A bit too clearly in fact since before the opening sequence was over I knew who the “killer” was. We have two very distinct characters introduced to us in the first five minutes, but we also had a third character heavily hinted at. Coach Gavin was declared the “winningest coach in ADL History” after already being mentioned by name moments earlier. In a show that keeps a great deal of details generic or vague it is always pretty telling to have a character so well touted. This again goes back to Thomas’ lack of subtly and finesse.
Yet director Anthony Hemingway (who managed to work his name into the opening sequence “Hemingway passes the ball.”) was able to add enough flash and pizzazz to take the heavy handed emotional manipulation and actually make it meaningful. Though I may never forgive either of them for the embarrassingly obvious jump to Don’s storyline. Don basically says “You should watch out for your sibling with an addiction problem.” Then cut to Mac who asks, “So Don, how is your sibling with and addiction problem?” Ugh! Really? They aren’t even going to buy us dinner first? But, again, there was something to save it and this time it was Eddie Cahill and Kathleen Munroe as the Siblings Flack. The dialogue was very “After School Special” but Cahill and Munroe managed to deliver their lines with easy and grace. Their chemistry kept the scenes engaging and heartfelt even as I could feel the proverbial gun of emotional manipulation to my head. Don wants to look out for his sister. “NYPD. Open up!” And Samantha wants her chance to be an unsupervised adult. “You’ve been knocking on my door like that since the Academy.” These two played well with each other, even if they both needed to be put in time out for a moment. Munroe’s performance added a splash of color to Cahill’s character. It was wonderful to see. We usually get a scene report, and a line or two of laughter from his character so this was a great departure.
If they could have gotten the pacing of the episode a bit more on target then they really would have had a strong episode. The scene where Don is following his sister was so fast and choppy that I had to go back and watch it three times just to be sure I didn’t miss anything. But the scene where the two brothers play basketball seemed to go on forever. I later realized the 3 minute basketball game in a male psyche is equivalent to the gratuitous naked dancing woman we typically get. There needs to be someone making better calls in the editing department.
Everything wrapped up nicely in a disgustingly Disney-esque fashion. Both sets of siblings paralleled each other by making up in the end. But that’s just because Thomas lacks refinement (and Alan Menken was unavailable to provide an award winning musical number). However, there was a lot of old school CSI magic here too. I can’t remember the last time we had a “good ol’ fashion internal organ getting stabbed” shot. Morbid, but interesting. Also having Lindsay perform the blood analysis was great continuity, and I am totally digging the stronger, sassier Lindsay this season. And Mac wasn’t doing everyone else’s job this week. There was a strong season two vibe to this episode—it just missed the great DL interaction from that season.
The show is getting closer to finding the balance between plot and character. They still have a way to go but this one was definitely a lot closer to knocking it out of the park (that’s a basketball reference right? …Right?)
So which do you prefer: an episode that features a character’s story heavily with a case being the subplot or the reverse? Or are you a “keep the drama in the kitchen I just want some crime solving” type? Or how about the “case shmase—just give me the character stuff” type?
Next Week: H-A-double L-O-W-double E-N spells a case that looks eerily familiar, almost like we had a someone come out of the grave in a previous episode…oh yeah it was called Boo from season 4! Hmm…here’s hoping this episode isn’t just a zombie! Wait…that actually just spells HALLOWEEN…I knew I should have paid closer attention in school.
The episode opens with the juxtaposition of brothers; one in prison, one on the basketball court, or rather one in hell and one in heaven (the announcer to the game even calls the winning shot as one from “heaven”). The story begins moving between the two brothers, showing closeness in nuances and thoughts but clearly separated by circumstances or choices—Hank the Inmate and Riley the Good. I am not a big sports fan. I had enough of basketball growing up with three brothers who were obsessed with the game. Oddly though, basketball and prison sent my memory a’scramblin’ and I remembered reading a story about a basketball player from BYU named Jimmer Somethingorother (later found it was Fredette) who had gone with his brother to play basketball with inmates in prison. I can’t help but seriously consider this the idea that inspired the episode. Even the teams colors were blue and white (BYU’s colors) as well as having Jimmer…I mean Riley…shown as a clean-cut, religious young man. The dynamic is set up clearly from the beginning of the episode. A bit too clearly in fact since before the opening sequence was over I knew who the “killer” was. We have two very distinct characters introduced to us in the first five minutes, but we also had a third character heavily hinted at. Coach Gavin was declared the “winningest coach in ADL History” after already being mentioned by name moments earlier. In a show that keeps a great deal of details generic or vague it is always pretty telling to have a character so well touted. This again goes back to Thomas’ lack of subtly and finesse.
Yet director Anthony Hemingway (who managed to work his name into the opening sequence “Hemingway passes the ball.”) was able to add enough flash and pizzazz to take the heavy handed emotional manipulation and actually make it meaningful. Though I may never forgive either of them for the embarrassingly obvious jump to Don’s storyline. Don basically says “You should watch out for your sibling with an addiction problem.” Then cut to Mac who asks, “So Don, how is your sibling with and addiction problem?” Ugh! Really? They aren’t even going to buy us dinner first? But, again, there was something to save it and this time it was Eddie Cahill and Kathleen Munroe as the Siblings Flack. The dialogue was very “After School Special” but Cahill and Munroe managed to deliver their lines with easy and grace. Their chemistry kept the scenes engaging and heartfelt even as I could feel the proverbial gun of emotional manipulation to my head. Don wants to look out for his sister. “NYPD. Open up!” And Samantha wants her chance to be an unsupervised adult. “You’ve been knocking on my door like that since the Academy.” These two played well with each other, even if they both needed to be put in time out for a moment. Munroe’s performance added a splash of color to Cahill’s character. It was wonderful to see. We usually get a scene report, and a line or two of laughter from his character so this was a great departure.
If they could have gotten the pacing of the episode a bit more on target then they really would have had a strong episode. The scene where Don is following his sister was so fast and choppy that I had to go back and watch it three times just to be sure I didn’t miss anything. But the scene where the two brothers play basketball seemed to go on forever. I later realized the 3 minute basketball game in a male psyche is equivalent to the gratuitous naked dancing woman we typically get. There needs to be someone making better calls in the editing department.
Everything wrapped up nicely in a disgustingly Disney-esque fashion. Both sets of siblings paralleled each other by making up in the end. But that’s just because Thomas lacks refinement (and Alan Menken was unavailable to provide an award winning musical number). However, there was a lot of old school CSI magic here too. I can’t remember the last time we had a “good ol’ fashion internal organ getting stabbed” shot. Morbid, but interesting. Also having Lindsay perform the blood analysis was great continuity, and I am totally digging the stronger, sassier Lindsay this season. And Mac wasn’t doing everyone else’s job this week. There was a strong season two vibe to this episode—it just missed the great DL interaction from that season.
The show is getting closer to finding the balance between plot and character. They still have a way to go but this one was definitely a lot closer to knocking it out of the park (that’s a basketball reference right? …Right?)
So which do you prefer: an episode that features a character’s story heavily with a case being the subplot or the reverse? Or are you a “keep the drama in the kitchen I just want some crime solving” type? Or how about the “case shmase—just give me the character stuff” type?
Next Week: H-A-double L-O-W-double E-N spells a case that looks eerily familiar, almost like we had a someone come out of the grave in a previous episode…oh yeah it was called Boo from season 4! Hmm…here’s hoping this episode isn’t just a zombie! Wait…that actually just spells HALLOWEEN…I knew I should have paid closer attention in school.
Monday, October 17, 2011
Tammy Wynette Eat Your Heart Out 8X04 Review (***out of 5)
As the old adage goes, you can never go home again.
Wait…what’s that?
Oh, sorry.
Take two: As the old adage goes, you can sometimes go home again. Was that the moral message of this week’s episode Officer Involved? Or was it good will out? Or how about make some really dumb mistakes but get off scot-free? To tell you the truth I was left scratching my head. As an episode made up of spare parts from season’s passed—I got it! This episode is in direct correlation with season one’s On the Job. If the circumstances didn’t give it away then the constant reminders in the dialogue more than adequately spelled it out. I mean geez guys! Danny wasn’t the only one with head wound by the end of the episode!—it lacked the cohesiveness of a truly well crafted tale. It didn’t bring Danny’s story full circle so much as it drove half way around the block, stopped for some lemonade before crashing into a light pole.
Last week we had a moment where Danny confronted a rookie, then immediately doubted himself, ultimately apologized to said rookie, then went out drinking with his team. Officer Cooper called Danny an excellent boss. Mac said Danny was an excellent Sergeant. That’s not we’ve seen on screen. Here’s what I saw very well summarized by IAB Lt. Mitchell Adler (perfectly portrayed by Dean Norris), “Let’s review your choices: you went out drinking with your patrolmen, you brought a loaded weapon to a crowded bar, got into an altercation with a patron, ended up the night half unconscious on the pavement as one of you officers shot the patron to death with your own weapon. You seem capable Sergeant Messer. The things you did in that lab, way over my head. But as a boss, your way over yours.” I nearly had whiplash from Danny’s change in attitude. Two episodes ago we hear about how his heart is breaking over not getting to see his wife. Last week he is irate over having to be stuck with overtime due to missing his family. This week however he is perfectly content to spending “hours” at a bar, until what I can only assume was early in the morning since the sun is clearly up by the time they start processing the scene and taking statements. I don’t have an issue with him going out with his team, but a bit excessive there Sergeant.
And thank goodness I spent all that time actually believing that the writers were coming up with something original rather than the utterly clichéd “cheating” storyline…um, be careful I am actually dripping sarcasm here…I don’t want anyone to slip. Despite my love of Carmine Giovinazzo’s portrayal of indignant, emotional Danny (and let’s be clear, I do LOVE it) it wasn’t enough to make me feel connected to his character. I thought this was going to show how much Danny’s grown, but really it just showed that he wasn’t ready to lead a team. A point well emphasized by the fact that he voluntarily turned in his stripes. Why did he do that exactly? ‘Cause the other kids were mean to him? It was too hard? I’m not sure because one line from Danny about trust does not a convincing argument make. He’s back in the lab and I have a little less respect for his character than I did before.
As much as they bitch-slapped Danny, they solidified Lindsay’s strength. I originally thought this episode would inspire feelings of sympathy for Danny, but I was surprised to find Lindsay was the character I felt the most for. Her obvious concern for her spouse (which was never reciprocated) was perfectly portrayed. Her worries and fears were apparent in her mannerism, dialogue, and personified in her confrontation with Officer Cooper (Jeananne Goossen). There were times when I could see those emotions strongly in Anna Belknap’s face and eyes. Sadly, my favorite interaction of the entire episode was between Lindsay and Cooper. It was real, it was powerful, and it was believable. Goossen and Belknap found the perfect median between overly dramatic (As the CSINY Turns) and the hysterical (Jerry Springer style).
For me the episode lack a sense of balance between the intense and the quiet. In season two’s Trapped we have Danny stuck in a highly emotional, highly charged situation. Yet amidst that we have the small still moments as he thinks about the victim, or his own brother. There was none of that here. The dead body remains just that, the dead body. It was cold. In fact, IA corrects Danny at one point in reminding him that this guy was a victim. A big part of that also has to do with the true lack of interaction between Danny and Lindsay. If you’re curious, because I know I was, they spent 49 seconds together at the beginning of the episode—only 26 seconds of that were spent actually communicating with each other, and a total of 40 seconds at the end. That is a total of 89 seconds out of an episode that was nearly 45 minutes long (about 2700 seconds). The rest of the episode was Lindsay running around everywhere Danny wasn’t and Danny making no reference of any import to his wife. (I refuse to count his “I’m married” line, because I know how Danny would respond to a perp if he heard that regurgitated.) They missed a prime opportunity to really connect the season one episode. S1 Danny laments not having someone to watch his back, but S8 Danny clearly has a wife who is devoted to helping him and we get nothing from Danny. ZERO. Writer Christopher Silber needs to keep as far away from DL storylines as possible.
Actually, he can stay away from character stories period. Vigilante is the only episode he’s written where he was able to successfully include some character—which was also a strong Lindsay episode—but ultimately his strength lies is the cases. However, that wasn’t so much true with this episode either. Hawkes at one point tell Lindsay “there’s no empirical evidence IA is on a witch hunt” however, Cooper admits to having made the shot, but they are riding Danny. Then Cooper admits to lying, but only because Danny told her to, so IA goes after Danny. Danny knows how GRS works. He would know that the lab would figure out who actually shot or didn’t shoot the gun. Why would he tell Cooper to lie? Mac confronts IA, pressing for information on who is politically grinding an ax against Danny, because (and I agree) there’s no real reason why IA is busting his chops so hard. So is it a witch hunt or not? And who is this “man in black” who is always out to get Danny?
We got our weekly “Jo characteristic that emulates Lindsay” moment. We got Adam looking like an idiot and trying to talk about the case with Lindsay, just so the audience could be reminded that she couldn’t work the case. I hate it when they do it to Lindsay, and I hate it when they do it to Adam. There were several lines that actually didn’t make sense. At one point Jo says “Danny and the other two cops” confirmed the sketch of the Rockaway Killer as one of the guys they fought with that night. Except Danny makes no mention of seeing a friend with the victim and we know he was unconscious during the brawl. There are other such inconsistencies throughout the episode. Not to mention when one drinks absinth I thought they saw Kylie Minogue…am I wrong about that?
I appreciate the show’s attempt to give us something of substance, but it was too disjointed and uneven to actually reach a level of meaningfulness. It is interesting to see that in season one Danny was taken off the promotion grid following the circumstances surrounding Danny’s own “good shot” then voluntarily gives up his promotion following the circumstances of a “good shot.” A decent enough concept, just not well executed. It was a great episode for Lindsay, a terrible episode for Danny, and an “o.k.” episode for this viewer.
So, what do you think, did Danny return too soon to the lab or are you thinking "It's about damn time!"?
Next Week: The team must follow the writing on the wall! And watch out, Lindsay's gotta gun!
Wait…what’s that?
Oh, sorry.
Take two: As the old adage goes, you can sometimes go home again. Was that the moral message of this week’s episode Officer Involved? Or was it good will out? Or how about make some really dumb mistakes but get off scot-free? To tell you the truth I was left scratching my head. As an episode made up of spare parts from season’s passed—I got it! This episode is in direct correlation with season one’s On the Job. If the circumstances didn’t give it away then the constant reminders in the dialogue more than adequately spelled it out. I mean geez guys! Danny wasn’t the only one with head wound by the end of the episode!—it lacked the cohesiveness of a truly well crafted tale. It didn’t bring Danny’s story full circle so much as it drove half way around the block, stopped for some lemonade before crashing into a light pole.
Last week we had a moment where Danny confronted a rookie, then immediately doubted himself, ultimately apologized to said rookie, then went out drinking with his team. Officer Cooper called Danny an excellent boss. Mac said Danny was an excellent Sergeant. That’s not we’ve seen on screen. Here’s what I saw very well summarized by IAB Lt. Mitchell Adler (perfectly portrayed by Dean Norris), “Let’s review your choices: you went out drinking with your patrolmen, you brought a loaded weapon to a crowded bar, got into an altercation with a patron, ended up the night half unconscious on the pavement as one of you officers shot the patron to death with your own weapon. You seem capable Sergeant Messer. The things you did in that lab, way over my head. But as a boss, your way over yours.” I nearly had whiplash from Danny’s change in attitude. Two episodes ago we hear about how his heart is breaking over not getting to see his wife. Last week he is irate over having to be stuck with overtime due to missing his family. This week however he is perfectly content to spending “hours” at a bar, until what I can only assume was early in the morning since the sun is clearly up by the time they start processing the scene and taking statements. I don’t have an issue with him going out with his team, but a bit excessive there Sergeant.
And thank goodness I spent all that time actually believing that the writers were coming up with something original rather than the utterly clichéd “cheating” storyline…um, be careful I am actually dripping sarcasm here…I don’t want anyone to slip. Despite my love of Carmine Giovinazzo’s portrayal of indignant, emotional Danny (and let’s be clear, I do LOVE it) it wasn’t enough to make me feel connected to his character. I thought this was going to show how much Danny’s grown, but really it just showed that he wasn’t ready to lead a team. A point well emphasized by the fact that he voluntarily turned in his stripes. Why did he do that exactly? ‘Cause the other kids were mean to him? It was too hard? I’m not sure because one line from Danny about trust does not a convincing argument make. He’s back in the lab and I have a little less respect for his character than I did before.
As much as they bitch-slapped Danny, they solidified Lindsay’s strength. I originally thought this episode would inspire feelings of sympathy for Danny, but I was surprised to find Lindsay was the character I felt the most for. Her obvious concern for her spouse (which was never reciprocated) was perfectly portrayed. Her worries and fears were apparent in her mannerism, dialogue, and personified in her confrontation with Officer Cooper (Jeananne Goossen). There were times when I could see those emotions strongly in Anna Belknap’s face and eyes. Sadly, my favorite interaction of the entire episode was between Lindsay and Cooper. It was real, it was powerful, and it was believable. Goossen and Belknap found the perfect median between overly dramatic (As the CSINY Turns) and the hysterical (Jerry Springer style).
For me the episode lack a sense of balance between the intense and the quiet. In season two’s Trapped we have Danny stuck in a highly emotional, highly charged situation. Yet amidst that we have the small still moments as he thinks about the victim, or his own brother. There was none of that here. The dead body remains just that, the dead body. It was cold. In fact, IA corrects Danny at one point in reminding him that this guy was a victim. A big part of that also has to do with the true lack of interaction between Danny and Lindsay. If you’re curious, because I know I was, they spent 49 seconds together at the beginning of the episode—only 26 seconds of that were spent actually communicating with each other, and a total of 40 seconds at the end. That is a total of 89 seconds out of an episode that was nearly 45 minutes long (about 2700 seconds). The rest of the episode was Lindsay running around everywhere Danny wasn’t and Danny making no reference of any import to his wife. (I refuse to count his “I’m married” line, because I know how Danny would respond to a perp if he heard that regurgitated.) They missed a prime opportunity to really connect the season one episode. S1 Danny laments not having someone to watch his back, but S8 Danny clearly has a wife who is devoted to helping him and we get nothing from Danny. ZERO. Writer Christopher Silber needs to keep as far away from DL storylines as possible.
Actually, he can stay away from character stories period. Vigilante is the only episode he’s written where he was able to successfully include some character—which was also a strong Lindsay episode—but ultimately his strength lies is the cases. However, that wasn’t so much true with this episode either. Hawkes at one point tell Lindsay “there’s no empirical evidence IA is on a witch hunt” however, Cooper admits to having made the shot, but they are riding Danny. Then Cooper admits to lying, but only because Danny told her to, so IA goes after Danny. Danny knows how GRS works. He would know that the lab would figure out who actually shot or didn’t shoot the gun. Why would he tell Cooper to lie? Mac confronts IA, pressing for information on who is politically grinding an ax against Danny, because (and I agree) there’s no real reason why IA is busting his chops so hard. So is it a witch hunt or not? And who is this “man in black” who is always out to get Danny?
We got our weekly “Jo characteristic that emulates Lindsay” moment. We got Adam looking like an idiot and trying to talk about the case with Lindsay, just so the audience could be reminded that she couldn’t work the case. I hate it when they do it to Lindsay, and I hate it when they do it to Adam. There were several lines that actually didn’t make sense. At one point Jo says “Danny and the other two cops” confirmed the sketch of the Rockaway Killer as one of the guys they fought with that night. Except Danny makes no mention of seeing a friend with the victim and we know he was unconscious during the brawl. There are other such inconsistencies throughout the episode. Not to mention when one drinks absinth I thought they saw Kylie Minogue…am I wrong about that?
I appreciate the show’s attempt to give us something of substance, but it was too disjointed and uneven to actually reach a level of meaningfulness. It is interesting to see that in season one Danny was taken off the promotion grid following the circumstances surrounding Danny’s own “good shot” then voluntarily gives up his promotion following the circumstances of a “good shot.” A decent enough concept, just not well executed. It was a great episode for Lindsay, a terrible episode for Danny, and an “o.k.” episode for this viewer.
So, what do you think, did Danny return too soon to the lab or are you thinking "It's about damn time!"?
Next Week: The team must follow the writing on the wall! And watch out, Lindsay's gotta gun!
Tuesday, October 11, 2011
Turning Left For Four Hours 8X03 Review (**out of 5)
Well put the car in gear and run me over why don’t you CSI:NY? Last week I criticized the show for recycling themes and certain aspects of other episodes, but conceded to the fact that at least the episode did its best to redefine those ideas in creative ways. This week’s episode proved a giant flat tire while traveling on the road of mediocrity. Cavallino Rampante by my count is at least the third time the case has centered around cars (even more if one includes the cabbie killer), and as was made apparent by Multiplicity, the more something is copied the worse it gets. Obviously someone on the writing staff likes fast cars—along with every member of the crime lab incidentally—but enough already. This episode was running on fumes and I don’t think even the fancy driving of Lightening McQueen could have saved it.
It’s hard enough for me to not be bored by cars (the Click and Clack radio show has really been the only instance where I can deal with talking about cars so much…hilarious show by the way!) so it has to be some good, solid, entertaining writing to keep me interested. Season 4’s You Only Die Once accomplished that with its humorous parody, creativity, dialogue, intrigue and wit. Not so much in this episode. There were too many issues that took me out of the story. I know it’s not unheard of for a show to reuse an actor—Law & Order was rather known for it—but CSI:NY doesn’t do it very often and was I left scratching my head as to why they did it in this episode. As soon as Tim Guinee appeared on screen (last seen--and much better used--as the killer in season two’s Fare Game) I knew he was the bad guy. It usually isn’t too hard to figure out who is the guilty party on the show, but because it was so blatant I was left feeling cheated.
Not only was it easy to guess, but writer Adam Targum first made the rule—the killer was a criminal mastermind—then broke the rule having him caught so simply at the end. So he’s a ruthless law-evading genius one moment then a total chump the next? He works to rig a car (another recycling from Season 4, a la the cabbie killer), kills without guilt, and kidnaps for ransom, then in the last minute blindly accepts “undercover Jo” and her fake car? It’s like Targum forgot he had to write the end of the episode and in a panic just hit the breaks.
I also don’t understand why they chose to make Jo a car enthusiast. Is it a requirement that every member of the crime lab love cars? The show has well-established Lindsay’s interested and affinity for the fast and furious (as well as Mac’s, Adam’s, and Danny’s) so again it felt stale seeing Jo with a “gee golly” smudge on her cheek sliding happily out from under the car. Been there, drove that! I can’t even make a Speed Racer or Batmobile reference because then I would be stuck making the same mistake. A big issue for me is that they seem to give Jo very little that she can call her own, while steeling from Lindsay’s character. Is it that difficult to write two very distinct women?
AJ Buckley seems to be able to maintain chemistry with whomever he is paired with, but I wonder if his routine of humor is going to get old soon. They are very close to turning him into a caricature. I really enjoyed Adam’s character in the premier. They worked to give him depth and wrote him outside of his typical self. But he has now been relegated back to lab clown, which is funny right now, but I’m hoping they don’t make the same mistake they made in season 7 and stick to a formula.
The only thing I really appreciated was that this episode served as a vehicle…hee hee…for Danny’s storyline. I liked his interaction with the rookie. It felt very authentic. She was nervous and unsure around him but trying to play it cool, and he was a boss. It is his responsibility to help his subordinates learn the job and sometimes that involves taking the hard line. Danny had to learn things the difficult way and it seemed he simply wanted to save his team from taking that course (as well as ensuring he isn’t spending too much time away from his family cleaning up spilled milk). I was surprised by Mac’s response to Danny’s chewing out, but then immediately felt pleased. I, like Danny, was expecting Father Mac to sweep in and drop some sage words of wisdom. It was a pleasant shift in gears. The show is giving us a lot from this particular storyline and I am really enjoying how it is playing out.
So overall this was a big disappointment, especially so early in the season and following two pretty solid episodes. If the show wants another season they are going to have to stop relying on old material. If a writer pitches an idea as a reworking of a story that’s already been done the producers should flat out refuse. I will not spend the next 15 episodes stuck in neutral like last season. So fingers-crossed this was just a one time hiccup, because the Premier really was a jumpstart to a new life in the show, and I would hate to seem them drive this opportunity into the ditch. (Are there enough car references in this one? Wait…what? Too many?! Never!)
Are cars overdone on the show or do you think there is still plenty of storytelling left in them?
Next Week: Uh oh Rookie, you did a bad thing and you’re about to learn you don’t mess with the Messers! (Cue a member of a boy bad!)
It’s hard enough for me to not be bored by cars (the Click and Clack radio show has really been the only instance where I can deal with talking about cars so much…hilarious show by the way!) so it has to be some good, solid, entertaining writing to keep me interested. Season 4’s You Only Die Once accomplished that with its humorous parody, creativity, dialogue, intrigue and wit. Not so much in this episode. There were too many issues that took me out of the story. I know it’s not unheard of for a show to reuse an actor—Law & Order was rather known for it—but CSI:NY doesn’t do it very often and was I left scratching my head as to why they did it in this episode. As soon as Tim Guinee appeared on screen (last seen--and much better used--as the killer in season two’s Fare Game) I knew he was the bad guy. It usually isn’t too hard to figure out who is the guilty party on the show, but because it was so blatant I was left feeling cheated.
Not only was it easy to guess, but writer Adam Targum first made the rule—the killer was a criminal mastermind—then broke the rule having him caught so simply at the end. So he’s a ruthless law-evading genius one moment then a total chump the next? He works to rig a car (another recycling from Season 4, a la the cabbie killer), kills without guilt, and kidnaps for ransom, then in the last minute blindly accepts “undercover Jo” and her fake car? It’s like Targum forgot he had to write the end of the episode and in a panic just hit the breaks.
I also don’t understand why they chose to make Jo a car enthusiast. Is it a requirement that every member of the crime lab love cars? The show has well-established Lindsay’s interested and affinity for the fast and furious (as well as Mac’s, Adam’s, and Danny’s) so again it felt stale seeing Jo with a “gee golly” smudge on her cheek sliding happily out from under the car. Been there, drove that! I can’t even make a Speed Racer or Batmobile reference because then I would be stuck making the same mistake. A big issue for me is that they seem to give Jo very little that she can call her own, while steeling from Lindsay’s character. Is it that difficult to write two very distinct women?
AJ Buckley seems to be able to maintain chemistry with whomever he is paired with, but I wonder if his routine of humor is going to get old soon. They are very close to turning him into a caricature. I really enjoyed Adam’s character in the premier. They worked to give him depth and wrote him outside of his typical self. But he has now been relegated back to lab clown, which is funny right now, but I’m hoping they don’t make the same mistake they made in season 7 and stick to a formula.
The only thing I really appreciated was that this episode served as a vehicle…hee hee…for Danny’s storyline. I liked his interaction with the rookie. It felt very authentic. She was nervous and unsure around him but trying to play it cool, and he was a boss. It is his responsibility to help his subordinates learn the job and sometimes that involves taking the hard line. Danny had to learn things the difficult way and it seemed he simply wanted to save his team from taking that course (as well as ensuring he isn’t spending too much time away from his family cleaning up spilled milk). I was surprised by Mac’s response to Danny’s chewing out, but then immediately felt pleased. I, like Danny, was expecting Father Mac to sweep in and drop some sage words of wisdom. It was a pleasant shift in gears. The show is giving us a lot from this particular storyline and I am really enjoying how it is playing out.
So overall this was a big disappointment, especially so early in the season and following two pretty solid episodes. If the show wants another season they are going to have to stop relying on old material. If a writer pitches an idea as a reworking of a story that’s already been done the producers should flat out refuse. I will not spend the next 15 episodes stuck in neutral like last season. So fingers-crossed this was just a one time hiccup, because the Premier really was a jumpstart to a new life in the show, and I would hate to seem them drive this opportunity into the ditch. (Are there enough car references in this one? Wait…what? Too many?! Never!)
Are cars overdone on the show or do you think there is still plenty of storytelling left in them?
Next Week: Uh oh Rookie, you did a bad thing and you’re about to learn you don’t mess with the Messers! (Cue a member of a boy bad!)
Monday, October 3, 2011
Sheena is a Punk Rocker! 8X02 Review (****out of 5)
Confession time: Punk doesn’t really do it for me. When I hear of the Ramones I usually get them confused with series of children’s novels. However, this week’s episode of CSI:NY definitely got my toe a tappin’ and my heart a thumpin’!
The episode, Keep It Real, opens with the pumping tones of “Blitzkrieg Bop” as a crowd of young hipsters reinvent the glory days. The band is fronted by a vivacious blonde. The focus is immediately brought to a young man who clearly thinks she’s a sensation. Some secret smiles and a few ogling looks and it’s apparent the magic isn’t just happening on stage. Cue the dead body.
I was a little concerned because my mind immediately went to season three episode The Ride In where a body is found covered in cash, as was this week’s unfortunate victim. I worried because we have seen the writers regurgitate past episodes, and they were just as pretty as the image of regurgitation inspires. But again, I was pleasantly surprised. Even though there were several themes and ideas that were repeated, I wasn’t left feeling like I wasted my time. There were so many wonderful new elements that it kept my interest. That is a direct correlation to the show’s use of character. For two week’s in a row we have been given more character interaction than, I would argue, we got in the entirety of season 7. From Danny and Lindsay’s several conversations about life with the new promotion, Flacks tender interaction with victim’s girlfriend, to Hawkes’ childhood revelation, and Jo’s college boy drama, we have gotten to see and learn about our favorite characters.
I never understood why the show would invest so much time in each episode on people we’ve never met before and seem to ignore the cast we return to watch week after week. This episode, as did last week’s episode, had a superb balance between a plot driven storyline and character driven story lines.
As the case progresses, we find out that the rock star girlfriend likes expensive guitars and to kick in windows (clearly well prepared for fame), but probably didn’t murder her boyfriend of only a few weeks. In fact, Aly Michalka delivers a rather believable performance as a girl who has lost the potential for true. I found her relationship with Michael to be exactly as she described him, “sweet and genuine.” Writer Bill Haynes gave us a few twists and turns, keeping the case interesting and engaging. Not to mention the guest actors and their characters were a lot of fun to watch and played their parts well. Even those who weren’t a big part of the case, like the tattoo artist, helped to keep the story evolving and moving.
Director Alex Zakrzweski managed to keep things flowing and moved between the case and the sub-plots well. There is one aspect of his directing that frustrates me; too many flashbacks. I can’t stand it when a show “flashes back” to a scene we saw only 5 minutes previous because they think the audience is too stupid or too slow to pick up on the details. This isn’t CSI: Sesame Street, we don’t need everything spelled out for us! (Although, how cool would that show be? Brain now running rampant with images of Muppet crime scenes…)
Outside of the case, Mac’s sudden return to the lab left me a bit confused at first, as well as a little disappointed. Last week he was lamenting about never coming back and then he suddenly walks off the elevator and back into his old position? It nearly gave me whiplash! But at the end of the episode as Mac stares at the plaque from last week’s episode, I was reminded of the storyline involving Joe Vincent, the firefighter who lost his son on 9/11. Joe insisted over and over again he wasn’t coming to the ceremony. This paralleled Mac’s own feelings on returning to the lab. Perhaps Mac realized his own words of support and encouragement needed to be directed inward, and seeing Joe show up at the ceremony provide Mac with the realization that he too needed to show up. I really wondered about Joe’s story line in Indelible, but now I see it making perfect sense when married to this week’s episode. That’s pretty strong writing.
We really are getting to see the characters dealing with life outside the lab. Danny and Lindsay’s storyline is being well plotted and nicely paced. The concept of life with separate jobs was well introduced with their initial interaction, “I’m looking for Danny Messer. He’s my husband; at least I think he is. I haven’t seen him for days.” Lindsay jokes to which Danny responds, “You tryin’ to break my heart?” Clearly they are trying to deal with the separation, but it isn’t all rainbows and butterflies. This theme continues as they have their “lunch jacking” moment. This is an extremely interesting development in their relationship and the ground work is being well laid for them this season.
Jo’s own sub-plot with her son and his new roommate was also well integrated into the show. It provided humorous material from Adam, as well as a moment of insight into Hawkes’ life. It also continued to give shape and depth to Jo’s character. She broke the “Mom Code” but still managed to give her son the respect he deserves at this age. I am enjoying her character much more this season, and glad to see her interacting with more than just Mac. What an odd team she and Adam make, but it seems to really work.
Overall, it wasn’t the most suspenseful story, but I’ve always said if I get a decent case with great character interaction then I am happy. And this episode definitely makes it on Billboards Top Chart!
Question: So Jo was in definite mom-mode this week—going to extremes, overacting—but all in the name of love. Any moment come to mind when your own parent/guardian managed to embarrass you with such parenting skills?
Next Week: A bunch of girls with some junk in their trunks! CSI:NY is gone in 30 seconds, so too perhaps, Danny’s new promotion? Hmm….
The episode, Keep It Real, opens with the pumping tones of “Blitzkrieg Bop” as a crowd of young hipsters reinvent the glory days. The band is fronted by a vivacious blonde. The focus is immediately brought to a young man who clearly thinks she’s a sensation. Some secret smiles and a few ogling looks and it’s apparent the magic isn’t just happening on stage. Cue the dead body.
I was a little concerned because my mind immediately went to season three episode The Ride In where a body is found covered in cash, as was this week’s unfortunate victim. I worried because we have seen the writers regurgitate past episodes, and they were just as pretty as the image of regurgitation inspires. But again, I was pleasantly surprised. Even though there were several themes and ideas that were repeated, I wasn’t left feeling like I wasted my time. There were so many wonderful new elements that it kept my interest. That is a direct correlation to the show’s use of character. For two week’s in a row we have been given more character interaction than, I would argue, we got in the entirety of season 7. From Danny and Lindsay’s several conversations about life with the new promotion, Flacks tender interaction with victim’s girlfriend, to Hawkes’ childhood revelation, and Jo’s college boy drama, we have gotten to see and learn about our favorite characters.
I never understood why the show would invest so much time in each episode on people we’ve never met before and seem to ignore the cast we return to watch week after week. This episode, as did last week’s episode, had a superb balance between a plot driven storyline and character driven story lines.
As the case progresses, we find out that the rock star girlfriend likes expensive guitars and to kick in windows (clearly well prepared for fame), but probably didn’t murder her boyfriend of only a few weeks. In fact, Aly Michalka delivers a rather believable performance as a girl who has lost the potential for true. I found her relationship with Michael to be exactly as she described him, “sweet and genuine.” Writer Bill Haynes gave us a few twists and turns, keeping the case interesting and engaging. Not to mention the guest actors and their characters were a lot of fun to watch and played their parts well. Even those who weren’t a big part of the case, like the tattoo artist, helped to keep the story evolving and moving.
Director Alex Zakrzweski managed to keep things flowing and moved between the case and the sub-plots well. There is one aspect of his directing that frustrates me; too many flashbacks. I can’t stand it when a show “flashes back” to a scene we saw only 5 minutes previous because they think the audience is too stupid or too slow to pick up on the details. This isn’t CSI: Sesame Street, we don’t need everything spelled out for us! (Although, how cool would that show be? Brain now running rampant with images of Muppet crime scenes…)
Outside of the case, Mac’s sudden return to the lab left me a bit confused at first, as well as a little disappointed. Last week he was lamenting about never coming back and then he suddenly walks off the elevator and back into his old position? It nearly gave me whiplash! But at the end of the episode as Mac stares at the plaque from last week’s episode, I was reminded of the storyline involving Joe Vincent, the firefighter who lost his son on 9/11. Joe insisted over and over again he wasn’t coming to the ceremony. This paralleled Mac’s own feelings on returning to the lab. Perhaps Mac realized his own words of support and encouragement needed to be directed inward, and seeing Joe show up at the ceremony provide Mac with the realization that he too needed to show up. I really wondered about Joe’s story line in Indelible, but now I see it making perfect sense when married to this week’s episode. That’s pretty strong writing.
We really are getting to see the characters dealing with life outside the lab. Danny and Lindsay’s storyline is being well plotted and nicely paced. The concept of life with separate jobs was well introduced with their initial interaction, “I’m looking for Danny Messer. He’s my husband; at least I think he is. I haven’t seen him for days.” Lindsay jokes to which Danny responds, “You tryin’ to break my heart?” Clearly they are trying to deal with the separation, but it isn’t all rainbows and butterflies. This theme continues as they have their “lunch jacking” moment. This is an extremely interesting development in their relationship and the ground work is being well laid for them this season.
Jo’s own sub-plot with her son and his new roommate was also well integrated into the show. It provided humorous material from Adam, as well as a moment of insight into Hawkes’ life. It also continued to give shape and depth to Jo’s character. She broke the “Mom Code” but still managed to give her son the respect he deserves at this age. I am enjoying her character much more this season, and glad to see her interacting with more than just Mac. What an odd team she and Adam make, but it seems to really work.
Overall, it wasn’t the most suspenseful story, but I’ve always said if I get a decent case with great character interaction then I am happy. And this episode definitely makes it on Billboards Top Chart!
Question: So Jo was in definite mom-mode this week—going to extremes, overacting—but all in the name of love. Any moment come to mind when your own parent/guardian managed to embarrass you with such parenting skills?
Next Week: A bunch of girls with some junk in their trunks! CSI:NY is gone in 30 seconds, so too perhaps, Danny’s new promotion? Hmm….
Monday, September 26, 2011
Opening with Closure 8X01 Review (*****out of 5!)
It isn’t often that an episode of television has the opportunity to create and inspire a powerful and lasting emotional response. So it is always a pleasant surprise when a show can do just that, but what is even more surprising is it was CSI:NY. I’ve seen every episode of this show (most of them more than once) and I have never seen an episode like this week’s season premier Indelible. This episode was packed with Humanism, love, and loss. It managed to bring to remembrance all the emotions of a truly tragic day in our history.
I was very worried when I heard that this episode would focus on the events of 9/11. As much as I love this show, it isn’t necessarily known for its deep emotional impact on and interpretation of the world. Yet, coming off a season finale that was possibly a series finale—perhaps inspiring those involved with the show to demonstrate to the world what a mistake it was to consider ending the show before its time—and from the real life efforts of Gary Sinise to help with the remembrance of those who suffered as first responders on the day of the attack, everyone involved clearly worked hard to give us something we as viewers could be proud of. It was bold, it was ambitious, it was respectful and honest, and it was successful.
As the episode opens with an unfamiliar looking Mac, one who exudes warmth and love, it is clear we will be witness to many deaths in this episode. Director Frederick E. O. Toye immediately set the tone by seamlessly shifting from Mac and Claire’s full, vibrant bathroom and morning rituals to Mac’s current sparse, sterile, and lifeless bathroom. The silence of the laughter and music was clear and effective; with Claire gone, so too was the light and joy of Mac’s life. She was the music in his life, a theme well established by his surprise opera tickets.
Writers Zachary Reiter and John Dove continued this emotional roller coaster throughout the episode. Mac remembers his last bus ride with Claire, again the music is present as they share ear buds, then to be immediately left standing alone. These ups and downs aren’t limited to specific moments. The entire episode moves through humor and tears, joy and despair. It was nice to be reminded of the writers’ comedic ability (who could forget Mac’s love of waterfalls?) as we watched Adam give his impression of Jo—though it came out as more Paul Lynde than Sela Ward—it was a perfect moment of levity in a heavy episode.
I was really impressed by their decision to not show us what ultimately happened to Claire. I respect that decision because I believe I would feel uncomfortable knowing more about what happened to her than Mac. It was unbelievably effective to have Mac speaking with Claire on the phone only to have her disappear in a swarm of ambiguity. There are still so many questions for so many people that it is heartbreaking to think that over 1600 people lost a spouse that day. The agony that comes from losing a loved one can only be compounded by the mystery and unknown. The writers’ choice was very realistic and, as a result, very emotional. They clearly established Mac and Claire’s love for each other serving to emphasis the amount of loss in Mac’s life. (Although, since I am a true blue dyed through and through DL fan I can’t help but think that if they could show Mac and Claire so affectionate towards each other then why can’t we get that between Danny and Lindsay? But because I know we are going to be getting decent DL stuff this season I’ll leave it at that.)
This brings me to Sergeant Messer and one of the most powerful scenes: the flashback to when Flack and Messer first met. It is interesting to note that as we see them in 2011 Don is in civilian clothes and Danny is in his uniform. As we move to 2001 we see the reverse, a uniformed Don leading a bleeding victim out of the fog of debris, smoke, and ash only to met by a street clothed Danny, also running out the same fog. There is no music, no added drama. It seemed like a scene out of a play where the emotion and impact almost relies solely on the actors and dialogue. And it was done beautifully. It reminded me of the film The Others where the characters are surrounded by the fog of their own nightmare and hell. It was solemn, scary, and uncertain; a perfect interpretation of that fateful day.
Each of the actors from our main cast brought every scene to a whole new level and acted as a voice to so many people. Sela Ward brilliantly delivered the uncertainty and worry as Jo looks onto a crippled Pentagon, Gary Sinise the heart ache and loss as Mac races to an already lost Claire, Robert Joy and Hill Harper as Drs. Hammerback and Hawkes quietly and firmly displayed the necessary commitment to help those in need, and Anna Belknap and AJ Buckley were the spot on and emotional voice of Lindsay and Adam, those who could do nothing more than watch and wait. While Adam’s story isn’t a new one—Without a Trace had an episode about 9/11 where a character had a nearly identical story—it was wonderfully used and AJ’s vulnerability created another dynamic in Adam. This episode marvelously incorporated our characters in such away that we were seeing their past, but gain new insight into each one. For example, Lindsay’s decision to come to New York may have stemmed from her time in the city when she was there to help with the bucket brigade—a truly creative and genius use of this episode.
There is so much more about this episode that I could go on about, but what it boils down to is to question whether the episode accomplished what it set out to do, then to question whether it exceeded that expectation. My answer is a resounding yes to both. While not perfect, this is a realistic portrayal of sacrifice and endurance. I am not my usually hokey self in this review because this episode isn’t about the typical crime fighting/case solving escapades our characters run into. This is The West Wing’s Isaac and Ishmael, or MASH’s Goodbye, Farewell and Amen—an episode set apart from other episodes, a risk with the attempt to actually say something meaningful, to be vulnerable. (Never fear, I can’t resist the corny or ridiculous for too long and will be back to my normal self next week…and I’m sure that was something you were fearing…) So with the respect this episode deserves I will end with Mac’s words:
“Ten years have passed since that tragic day… and here today we gather, a people united not only in our grief but in our resolve to stand together as one family of Americans.”
Which scene or character best personified your emotions that day 10 years ago, or is there a different perspective you could add?
Next Week: The rock and roll of murder mysteries appears and Danny and Lindsay try to finally have that elusive meal together. Sounds like a bit of dissonance is headed our way!
I was very worried when I heard that this episode would focus on the events of 9/11. As much as I love this show, it isn’t necessarily known for its deep emotional impact on and interpretation of the world. Yet, coming off a season finale that was possibly a series finale—perhaps inspiring those involved with the show to demonstrate to the world what a mistake it was to consider ending the show before its time—and from the real life efforts of Gary Sinise to help with the remembrance of those who suffered as first responders on the day of the attack, everyone involved clearly worked hard to give us something we as viewers could be proud of. It was bold, it was ambitious, it was respectful and honest, and it was successful.
As the episode opens with an unfamiliar looking Mac, one who exudes warmth and love, it is clear we will be witness to many deaths in this episode. Director Frederick E. O. Toye immediately set the tone by seamlessly shifting from Mac and Claire’s full, vibrant bathroom and morning rituals to Mac’s current sparse, sterile, and lifeless bathroom. The silence of the laughter and music was clear and effective; with Claire gone, so too was the light and joy of Mac’s life. She was the music in his life, a theme well established by his surprise opera tickets.
Writers Zachary Reiter and John Dove continued this emotional roller coaster throughout the episode. Mac remembers his last bus ride with Claire, again the music is present as they share ear buds, then to be immediately left standing alone. These ups and downs aren’t limited to specific moments. The entire episode moves through humor and tears, joy and despair. It was nice to be reminded of the writers’ comedic ability (who could forget Mac’s love of waterfalls?) as we watched Adam give his impression of Jo—though it came out as more Paul Lynde than Sela Ward—it was a perfect moment of levity in a heavy episode.
I was really impressed by their decision to not show us what ultimately happened to Claire. I respect that decision because I believe I would feel uncomfortable knowing more about what happened to her than Mac. It was unbelievably effective to have Mac speaking with Claire on the phone only to have her disappear in a swarm of ambiguity. There are still so many questions for so many people that it is heartbreaking to think that over 1600 people lost a spouse that day. The agony that comes from losing a loved one can only be compounded by the mystery and unknown. The writers’ choice was very realistic and, as a result, very emotional. They clearly established Mac and Claire’s love for each other serving to emphasis the amount of loss in Mac’s life. (Although, since I am a true blue dyed through and through DL fan I can’t help but think that if they could show Mac and Claire so affectionate towards each other then why can’t we get that between Danny and Lindsay? But because I know we are going to be getting decent DL stuff this season I’ll leave it at that.)
This brings me to Sergeant Messer and one of the most powerful scenes: the flashback to when Flack and Messer first met. It is interesting to note that as we see them in 2011 Don is in civilian clothes and Danny is in his uniform. As we move to 2001 we see the reverse, a uniformed Don leading a bleeding victim out of the fog of debris, smoke, and ash only to met by a street clothed Danny, also running out the same fog. There is no music, no added drama. It seemed like a scene out of a play where the emotion and impact almost relies solely on the actors and dialogue. And it was done beautifully. It reminded me of the film The Others where the characters are surrounded by the fog of their own nightmare and hell. It was solemn, scary, and uncertain; a perfect interpretation of that fateful day.
Each of the actors from our main cast brought every scene to a whole new level and acted as a voice to so many people. Sela Ward brilliantly delivered the uncertainty and worry as Jo looks onto a crippled Pentagon, Gary Sinise the heart ache and loss as Mac races to an already lost Claire, Robert Joy and Hill Harper as Drs. Hammerback and Hawkes quietly and firmly displayed the necessary commitment to help those in need, and Anna Belknap and AJ Buckley were the spot on and emotional voice of Lindsay and Adam, those who could do nothing more than watch and wait. While Adam’s story isn’t a new one—Without a Trace had an episode about 9/11 where a character had a nearly identical story—it was wonderfully used and AJ’s vulnerability created another dynamic in Adam. This episode marvelously incorporated our characters in such away that we were seeing their past, but gain new insight into each one. For example, Lindsay’s decision to come to New York may have stemmed from her time in the city when she was there to help with the bucket brigade—a truly creative and genius use of this episode.
There is so much more about this episode that I could go on about, but what it boils down to is to question whether the episode accomplished what it set out to do, then to question whether it exceeded that expectation. My answer is a resounding yes to both. While not perfect, this is a realistic portrayal of sacrifice and endurance. I am not my usually hokey self in this review because this episode isn’t about the typical crime fighting/case solving escapades our characters run into. This is The West Wing’s Isaac and Ishmael, or MASH’s Goodbye, Farewell and Amen—an episode set apart from other episodes, a risk with the attempt to actually say something meaningful, to be vulnerable. (Never fear, I can’t resist the corny or ridiculous for too long and will be back to my normal self next week…and I’m sure that was something you were fearing…) So with the respect this episode deserves I will end with Mac’s words:
“Ten years have passed since that tragic day… and here today we gather, a people united not only in our grief but in our resolve to stand together as one family of Americans.”
Which scene or character best personified your emotions that day 10 years ago, or is there a different perspective you could add?
Next Week: The rock and roll of murder mysteries appears and Danny and Lindsay try to finally have that elusive meal together. Sounds like a bit of dissonance is headed our way!
Sunday, September 18, 2011
Season 8: Yo Mac! Back in Black!
The end of the summer is officially marked by the beginning of the Fall season on TV...at least it is in my house! So goodbye summer tan (you really only existed in my mind anyway) and hello frantic DVR programming!
In honor of the beginning of the season, and my return to forcing my opinions on all the unwitting, I am taking a moment to prepare for the season.
Where we left off:
Danny's 'movin' on up' and Mac pulls a George Bailey wondering if his life has purpose. Hawkes spent the summer sittin' in a tree K-I-S-S-I-N-G, and Flack, Adam, Sid, and Jo...um...well it was work as usual for them.
Where we're headed: (SPOILERS AHEAD MATEY!--that's my best pirate voice)
The Premier is set to be an emotional one. According to EW magazine, "In a story line inspired by star Gary Sinise, who raised money for a 9/11 memorial, the season 8 premiere flashes back to the day that Det. Mac Taylor lost his wife in the World Trade Center. "After the attacks I got very involved in meeting first responders," the actor explains. "I wanted to do something for them." Coming off the anniversary of his wife's death, Mac's getting emotional--and he's not the only one. "We let the audience into some personal moments this season," says exec producer Pam Veasey. Newly promoted sergeant Danny Messer struggles with work/life balance, and Jo Danville will delve deeper into the reason she moved to New York City. Hint: we'll learn more about that rape case she covered in D.C."
So Mac has found a purpose; helping with identification for victims of 9/11. I admit I am excited by that. It is a unique and believable way to tie in Mac's history with his future. It is a prime opportunity to help Mac finally move on from his wife's death while respectfully recreating the drama of that day. We've had hints of his struggle through out the years, and I will be interested in seeing if they write his character any differently this season.
Danny is now a Sergeant and things aren't running too smoothly for our favorite TV family. Eonline reports, "Anna Belknap tells us that there are some struggles early on getting used to Danny's (Carmine Giovinazzo) new sergeant position: "They are used to working together and seeing each other everyday, so it becomes sort of difficult. They try have lunch in episode two. They can't make it work. It's frustrating. You're used to seeing somebody everyday. He works long hours, she works long hours, they're not seeing each other, so it's tough."
This has great potential as a storyline. My problem with TV couples tends to stem from the fact that "drama" is usually so contrived or forced: the old "cheating" standby, or kidnapping, or something blowing up type thing. Those things have their place, but they are more cliched now. I am really interested in seeing this couple deal with a pretty typical marital issue. Work can get in the way of romance. I think it is unbelievably sweet that they have been so used to getting to see each other all the time that the shift to working separately is a very real issue for them. In a world where marriage is often represented on TV or film as something to be avoided or mistreated it is so refreshing to see a man and woman who actually love and care for each other, and their family.
In Friday night's chat with Executive Producers Pam Veasey and Zach Reiter they confirmed that "Flack's sister makes a return, we were very lucky for that. We're hoping to start something..."
Need another reason to get giddy? How about this from Pam Veasey in TV Guide: "This year, there are relationships for everyone. We want to see the other side of our characters. Who are they outside the lab?" says Veasey " You'll learn things that will make you smile"
Since the switch to single case episodes, CSI:NY has struggled to keep me interested in an episode from start to finish. Often there isn't enough in an episode to keep my attention, in other words I was bored. However, the episodes I did find successful were the ones that had an interesting case and the secondary story was filled with character development. Season 5 episode The Triangle is a good example of this. Interesting case and the parts of the episode that didn't deal with the case dealt with Danny, Lindsay and her pregnancy. Or Season 6 episode Cuckoo's Nest dealing with Flack going AWOL. If this is going to be the trend with season 8 then I am ready to see one of the best season's of the show's history!
Season 8; write it great! (I'm terrible I know)
Seriously, what sounds better for a Friday night than dealing with the death of a loved one, a family struggling to keep it together under stressful situations, a passed rape case that haunts those involved, a sister who is an alcoholic, and general murder and mayhem? What could beat that?
Enjoy the Premier and I'll be back to posting reviews on Monday.
Also, thanks to DLChem.net (a one stop shop for all things Danny and Lindsay) for their help in making sure we fans have all the up to date info. I was able to pull quotes so easily thanks to all their hard work! Looking forward to another year of gabbing like crazy about how cute Lucy Messer is. ^_^
In honor of the beginning of the season, and my return to forcing my opinions on all the unwitting, I am taking a moment to prepare for the season.
Where we left off:
Danny's 'movin' on up' and Mac pulls a George Bailey wondering if his life has purpose. Hawkes spent the summer sittin' in a tree K-I-S-S-I-N-G, and Flack, Adam, Sid, and Jo...um...well it was work as usual for them.
Where we're headed: (SPOILERS AHEAD MATEY!--that's my best pirate voice)
The Premier is set to be an emotional one. According to EW magazine, "In a story line inspired by star Gary Sinise, who raised money for a 9/11 memorial, the season 8 premiere flashes back to the day that Det. Mac Taylor lost his wife in the World Trade Center. "After the attacks I got very involved in meeting first responders," the actor explains. "I wanted to do something for them." Coming off the anniversary of his wife's death, Mac's getting emotional--and he's not the only one. "We let the audience into some personal moments this season," says exec producer Pam Veasey. Newly promoted sergeant Danny Messer struggles with work/life balance, and Jo Danville will delve deeper into the reason she moved to New York City. Hint: we'll learn more about that rape case she covered in D.C."
So Mac has found a purpose; helping with identification for victims of 9/11. I admit I am excited by that. It is a unique and believable way to tie in Mac's history with his future. It is a prime opportunity to help Mac finally move on from his wife's death while respectfully recreating the drama of that day. We've had hints of his struggle through out the years, and I will be interested in seeing if they write his character any differently this season.
Danny is now a Sergeant and things aren't running too smoothly for our favorite TV family. Eonline reports, "Anna Belknap tells us that there are some struggles early on getting used to Danny's (Carmine Giovinazzo) new sergeant position: "They are used to working together and seeing each other everyday, so it becomes sort of difficult. They try have lunch in episode two. They can't make it work. It's frustrating. You're used to seeing somebody everyday. He works long hours, she works long hours, they're not seeing each other, so it's tough."
This has great potential as a storyline. My problem with TV couples tends to stem from the fact that "drama" is usually so contrived or forced: the old "cheating" standby, or kidnapping, or something blowing up type thing. Those things have their place, but they are more cliched now. I am really interested in seeing this couple deal with a pretty typical marital issue. Work can get in the way of romance. I think it is unbelievably sweet that they have been so used to getting to see each other all the time that the shift to working separately is a very real issue for them. In a world where marriage is often represented on TV or film as something to be avoided or mistreated it is so refreshing to see a man and woman who actually love and care for each other, and their family.
In Friday night's chat with Executive Producers Pam Veasey and Zach Reiter they confirmed that "Flack's sister makes a return, we were very lucky for that. We're hoping to start something..."
Need another reason to get giddy? How about this from Pam Veasey in TV Guide: "This year, there are relationships for everyone. We want to see the other side of our characters. Who are they outside the lab?" says Veasey " You'll learn things that will make you smile"
Since the switch to single case episodes, CSI:NY has struggled to keep me interested in an episode from start to finish. Often there isn't enough in an episode to keep my attention, in other words I was bored. However, the episodes I did find successful were the ones that had an interesting case and the secondary story was filled with character development. Season 5 episode The Triangle is a good example of this. Interesting case and the parts of the episode that didn't deal with the case dealt with Danny, Lindsay and her pregnancy. Or Season 6 episode Cuckoo's Nest dealing with Flack going AWOL. If this is going to be the trend with season 8 then I am ready to see one of the best season's of the show's history!
Season 8; write it great! (I'm terrible I know)
Seriously, what sounds better for a Friday night than dealing with the death of a loved one, a family struggling to keep it together under stressful situations, a passed rape case that haunts those involved, a sister who is an alcoholic, and general murder and mayhem? What could beat that?
Enjoy the Premier and I'll be back to posting reviews on Monday.
Also, thanks to DLChem.net (a one stop shop for all things Danny and Lindsay) for their help in making sure we fans have all the up to date info. I was able to pull quotes so easily thanks to all their hard work! Looking forward to another year of gabbing like crazy about how cute Lucy Messer is. ^_^
Monday, May 16, 2011
You Say Goodbye and I'll Say Hello! 7X22 (****out of 5)
Let me just start by saying this was an incredibly difficult episode to review. I battled with myself. Can I review this episode like it was just any other episode? Should I? The fate of CSI:NY may still be up in the air, but I can say that if this is the last episode they release into the universe, then they can be proud. The episode wasn’t flawless, and I’m not giving it a sympathy vote. There were weaknesses, but there were also strengths, and thankfully this week the latter out weighed the former. Exit Strategy truly was strategically presented.
I am critical of the writers (and offer no apology for that) but this week I am giving them credit where credit is due. This episode brilliantly weaved Mac’s emotional upheaval with my own. Within the first five minutes of the episode beginning Mac comes face to face with his own mortality, even as I sat wondering if this would be the last time I would be excitedly watching a new episode. Mac’s situation brilliantly paralleled the show’s, which added depth to each scene. This episode beautifully reinforced why Gary Sinise is such an established actor. His ability to inspire both heartache and strength is phenomenal. Mac’s vulnerability, while it seemed to come out of no where, was still believable.
The episode was peppered with small, intimate moments. Watching the team sit around the conference table discussing the job was more entertaining that the multiple Danny/Don chase scenes we were subjected to this season. The wonderful scene between Danny and Lindsay as they teased each other with ease, followed by an involved discussion about their future was marvelously written, and wonderfully executed by Carmine Giovinazzo and Anna Belknap. It encapsulated everything I have been longing to see in their relationship. It was a great touch to have Danny’s character—one of the more central characters of the show—to come full circle. The first season he was wild, and lost his chance for promotion, now he is grounded and moving up in the world. Don’s friendship with Mac has really been honed the last few episodes and I’m glad they gave Eddie Cahill the screen time he deserved. It is a little disheartening that we had to wait until the last episode of the season to get this kind of emotion, but it is reassuring to know that the show’s producers and writers are still capable of achieving that power.
Even the case was well done. It was messy and confusing. We have a little girl (who was being neglected and abused by an alcoholic mother) taken by a ruffian who then devotes his life to taking care of her in a way her own mother had been unable to. Clayne Crawford embodied that conflict well, as Wes he came off as gruff and unapproachable, perfect for someone who was willing to tag along and make an easy buck in a robbery. However, he also exuded a subtle tenderness that allowed Olivia/Madison to find a person who would love and care for her. Because the show is what it is there was a bit too much convenience involved. It worked out perfectly that Olivia’s mom is no longer an alcoholic, that Wes was killed, that Olivia had a heart problem etc., but those are things that just have to be accepted as part of the show’s narrative style.
While I struggled with some of the directing, there was some pretty notable camera work. As Mac stood in the lab towards the end of the episode with Jo standing in the distance, a level up, I was moved by the implications—she stood on his shoulders, as either his conscience or as his predecessor.
Oddly enough, one of the most emotional moments for me was to see Mac watching Adam as he struggled to get the light working on his magnifying glass. It showed that despite the upheaval, and potential for change, some things always remain the same. The song choice seemed to have been written for this episode. It met the tone of the episode and then enhanced it:
It's everything you wanted, it's everything you don't
It's one door swinging open and one door swinging closed
Some prayers find an answer some prayers never know
We're holding on, and letting go.
Typically I end my reviews with a Guilty Pleasure and Highlight of the Episode, but this time I would like to invite anyone who may be reading this to post/comment what you would pick as a guilty pleasure and/or highlight.
And if you’ll indulge me for just a moment to say thanks to those who encouraged me with my reviews and have supported me in ways I never imagined. The administrators of DLChem have been wonderful, and the members have helped make this an experience I will always treasure. I am so grateful I’ve had a chance to in some small way contribute to the board. I’m staying optimistic and saying I’ll see you guys next year!
I am critical of the writers (and offer no apology for that) but this week I am giving them credit where credit is due. This episode brilliantly weaved Mac’s emotional upheaval with my own. Within the first five minutes of the episode beginning Mac comes face to face with his own mortality, even as I sat wondering if this would be the last time I would be excitedly watching a new episode. Mac’s situation brilliantly paralleled the show’s, which added depth to each scene. This episode beautifully reinforced why Gary Sinise is such an established actor. His ability to inspire both heartache and strength is phenomenal. Mac’s vulnerability, while it seemed to come out of no where, was still believable.
The episode was peppered with small, intimate moments. Watching the team sit around the conference table discussing the job was more entertaining that the multiple Danny/Don chase scenes we were subjected to this season. The wonderful scene between Danny and Lindsay as they teased each other with ease, followed by an involved discussion about their future was marvelously written, and wonderfully executed by Carmine Giovinazzo and Anna Belknap. It encapsulated everything I have been longing to see in their relationship. It was a great touch to have Danny’s character—one of the more central characters of the show—to come full circle. The first season he was wild, and lost his chance for promotion, now he is grounded and moving up in the world. Don’s friendship with Mac has really been honed the last few episodes and I’m glad they gave Eddie Cahill the screen time he deserved. It is a little disheartening that we had to wait until the last episode of the season to get this kind of emotion, but it is reassuring to know that the show’s producers and writers are still capable of achieving that power.
Even the case was well done. It was messy and confusing. We have a little girl (who was being neglected and abused by an alcoholic mother) taken by a ruffian who then devotes his life to taking care of her in a way her own mother had been unable to. Clayne Crawford embodied that conflict well, as Wes he came off as gruff and unapproachable, perfect for someone who was willing to tag along and make an easy buck in a robbery. However, he also exuded a subtle tenderness that allowed Olivia/Madison to find a person who would love and care for her. Because the show is what it is there was a bit too much convenience involved. It worked out perfectly that Olivia’s mom is no longer an alcoholic, that Wes was killed, that Olivia had a heart problem etc., but those are things that just have to be accepted as part of the show’s narrative style.
While I struggled with some of the directing, there was some pretty notable camera work. As Mac stood in the lab towards the end of the episode with Jo standing in the distance, a level up, I was moved by the implications—she stood on his shoulders, as either his conscience or as his predecessor.
Oddly enough, one of the most emotional moments for me was to see Mac watching Adam as he struggled to get the light working on his magnifying glass. It showed that despite the upheaval, and potential for change, some things always remain the same. The song choice seemed to have been written for this episode. It met the tone of the episode and then enhanced it:
It's everything you wanted, it's everything you don't
It's one door swinging open and one door swinging closed
Some prayers find an answer some prayers never know
We're holding on, and letting go.
Typically I end my reviews with a Guilty Pleasure and Highlight of the Episode, but this time I would like to invite anyone who may be reading this to post/comment what you would pick as a guilty pleasure and/or highlight.
And if you’ll indulge me for just a moment to say thanks to those who encouraged me with my reviews and have supported me in ways I never imagined. The administrators of DLChem have been wonderful, and the members have helped make this an experience I will always treasure. I am so grateful I’ve had a chance to in some small way contribute to the board. I’m staying optimistic and saying I’ll see you guys next year!
Monday, May 9, 2011
Matryoska Dolls Anyone? 7X20 (***out of 5)
New York, New York, an iconic song representing an iconic city and one assumes it would be extremely difficult to overcome such standards, but as the minor tones of Digital Daggers techno remix (and I would even argue rejuvenation) of Sinatra’s anthem pound out around the seduction and murder, or I guess I should say murder and seduction, of a young woman I am convinced it’s possible. Just as the remake of the song breaks away from what it typically accepted or understood, so too does the entire opening sequence of this week’s episode Nothing for Something. Typically the show utilizes slow motion to propel motion forward, but as we see the first shots of a dead body, then follow the sequence of events in reverse at an accelerated pace, it is clear nothing is going to so easily fall into place in this episode. Conceptually the idea was cool, interesting, and entertaining, I just felt the execution came up a little short, not quite living up to the potential set by such a powerful song; an intense opening sequence for an episode that lost steam. This seemed to set the tone for the rest episode—so close to being phenomenal, just not quite living up to expectation.
My biggest issue with this episode was the lack of balance. I have a lot of respect for John Dove and his contributions to the show over the years, but I couldn’t find my footing with this episode. There was some great dialogue: Flack’s musings in the diner about dog years and cop years was strong. While other times the dialogue was weak and almost comical: Jo tells Mac that the killer—Charles Martin—had “no motive to kill Christina” as part of her argument that she believed him innocent with regards to the woman. The only problem with that is, of course, that they established no real motive for him killing either of the other two women beyond it was something he felt propelled to do and enjoyed it. So he liked killing the other two women, but wouldn’t like killing this woman? What sense does that make? Similarly, Adam’s “improve” dialogue was pointless, but I loved the interplay and dialogue between Danny, Jo, Flack, and Lindsay as they processed Martin’s apartment. There were also lines that I didn’t get at all. Jo asks about the basketball player and Lindsay tells her that it is linked to the shoe print of the killer. How did she know the shoe print belonged to the killer? They found the body in a public park. I could see how the print may eventually be found to be the killer’s, but at this point there is no evidence that is the case. And don’t get me started on Jo’s save-the-day moment as she “talked” Martin down from the ledge. I like strong female characters, but I roll my eyes when Mac does it, I rolled my eyes when Stella would do it, and I rolled my eyes when Jo did it. Let the CSIs be CSIs, they don’t have to be negotiators, interrogators, snipers or any other scenario the writers come up with. They can be scientist fighting crime and I’ll like them well enough.
I will say that I felt this was a strong episode for Gary Sinise. It’s these types of episodes that remind me why he is my favorite boss out of all three shows in the franchise. He wasn’t Mr. Self-Righteous in this one. He was a tired guy, who got frustrated, a little ridiculous, but ultimately focused on doing what’s right. Mac was funny, intense, emotional, apologetic (if you can believe it), and fallible; a great range for Sinise to play with. Even when he and Peter Fonda had the great “jaw lock” stare down I was struck with the comparison of the two men. Is Mac destined to such loneliness? To be an old man in a diner keeping teenage boys from skipping out on the bill? I loved the juxtaposition of that thought to the one I had as Jo was ordering…um…I mean, convincing Mac to go home. She cares about him, Flack cares about him, as I would wager most who work with him care about him. I am not suggesting a Jo/Mac romance, I am talking about something more than flirting, a real sense of caring for each other. Will that save Mac from a future of coffees alone? I hope so.
I refuse to comment on the scene involving those “famous” sports people. I don’t know who they are and I couldn’t care less. I cringe at those forced, useless cameos, and that’s all the space I will spend on it.
I wasn’t a fan of Eric Laneuville’s directing in this episode. Again, it goes back to balance. There were some creative shots that worked well with the story, but the flow and pacing was choppy and clunky. Each scene felt more like its own episode rather than a collection of scenes that form an episode. We went from a dead body, to Mac’s wallet being stolen (Note: Mac immediately canceled his police badge and credit cards…so they can deal effectively with a wallet being stolen! *grumble* *pointless Danny storyline last season* *grumble*), to shoe prints, to an apartment that had already been processed, to an old case, to a new missing woman, to Pissy Mac shoving a guy into a wall, to a private investigator, to a “grieving” husband, to Wild Bill Hunts’ “Go ahead Mac, make my day,” to a hotel room, to Hunts’ vigilante grocery shopping, back to the grieving husband, to a third dead body, to Flack’s leopard-print travel bag, back to Hunt…my head is spinning just thinking about it all! The word convoluted comes to mind.
However, I then think about Flack and Mac’s interrogation of the husband and I liked it. I always complain about how the killer just suddenly caves in the last 10 minutes of an episode and confesses. This time they legitimately tricked him into a confession. I loved it. Clifton Collins Jr. was great as the ambiguous bad guy and Peter Fonda wasn’t bad as the ambiguous good guy.
This was a hodge-podge episode that did really well in some parts and abysmal in others. I will at least applaud their efforts in trying new things and braking out of their self-constructed narrative box they built around themselves. If this is the first step into some newer, meatier storylines then I say it’s not bad. If this is just a flash in the pan, then we truly did get nothing for something.
Highlight of the episode: Eddie Cahill’s comedic timing.
Guilty Pleasure: I love Lindsay quietly processing the shoe print while the others talked. It just seemed so old school, and sweet in a weird way.
My biggest issue with this episode was the lack of balance. I have a lot of respect for John Dove and his contributions to the show over the years, but I couldn’t find my footing with this episode. There was some great dialogue: Flack’s musings in the diner about dog years and cop years was strong. While other times the dialogue was weak and almost comical: Jo tells Mac that the killer—Charles Martin—had “no motive to kill Christina” as part of her argument that she believed him innocent with regards to the woman. The only problem with that is, of course, that they established no real motive for him killing either of the other two women beyond it was something he felt propelled to do and enjoyed it. So he liked killing the other two women, but wouldn’t like killing this woman? What sense does that make? Similarly, Adam’s “improve” dialogue was pointless, but I loved the interplay and dialogue between Danny, Jo, Flack, and Lindsay as they processed Martin’s apartment. There were also lines that I didn’t get at all. Jo asks about the basketball player and Lindsay tells her that it is linked to the shoe print of the killer. How did she know the shoe print belonged to the killer? They found the body in a public park. I could see how the print may eventually be found to be the killer’s, but at this point there is no evidence that is the case. And don’t get me started on Jo’s save-the-day moment as she “talked” Martin down from the ledge. I like strong female characters, but I roll my eyes when Mac does it, I rolled my eyes when Stella would do it, and I rolled my eyes when Jo did it. Let the CSIs be CSIs, they don’t have to be negotiators, interrogators, snipers or any other scenario the writers come up with. They can be scientist fighting crime and I’ll like them well enough.
I will say that I felt this was a strong episode for Gary Sinise. It’s these types of episodes that remind me why he is my favorite boss out of all three shows in the franchise. He wasn’t Mr. Self-Righteous in this one. He was a tired guy, who got frustrated, a little ridiculous, but ultimately focused on doing what’s right. Mac was funny, intense, emotional, apologetic (if you can believe it), and fallible; a great range for Sinise to play with. Even when he and Peter Fonda had the great “jaw lock” stare down I was struck with the comparison of the two men. Is Mac destined to such loneliness? To be an old man in a diner keeping teenage boys from skipping out on the bill? I loved the juxtaposition of that thought to the one I had as Jo was ordering…um…I mean, convincing Mac to go home. She cares about him, Flack cares about him, as I would wager most who work with him care about him. I am not suggesting a Jo/Mac romance, I am talking about something more than flirting, a real sense of caring for each other. Will that save Mac from a future of coffees alone? I hope so.
I refuse to comment on the scene involving those “famous” sports people. I don’t know who they are and I couldn’t care less. I cringe at those forced, useless cameos, and that’s all the space I will spend on it.
I wasn’t a fan of Eric Laneuville’s directing in this episode. Again, it goes back to balance. There were some creative shots that worked well with the story, but the flow and pacing was choppy and clunky. Each scene felt more like its own episode rather than a collection of scenes that form an episode. We went from a dead body, to Mac’s wallet being stolen (Note: Mac immediately canceled his police badge and credit cards…so they can deal effectively with a wallet being stolen! *grumble* *pointless Danny storyline last season* *grumble*), to shoe prints, to an apartment that had already been processed, to an old case, to a new missing woman, to Pissy Mac shoving a guy into a wall, to a private investigator, to a “grieving” husband, to Wild Bill Hunts’ “Go ahead Mac, make my day,” to a hotel room, to Hunts’ vigilante grocery shopping, back to the grieving husband, to a third dead body, to Flack’s leopard-print travel bag, back to Hunt…my head is spinning just thinking about it all! The word convoluted comes to mind.
However, I then think about Flack and Mac’s interrogation of the husband and I liked it. I always complain about how the killer just suddenly caves in the last 10 minutes of an episode and confesses. This time they legitimately tricked him into a confession. I loved it. Clifton Collins Jr. was great as the ambiguous bad guy and Peter Fonda wasn’t bad as the ambiguous good guy.
This was a hodge-podge episode that did really well in some parts and abysmal in others. I will at least applaud their efforts in trying new things and braking out of their self-constructed narrative box they built around themselves. If this is the first step into some newer, meatier storylines then I say it’s not bad. If this is just a flash in the pan, then we truly did get nothing for something.
Highlight of the episode: Eddie Cahill’s comedic timing.
Guilty Pleasure: I love Lindsay quietly processing the shoe print while the others talked. It just seemed so old school, and sweet in a weird way.
Friday, May 6, 2011
The End of the Road for Dirty Hunt 7X21 (***out of 5)
I remember how my heart pounded as Lindsay stared down the barrel of a gun, how I squealed with delight as Danny stormed into the room, calling out to her, his voice frantic and fearful. I can still feel my face spreading into a grin as he pulled her desperately into his arms, his breath rushing out in relief. I remember how in slow motion Lindsay gripped tightly to him and gratefully buried her face against his body, and I fell even more in love with their relationship. I remember how I sat (literally) on the edge of my seat as Mac snuck up onto a deadly, enraged Irishman, my fists clenched in panic as Peyton pulled out her cell phone and dial his number. “Oh no!” I cried, “no, no, no, no!” The phone rang, Mac was caught and I was glued to the set. These jaw-dropping moments welded me to this show. Unfortunately, this week’s episode Life Sentence paled in comparison—and making the comparison is inevitable since we saw a lot of what we previously saw in It’s Not What It Looks Like and Snow Day.
The episode wasn’t bad. The storyline was interesting. A police officer who believes he is owed more than what he is given and makes a terrible decision, then continues to compound his horrible situation by bringing himself deeper into destruction. Christopher Silber and Adam Targum wrote an episode that was a bit more complex than the typical bad guy/good guy dynamic and Jeffrey Hunt’s directing was competent and kept the episode moving. Peter Fonda was convincing as the hard-nosed William Hunt, embittered by years of regret while Clifton Collins, Jr., likewise, gave a subtly but unnerving portrayal as Raymond Harris, an equally embittered man. So where’s the problem?
I don’t have all the answers and there is a great deal I don’t know. I can only respond with what I feel and recognize, but when I compare the power of the last 10 seconds of season three’s It’s Not What It Looks Like with the hug between Danny and Lindsay in this week’s episode, it creates a visual answer. In season three, having known each other barely a year and really being in the beginnings of anything truly romantic, as they embraced for the first time I was exposed to more emotion and power between the two characters than I got in a single second of the hug in Life Sentence—and this is after years of marriage and having a family together. Yes, Danny was obviously concerned about Lindsay and his hug was…nice (especially when one slows it down and freezes it…not that I did that…over and over again…) but it was over so quickly that I was left severely disappointed.
But let’s go beyond the Danny and Lindsay moment; this was after all a Mac episode. As with last week’s episode, I felt Mac was back to being more his character than the caricature they created him to be earlier this season. He will always be slightly hypocritical in his manner—chastising and berating those under his command for doing exactly what he winds up doing when he gets pissed or irritated—and he will always have a streak of self-righteousness. Those are his character flaws, and are part of who he is, but it doesn’t mean it’s always fun to watch. I was confused by him though (and I’m not necessarily saying this is a bad thing) and have been left pondering his motivation. He punched Hunt in the face when he found out that Hunt had stolen money, but showed compassion when he found out Hunt had murdered in cold blood and with his bare hands an innocent woman. Similarly, he was very brutal with Harris, even after he found out what Hunt had done. Like I said, I am still confused about that, but haven’t decided if it weakness or a strength to Mac as a character. But what I do know is that despite all that I still felt nothing compared to the intensity I felt in Mac’s character in Snow Day. There was naturalness to Mac’s indignation in that episode that seemed more forced or more contrived in this episode. For example, as the lab was falling to pieces around them, Mac flies to Lindsay’s aid, protecting her while exposing himself and then, nothing. There was no more to that situation; there was no development or growth. Mac saved Lindsay, the scene ends. There was no emotion, no inspiration, no connection, it was all action. *I duck as clichés are thrown at me* Yes I know actions can speak louder than words, but sometimes the words are needed, sometimes they are necessary and it feels like the show has forgotten the words. I’m all for subtly and nuances, but sometimes it gets tiring have to watch the show through a microscope for a glimpse of true emotion. That scene felt more like an exhibition into how selfless Mac is, and when I have to be hit over the head with the flashing sign MAC TAYLOR IS A HERO it kind of loses its impact. The opening sequence was definitely intense, and I’m all for shooting or blowing up the crime lab, let it happen once a week I say as long as it actually means something.
I also understood the bad guys in the two previously mentioned episodes; they were motivated by greed and were willing to do anything necessary to get what they wanted, whether it was diamonds or drugs. The bad guys didn’t give up until the last second of the episodes. Which is why I was left scratching my head when Harris, cornered by Mac, wearily proclaimed, “It doesn’t matter anymore. She’s gone.” Dude spent 17 years plotting his revenge, and 2 episodes creeping the hell out of me, only to decide at the very last moment of his triumph that it doesn’t matter anymore? That is weak writing. There was no believable reason presented for Harris to suddenly just give up. Also, it is a personal pet peeve of mine to have manufactured moments of intensity, especially at the cost of others. This is what I mean, an NYPD detective was suppose to be watching Harris, but because a truck pulled up and blocked his view Harris got away. So a trained detective is so lazy and so poorly trained that he would chose to wait in the car and let a suspect get away? They even went so far as to have the detective tell Flack that Harris was still sitting at the table when it was clearly impossible for him to see that. How insulting, not only to me as part of the audience but to the NYPD. This isn’t the first time the writers have used the incompetency of our men and women in Blue. How many times was Shane Casey able to escape custody? Writers, quit being lazy and actually write something that is believable not just something that is convenient.
Again, an episode that was so close to be great, but just coming up a little short. After a season of episodes that left me completely deflated I am overall pleased with how the last few episodes have begun to regain a bit of what was lost. Reminds me of the lyrics: We’ve made it through the wilderness somehow we’ve made it through...Come on CSI:NY go that extra mile and really touch me! I know you can do it!
Highlight of the episode: Flacks quiet and constant support of Mac. Flack has been a rather neglected character this season, and the last two episodes have just reinforced to me that his character needs to be used a bit more and with a bit more appropriateness (i.e. not as a CSI but as an actual NYPD detective)
Guilty Please: Please the bottom of this post…
The episode wasn’t bad. The storyline was interesting. A police officer who believes he is owed more than what he is given and makes a terrible decision, then continues to compound his horrible situation by bringing himself deeper into destruction. Christopher Silber and Adam Targum wrote an episode that was a bit more complex than the typical bad guy/good guy dynamic and Jeffrey Hunt’s directing was competent and kept the episode moving. Peter Fonda was convincing as the hard-nosed William Hunt, embittered by years of regret while Clifton Collins, Jr., likewise, gave a subtly but unnerving portrayal as Raymond Harris, an equally embittered man. So where’s the problem?
I don’t have all the answers and there is a great deal I don’t know. I can only respond with what I feel and recognize, but when I compare the power of the last 10 seconds of season three’s It’s Not What It Looks Like with the hug between Danny and Lindsay in this week’s episode, it creates a visual answer. In season three, having known each other barely a year and really being in the beginnings of anything truly romantic, as they embraced for the first time I was exposed to more emotion and power between the two characters than I got in a single second of the hug in Life Sentence—and this is after years of marriage and having a family together. Yes, Danny was obviously concerned about Lindsay and his hug was…nice (especially when one slows it down and freezes it…not that I did that…over and over again…) but it was over so quickly that I was left severely disappointed.
But let’s go beyond the Danny and Lindsay moment; this was after all a Mac episode. As with last week’s episode, I felt Mac was back to being more his character than the caricature they created him to be earlier this season. He will always be slightly hypocritical in his manner—chastising and berating those under his command for doing exactly what he winds up doing when he gets pissed or irritated—and he will always have a streak of self-righteousness. Those are his character flaws, and are part of who he is, but it doesn’t mean it’s always fun to watch. I was confused by him though (and I’m not necessarily saying this is a bad thing) and have been left pondering his motivation. He punched Hunt in the face when he found out that Hunt had stolen money, but showed compassion when he found out Hunt had murdered in cold blood and with his bare hands an innocent woman. Similarly, he was very brutal with Harris, even after he found out what Hunt had done. Like I said, I am still confused about that, but haven’t decided if it weakness or a strength to Mac as a character. But what I do know is that despite all that I still felt nothing compared to the intensity I felt in Mac’s character in Snow Day. There was naturalness to Mac’s indignation in that episode that seemed more forced or more contrived in this episode. For example, as the lab was falling to pieces around them, Mac flies to Lindsay’s aid, protecting her while exposing himself and then, nothing. There was no more to that situation; there was no development or growth. Mac saved Lindsay, the scene ends. There was no emotion, no inspiration, no connection, it was all action. *I duck as clichés are thrown at me* Yes I know actions can speak louder than words, but sometimes the words are needed, sometimes they are necessary and it feels like the show has forgotten the words. I’m all for subtly and nuances, but sometimes it gets tiring have to watch the show through a microscope for a glimpse of true emotion. That scene felt more like an exhibition into how selfless Mac is, and when I have to be hit over the head with the flashing sign MAC TAYLOR IS A HERO it kind of loses its impact. The opening sequence was definitely intense, and I’m all for shooting or blowing up the crime lab, let it happen once a week I say as long as it actually means something.
I also understood the bad guys in the two previously mentioned episodes; they were motivated by greed and were willing to do anything necessary to get what they wanted, whether it was diamonds or drugs. The bad guys didn’t give up until the last second of the episodes. Which is why I was left scratching my head when Harris, cornered by Mac, wearily proclaimed, “It doesn’t matter anymore. She’s gone.” Dude spent 17 years plotting his revenge, and 2 episodes creeping the hell out of me, only to decide at the very last moment of his triumph that it doesn’t matter anymore? That is weak writing. There was no believable reason presented for Harris to suddenly just give up. Also, it is a personal pet peeve of mine to have manufactured moments of intensity, especially at the cost of others. This is what I mean, an NYPD detective was suppose to be watching Harris, but because a truck pulled up and blocked his view Harris got away. So a trained detective is so lazy and so poorly trained that he would chose to wait in the car and let a suspect get away? They even went so far as to have the detective tell Flack that Harris was still sitting at the table when it was clearly impossible for him to see that. How insulting, not only to me as part of the audience but to the NYPD. This isn’t the first time the writers have used the incompetency of our men and women in Blue. How many times was Shane Casey able to escape custody? Writers, quit being lazy and actually write something that is believable not just something that is convenient.
Again, an episode that was so close to be great, but just coming up a little short. After a season of episodes that left me completely deflated I am overall pleased with how the last few episodes have begun to regain a bit of what was lost. Reminds me of the lyrics: We’ve made it through the wilderness somehow we’ve made it through...Come on CSI:NY go that extra mile and really touch me! I know you can do it!
Highlight of the episode: Flacks quiet and constant support of Mac. Flack has been a rather neglected character this season, and the last two episodes have just reinforced to me that his character needs to be used a bit more and with a bit more appropriateness (i.e. not as a CSI but as an actual NYPD detective)
Guilty Please: Please the bottom of this post…
Monday, April 11, 2011
Just Say No! 7X19 (**out of 5)
Hawkes hits his rebellious teens on a very special CSI:NY. (And unfortunately this episode was about as cliche) It’s love and other drugs for our ME turned CSI in an episode that seriously left me with the munchies. From the french fries with foie gras gravy to Hawkes’ sudden adolescent behavior I was left...well...confused.
Let me just start by saying I tried desperately to get into this episode. I like Hawkes, but I’ve never felt like they’ve nailed down his character. In the first season he was creepy. In the second season he was suddenly outgoing and eager to be out solving crime. In the third season he began to fade into the background and tends to remain there until a Hawkes-centered episode is written (one or two per season) and then we learn something new about him; former fiance who was raped, lost all his money in a scheme or druggie sister who was murdered. He takes the moral high road most of the time (remember how he chastised Danny during the blue flu?) but doesn’t mind not taking the moral high road either (remember how he argued with Lindsay about vigilante justice?). I don’t understand his character. Can a character be too enigmatic? It’s difficult to identify with a character that moves so far across the spectrum. Some times he seems noble and gallant and some times he’s secretive and closed off. He was willing to walk out of Camille’s party when he saw people smoking, but with a batting of the eyes from Camille he walked right back in. I’m not yet ready to crucify Camille, because I don’t know her, and while I don’t really understand Hawkes, I at least feel like I know him well enough to say that he is a responsible adult male who put himself through medical school and now works as a crime scene investigator. He is choosing to destroy his life and career, no one is forcing him. Though let’s be clear: I DON’T LIKE CAMILLE. I would actually be more intrigued with Hawkes’ character if he continued down this destructive path. But if the show stays true to its pattern then we may get some vague reference to Camille before she disappears completely.
I groaned out loud at several points during this episode. I don’t know what Trey Callaway was thinking here. The dialogue between Camille and Hawkes was incredibly trite. “Have you ever tried it?” Camille asks. “You mean weed?” Hawkes responds with a frown. They gotta be careful or Old Principal Taylor will catch them! Then to hear Camille go on about how she was too busy going to school and getting a career to be in her twenties. GAG! Are we seriously suppose to believe that Hawkes hangs out at a party where there is weed and then the next day he is randomly selected for a drug test? That is not good writing. In fact, that is bad writing that is reserved for high school motivational plays. I’m surprised by this because Callaway has a pretty good track record with emotionally involved episodes. (Shop ‘Til You Drop not withstanding)
This episode felt disjointed and uneven. It seemed to be more a series of random scenes than a clear, cohesive narrative. We had great Danny and Lindsay interaction towards the beginning of the episode, Jo and Don towards the middle, and a sprinkling of Mac until the end when he steps up for the arrest then gives a half-assed chewing out to Hawkes. He gave it to Adam with both barrels at the beginning of the season over for breaking a rule in order to catch a killer? He gave Hawkes a tap on the wrist in comparison. I also didn’t buy the bad guy. Why blow up the truck in the middle of a food fair? That wasn’t to help his father, that was to hurt other people. If his motivation was to get the truck off the streets then why not wait until the truck was parked and empty and not in the middle of a crowd? It didn’t make sense.
Yet, because I am such a sucker for character episodes I didn’t hate it. I was bored by it, but I at least felt something while watching it, even if what I was feeling was frustration with Hawkes. That is better than being bored by an episode and getting NO character (see most of the episodes from the middle of this season). There were some good moments here too. I liked how Jo told Hawkes to save his excuses for Mac. She didn’t need to know, and she was respecting his privacy. Danny and Lindsay are finally giving us evidence that they are a married couple; loved how she knew exactly what he was thinking when she made the “I’m not pregnant” comment. I enjoyed how Danny covered for Hawkes, and I liked Mac and Sid’s interaction. The episode just felt convoluted and top heavy. It was not a well made episode but it is still better than what we’ve seen the majority of this season. I would at least watch this episode again.
Highlight of the episode: I hope I sound like a broken record and I hope I continue to sound like a broken records when I say: DANNY AND LINDSAY! Thank goodness it seems the writers have given up ignoring their relationship and insulting us with those pitiful and ridiculous references to their marriage/relationship. We are finally getting some meaty interaction!
Guilty Pleasure: Don going all 007! He was under cover and looking sexy.
Let me just start by saying I tried desperately to get into this episode. I like Hawkes, but I’ve never felt like they’ve nailed down his character. In the first season he was creepy. In the second season he was suddenly outgoing and eager to be out solving crime. In the third season he began to fade into the background and tends to remain there until a Hawkes-centered episode is written (one or two per season) and then we learn something new about him; former fiance who was raped, lost all his money in a scheme or druggie sister who was murdered. He takes the moral high road most of the time (remember how he chastised Danny during the blue flu?) but doesn’t mind not taking the moral high road either (remember how he argued with Lindsay about vigilante justice?). I don’t understand his character. Can a character be too enigmatic? It’s difficult to identify with a character that moves so far across the spectrum. Some times he seems noble and gallant and some times he’s secretive and closed off. He was willing to walk out of Camille’s party when he saw people smoking, but with a batting of the eyes from Camille he walked right back in. I’m not yet ready to crucify Camille, because I don’t know her, and while I don’t really understand Hawkes, I at least feel like I know him well enough to say that he is a responsible adult male who put himself through medical school and now works as a crime scene investigator. He is choosing to destroy his life and career, no one is forcing him. Though let’s be clear: I DON’T LIKE CAMILLE. I would actually be more intrigued with Hawkes’ character if he continued down this destructive path. But if the show stays true to its pattern then we may get some vague reference to Camille before she disappears completely.
I groaned out loud at several points during this episode. I don’t know what Trey Callaway was thinking here. The dialogue between Camille and Hawkes was incredibly trite. “Have you ever tried it?” Camille asks. “You mean weed?” Hawkes responds with a frown. They gotta be careful or Old Principal Taylor will catch them! Then to hear Camille go on about how she was too busy going to school and getting a career to be in her twenties. GAG! Are we seriously suppose to believe that Hawkes hangs out at a party where there is weed and then the next day he is randomly selected for a drug test? That is not good writing. In fact, that is bad writing that is reserved for high school motivational plays. I’m surprised by this because Callaway has a pretty good track record with emotionally involved episodes. (Shop ‘Til You Drop not withstanding)
This episode felt disjointed and uneven. It seemed to be more a series of random scenes than a clear, cohesive narrative. We had great Danny and Lindsay interaction towards the beginning of the episode, Jo and Don towards the middle, and a sprinkling of Mac until the end when he steps up for the arrest then gives a half-assed chewing out to Hawkes. He gave it to Adam with both barrels at the beginning of the season over for breaking a rule in order to catch a killer? He gave Hawkes a tap on the wrist in comparison. I also didn’t buy the bad guy. Why blow up the truck in the middle of a food fair? That wasn’t to help his father, that was to hurt other people. If his motivation was to get the truck off the streets then why not wait until the truck was parked and empty and not in the middle of a crowd? It didn’t make sense.
Yet, because I am such a sucker for character episodes I didn’t hate it. I was bored by it, but I at least felt something while watching it, even if what I was feeling was frustration with Hawkes. That is better than being bored by an episode and getting NO character (see most of the episodes from the middle of this season). There were some good moments here too. I liked how Jo told Hawkes to save his excuses for Mac. She didn’t need to know, and she was respecting his privacy. Danny and Lindsay are finally giving us evidence that they are a married couple; loved how she knew exactly what he was thinking when she made the “I’m not pregnant” comment. I enjoyed how Danny covered for Hawkes, and I liked Mac and Sid’s interaction. The episode just felt convoluted and top heavy. It was not a well made episode but it is still better than what we’ve seen the majority of this season. I would at least watch this episode again.
Highlight of the episode: I hope I sound like a broken record and I hope I continue to sound like a broken records when I say: DANNY AND LINDSAY! Thank goodness it seems the writers have given up ignoring their relationship and insulting us with those pitiful and ridiculous references to their marriage/relationship. We are finally getting some meaty interaction!
Guilty Pleasure: Don going all 007! He was under cover and looking sexy.
Tuesday, April 5, 2011
Who are you? Who? Who? 7X18 Review (***out of 5)
I love it when episode titles work beautifully in my reviews. Take this weeks episode, Identity Crisis, to quote Shakespeare, “There’s a double meaning in that.” Of course we have the portion of the story dealing with the cross dressing, trans-aged con artist, losing herself in an attempt to take from others, but then we have the Ellie/Jo portion. Ellie is forced to face the fact that she doesn’t come from where she thought she did. And then we also have the episode itself struggling with its identity; a case episode versus a character episode. And just to assure everyone, I am not confused about who I am...I don’t think...but maybe I really am unsure of who I am but just don’t realize it or know it and thus, paradoxically, I am more confused than any! *Looks down-sees short legs, some junk in the trunk, food stain on pants, spit up on shoulder* Never mind, I’m still me. Now, let’s dive in.
I had a roommate who was afraid of old people, she never trusted them. I thought she was crazy, but she may have been onto something. My grandmother use to tell us that she should look into becoming a drug runner for money because, and I quote, “Nobody will suspect the little granny with the dope in back [of her car].” I know for a fact she was crazy, but the point however is that people are more prone to believe in the helplessness of the elderly and our thief utilized that to swindle others. Interestingly enough, I believe it is also what led to her dieing. I don’t think our killer, Jayson Luck (*groan* Yes, that was his actual name...really Pam Veasey? There is a thin line between irony and goofiness) would have been apt to stab a woman, but it was easy for him to forget who she was because of her disguise. Kurt Vonnegut wrote, “We are what we pretend to be, so we must be careful what we pretend to be.” Because she took herself out of the equation, Jayson was able to kill her without even “remembering pulling the knife out of the bag.” Jayson himself was a conflicting character. His contrite statement to Mac about how he was sorry because he’d never be able to pay his brother back was full of emotion and loss, but who cares? Jayson was willing to rob an old man of his money, in fact he did rob “him.” He would have been content to live off another person’s money had it not been a scam. So I say have fun sitting in jail buddy, you deserve it. Conversely, Veasey was wise enough to offer a character who was genuinely interested in helping the old man. I liked that scene between Lindsay and Byron Wendle, the gentleman who was swindled (hee hee, it rhymes) because he offered to help, at least one person didn’t lose their money because of selfish motives. Although I could have done without The Sting dialogue, that was weak writing that made Lindsay look a tab bit more heartless than I think the situation called for.
Now we peel back another layer and find Ellie and Jo. I like when Veasey writes episodes because she includes personal storylines, and I enjoy learning more about our characters. I learned a lot about Jo both good and bad. I also don’t like it when Veasey writes episodes because she is the queen of failed continuity and rearranging things to fit her story. I enjoyed seeing Ellie’s conflict. I believed her reasoning for wanting to know her mother and was glad to see it went beyond typical teenage rebellion or angst. Jo’s own internal conflict was believable and, perversely, very entertaining to watch. It is clear her deep love for her daughter, which is why I find it difficult to believe Jo would chose to lie to Ellie for so long. It seemed out of character, also hypocritical, since she was all “sisterhood of the no secrets” earlier in the episode. We don’t lie to our kids in our family about anything, we don’t teach them that Santa brings presents or make up things about where rainbows come from. It’s a personal choice, though just to be clear we teach them the power of imagination and allow them to believe in what they chose to believe in, we just ensure they have all the information, and ensure that information is presented in an age appropriate way. Why did I tell you that? Simply to illustrate why I struggle to sympathize with Jo’s decision to keep the truth from Ellie. I was a little disappointed in Ellie’s rather lack luster acceptance of this new information. I would have preferred to see some tension and emotion develop between Jo and Ellie. But I think that goes back to Veasey forcing a story to fit her preference. Likewise, everyone remembers how Jo literally ran away from her ex-husband (who runs from DJE? Incidentally, he was criminally underused!) a few episodes ago. She didn’t want to talk to him, didn’t want to see him, had spent years avoiding him. Now suddenly he is in her apartment, hanging out, and Jo seemed perfectly fine with it. Another example of how things are changed to fit the story and thus killing the continuity. Oh, and speaking of failures in continuity, I like how Jo tells Mac he should have kids so she wouldn’t be alone in parenting...weird...I thought she shared an office with two parents...
Director Mike Vejar did a good job with keeping the pacing of the episode going-though the first confrontation between Jo and Ellie was a little too long, it at least had a lot of emotion and both Sela Ward and Sydney Park carried it well. Vejar seems to be able to get strong reactions from the actors and it was great to see. The scene between Adam, Danny and Lindsay was fun for me to watch because all three actors seemed to be really into, having fun and totally went for it. Vejar moved smoothly between the case and the character as well, and I was surprised when the episode ended because I wasn’t ready. I hadn’t looked at the clock once during the episode-a rarity for me.
Then we have the episode itself. I still see the struggle of being able to find the balance between plot driven and character driven aspects. We have had too many episodes recently where the character aspect has been completely ignored, and to me those are super boring episodes. This episode I think was a little too heavy on the personal. The case portion suffered as a result. There wasn’t a great deal of “meat” behind the crime solving process this week because there was a lot of time devoted to Jo’s story line. But if I had to choose between the two, I will always choose an episode that is a little heavier on character than plot. Snow Day is probably CSI:NY's crowning achievement when it comes to balance; action, drama, romance, emotion. I just wish instead of living in the episode’s shadow they would find a way to harness that awesomeness. (Plus, it would be nice to see shirtless Danny again, and if he happens to be making out with Lindsay so be it)
Overall a decent episode. It is a continuing trend of improvements. I don’t know what the problem was in the middle of this season as the show seemed to suffer its own identity crisis, but hopefully this means it is officially behind us and we can get back to the show we all love to watch.
Highlight of the episode: “We’re gonna grow old together.” I heard it, you heard it, and my DL loving heart grew!
Guilty pleasure: You can basically assume that any episode involving DJE is going to have him and his fine looking 6‘4“ body as my guilty pleasure.
I had a roommate who was afraid of old people, she never trusted them. I thought she was crazy, but she may have been onto something. My grandmother use to tell us that she should look into becoming a drug runner for money because, and I quote, “Nobody will suspect the little granny with the dope in back [of her car].” I know for a fact she was crazy, but the point however is that people are more prone to believe in the helplessness of the elderly and our thief utilized that to swindle others. Interestingly enough, I believe it is also what led to her dieing. I don’t think our killer, Jayson Luck (*groan* Yes, that was his actual name...really Pam Veasey? There is a thin line between irony and goofiness) would have been apt to stab a woman, but it was easy for him to forget who she was because of her disguise. Kurt Vonnegut wrote, “We are what we pretend to be, so we must be careful what we pretend to be.” Because she took herself out of the equation, Jayson was able to kill her without even “remembering pulling the knife out of the bag.” Jayson himself was a conflicting character. His contrite statement to Mac about how he was sorry because he’d never be able to pay his brother back was full of emotion and loss, but who cares? Jayson was willing to rob an old man of his money, in fact he did rob “him.” He would have been content to live off another person’s money had it not been a scam. So I say have fun sitting in jail buddy, you deserve it. Conversely, Veasey was wise enough to offer a character who was genuinely interested in helping the old man. I liked that scene between Lindsay and Byron Wendle, the gentleman who was swindled (hee hee, it rhymes) because he offered to help, at least one person didn’t lose their money because of selfish motives. Although I could have done without The Sting dialogue, that was weak writing that made Lindsay look a tab bit more heartless than I think the situation called for.
Now we peel back another layer and find Ellie and Jo. I like when Veasey writes episodes because she includes personal storylines, and I enjoy learning more about our characters. I learned a lot about Jo both good and bad. I also don’t like it when Veasey writes episodes because she is the queen of failed continuity and rearranging things to fit her story. I enjoyed seeing Ellie’s conflict. I believed her reasoning for wanting to know her mother and was glad to see it went beyond typical teenage rebellion or angst. Jo’s own internal conflict was believable and, perversely, very entertaining to watch. It is clear her deep love for her daughter, which is why I find it difficult to believe Jo would chose to lie to Ellie for so long. It seemed out of character, also hypocritical, since she was all “sisterhood of the no secrets” earlier in the episode. We don’t lie to our kids in our family about anything, we don’t teach them that Santa brings presents or make up things about where rainbows come from. It’s a personal choice, though just to be clear we teach them the power of imagination and allow them to believe in what they chose to believe in, we just ensure they have all the information, and ensure that information is presented in an age appropriate way. Why did I tell you that? Simply to illustrate why I struggle to sympathize with Jo’s decision to keep the truth from Ellie. I was a little disappointed in Ellie’s rather lack luster acceptance of this new information. I would have preferred to see some tension and emotion develop between Jo and Ellie. But I think that goes back to Veasey forcing a story to fit her preference. Likewise, everyone remembers how Jo literally ran away from her ex-husband (who runs from DJE? Incidentally, he was criminally underused!) a few episodes ago. She didn’t want to talk to him, didn’t want to see him, had spent years avoiding him. Now suddenly he is in her apartment, hanging out, and Jo seemed perfectly fine with it. Another example of how things are changed to fit the story and thus killing the continuity. Oh, and speaking of failures in continuity, I like how Jo tells Mac he should have kids so she wouldn’t be alone in parenting...weird...I thought she shared an office with two parents...
Director Mike Vejar did a good job with keeping the pacing of the episode going-though the first confrontation between Jo and Ellie was a little too long, it at least had a lot of emotion and both Sela Ward and Sydney Park carried it well. Vejar seems to be able to get strong reactions from the actors and it was great to see. The scene between Adam, Danny and Lindsay was fun for me to watch because all three actors seemed to be really into, having fun and totally went for it. Vejar moved smoothly between the case and the character as well, and I was surprised when the episode ended because I wasn’t ready. I hadn’t looked at the clock once during the episode-a rarity for me.
Then we have the episode itself. I still see the struggle of being able to find the balance between plot driven and character driven aspects. We have had too many episodes recently where the character aspect has been completely ignored, and to me those are super boring episodes. This episode I think was a little too heavy on the personal. The case portion suffered as a result. There wasn’t a great deal of “meat” behind the crime solving process this week because there was a lot of time devoted to Jo’s story line. But if I had to choose between the two, I will always choose an episode that is a little heavier on character than plot. Snow Day is probably CSI:NY's crowning achievement when it comes to balance; action, drama, romance, emotion. I just wish instead of living in the episode’s shadow they would find a way to harness that awesomeness. (Plus, it would be nice to see shirtless Danny again, and if he happens to be making out with Lindsay so be it)
Overall a decent episode. It is a continuing trend of improvements. I don’t know what the problem was in the middle of this season as the show seemed to suffer its own identity crisis, but hopefully this means it is officially behind us and we can get back to the show we all love to watch.
Highlight of the episode: “We’re gonna grow old together.” I heard it, you heard it, and my DL loving heart grew!
Guilty pleasure: You can basically assume that any episode involving DJE is going to have him and his fine looking 6‘4“ body as my guilty pleasure.
Monday, March 14, 2011
Oh! Duckie Should Have Just Killed Blane! 7X17 Review (****out of 5)
Move over John Hughes, teenage angst has gone digital. Do or Die, this week’s episode, was just as brutal as its title suggests. In an opening sequence, reminiscent of Baz Lurhmann’s “Everybody’s Free (To Wear Suncreen)”, we are introduced to the world of Archford Academy. As the heavy, intense beats of The Blue Van’s “You Live You Learn You Die” (could they have found a more aptly named song? I think not) pound around images of kids snorting cocaine, filming a porno, cheating their way through school, we hear the juxtaposition of what the students should be doing as the principle pontificates the virtues of an education earned at the Academy. The irony is well used and entertaining, even when Olivia Prescott (Cassandra Jean) stumbles out, falling to the ground as the words “walk tall” are spoken didn’t come off as clownish, but effective. It was drama so intense Judd Nelson’s nostrils are still flared.
For Matthew Levine’s first official foray into the world of CSI:NY, he offers a look into the deadly combination of bullying and jealousy with a dash of the overly emotional hormonal teenage response (you know what I’m talking about, the response that typically ends with a door being slammed). Levine takes a page out of Hughes’ playbook, by basically ignoring the parents and teachers, and focuses on the adolescent as the war is waged between a fading childhood and an overwhelming desire to be an adult. They are suppose to be think more about Career Opportunities rather than European Vacations. And I could kiss Levine for his flawless integration of Lindsay’s past (just let me grab my grape Starburst flavored chapstick first). Having Lindsay “remember” what happened to her as she stood over another murdered teenage girl was priceless. I cheered for joy over the clips from Sleight Out Of Hand and truthfully sat stunned for a moment. Lindsay has a rich, emotional, dramatic history that has been neglected by the writers season after season. This one episode didn’t make up for that but it made me happy. I love continuity on a show. It is one of my favorite parts of being a viewer; it makes me feel like the writers respect me. That doesn’t happen often with this show so when it does (and it includes one of my favorite characters) I go ape crazy.
And happily, Levine doesn’t shy away from including personal moments with the characters. He maintained a perfect balance between professional and personal as Danny and Lindsay walked down the halls of the school discussing Lucy’s future. It was so natural and believable. It is exactly what I have been longing to see on the show. Sometimes the writer manufacture moments for the characters and they come off forced and odd--remember when Lindsay says she’s teaching Lucy Spanish? Or Mac’s weird, sudden relationship with an OCD homeless woman? Or Hawkes losing all of his money and his home? Those things came out of nowhere and that can make it difficult to care. This week’s episode used already established mythology to create drama, and I adored it. It was Some Kind of Wonderful.
Not only did Levin maintain a great connection with the characters, he also maintained a great connection to those things that make the show great. Not one, not two, not three, but four of our CSI’s were shown processing evidence, and that doesn’t include Sid processing the body. Levine didn’t hide from the Weird Science. Don Flack, the tall...rather, um, attractive dark haired detective on the show, was in full form as a detective NOT a CSI. He was interviewing witnesses and suspects like a pro, bringing in his touches of humor and intensity. Flack is At Ease in his role as detective, and I prefer him there.
The story unfolded as the investigator uncovered the evidence step by step. And while the writing was clever and solid, Matt Earl Beesley’s directing stayed true to the energy of Levin’s story. The pacing was well balanced and there were several wonderful touches in the camera shots. Lindsay and Danny’s hands colliding on the table as they “re-enacted” Mr. Andrew’s Big Exam wasn’t necessary in the grand scheme of things, but it was a beautiful addition to the scene that added depth. The interplay and editing between Benjamin Gold’s (an adult film name in the making) and Becky was well done, adding more impact to the dialogue. Only the Lonely would be left unsatisfied.
The ending of the episode was disappointing. The last ten minutes lost steam and it felt like the episode came to a screeching halt. The previous solid evidence disappeared faster than Ferris Bueller from a mid-term. The “evidence” they confronted Emmy Thomas (Scout Taylor-Compton) with was laughable--in fact I did laugh. Her confession wasn’t believable. I never liked how on the show the killer always confessed when face with the evidence, but I accepted that it was a way for the show the wrap everything up all Pretty in Pink. At least I accepted it when the writers took the effort to actually have the evidence. If I were Emmy, I would have told both Mac and Jo to go to hell. There is no way I would have confessed to killing another person because some one confronted me with a photo of myself...taken from a distance. I have some pretty funked up photos where I am making some pretty awful faces; doesn’t mean I wanted to kill anyone. I just think Levine ran out of time and thus the ending was rushed, leaving him open to criticism. Confessing to murder is a pretty big deal, the CSIs and detectives have to really work for that, even in this land of pretend.
But still a wonderfully entertaining and relevant episode, that will make for one interesting Class Reunion if a few years. Whether I’m traveling by Planes, Trains & Automobiles, or just enjoying the Great Outdoors by the glow of Sixteen Candles, there is something to be said to having a nice hour of television to enjoy, and I really enjoyed this episode. I’m a sucker for teenage drama, and this was the whole package, even down to the Eugene Levy-looking principle. (Darn it! I was trying so hard to find a way to work in The Breakfast Club. Although I was hoping to see that little scene between Danny and Lindsay lead to a little She’s Having My Baby action, if you know what I mean. *waggles eyebrows suggestively*)
Highlight of the episode: Really? Do I have to even say it? “Do me a favor babe, hope up on that table for me...” swoon!
Guilty Pleasure: Was I the only one who wanted to see a little more of Mr. Andrew’s Big Exam? That Benjamin Gold (Austin Butler) was FINE!
For Matthew Levine’s first official foray into the world of CSI:NY, he offers a look into the deadly combination of bullying and jealousy with a dash of the overly emotional hormonal teenage response (you know what I’m talking about, the response that typically ends with a door being slammed). Levine takes a page out of Hughes’ playbook, by basically ignoring the parents and teachers, and focuses on the adolescent as the war is waged between a fading childhood and an overwhelming desire to be an adult. They are suppose to be think more about Career Opportunities rather than European Vacations. And I could kiss Levine for his flawless integration of Lindsay’s past (just let me grab my grape Starburst flavored chapstick first). Having Lindsay “remember” what happened to her as she stood over another murdered teenage girl was priceless. I cheered for joy over the clips from Sleight Out Of Hand and truthfully sat stunned for a moment. Lindsay has a rich, emotional, dramatic history that has been neglected by the writers season after season. This one episode didn’t make up for that but it made me happy. I love continuity on a show. It is one of my favorite parts of being a viewer; it makes me feel like the writers respect me. That doesn’t happen often with this show so when it does (and it includes one of my favorite characters) I go ape crazy.
And happily, Levine doesn’t shy away from including personal moments with the characters. He maintained a perfect balance between professional and personal as Danny and Lindsay walked down the halls of the school discussing Lucy’s future. It was so natural and believable. It is exactly what I have been longing to see on the show. Sometimes the writer manufacture moments for the characters and they come off forced and odd--remember when Lindsay says she’s teaching Lucy Spanish? Or Mac’s weird, sudden relationship with an OCD homeless woman? Or Hawkes losing all of his money and his home? Those things came out of nowhere and that can make it difficult to care. This week’s episode used already established mythology to create drama, and I adored it. It was Some Kind of Wonderful.
Not only did Levin maintain a great connection with the characters, he also maintained a great connection to those things that make the show great. Not one, not two, not three, but four of our CSI’s were shown processing evidence, and that doesn’t include Sid processing the body. Levine didn’t hide from the Weird Science. Don Flack, the tall...rather, um, attractive dark haired detective on the show, was in full form as a detective NOT a CSI. He was interviewing witnesses and suspects like a pro, bringing in his touches of humor and intensity. Flack is At Ease in his role as detective, and I prefer him there.
The story unfolded as the investigator uncovered the evidence step by step. And while the writing was clever and solid, Matt Earl Beesley’s directing stayed true to the energy of Levin’s story. The pacing was well balanced and there were several wonderful touches in the camera shots. Lindsay and Danny’s hands colliding on the table as they “re-enacted” Mr. Andrew’s Big Exam wasn’t necessary in the grand scheme of things, but it was a beautiful addition to the scene that added depth. The interplay and editing between Benjamin Gold’s (an adult film name in the making) and Becky was well done, adding more impact to the dialogue. Only the Lonely would be left unsatisfied.
The ending of the episode was disappointing. The last ten minutes lost steam and it felt like the episode came to a screeching halt. The previous solid evidence disappeared faster than Ferris Bueller from a mid-term. The “evidence” they confronted Emmy Thomas (Scout Taylor-Compton) with was laughable--in fact I did laugh. Her confession wasn’t believable. I never liked how on the show the killer always confessed when face with the evidence, but I accepted that it was a way for the show the wrap everything up all Pretty in Pink. At least I accepted it when the writers took the effort to actually have the evidence. If I were Emmy, I would have told both Mac and Jo to go to hell. There is no way I would have confessed to killing another person because some one confronted me with a photo of myself...taken from a distance. I have some pretty funked up photos where I am making some pretty awful faces; doesn’t mean I wanted to kill anyone. I just think Levine ran out of time and thus the ending was rushed, leaving him open to criticism. Confessing to murder is a pretty big deal, the CSIs and detectives have to really work for that, even in this land of pretend.
But still a wonderfully entertaining and relevant episode, that will make for one interesting Class Reunion if a few years. Whether I’m traveling by Planes, Trains & Automobiles, or just enjoying the Great Outdoors by the glow of Sixteen Candles, there is something to be said to having a nice hour of television to enjoy, and I really enjoyed this episode. I’m a sucker for teenage drama, and this was the whole package, even down to the Eugene Levy-looking principle. (Darn it! I was trying so hard to find a way to work in The Breakfast Club. Although I was hoping to see that little scene between Danny and Lindsay lead to a little She’s Having My Baby action, if you know what I mean. *waggles eyebrows suggestively*)
Highlight of the episode: Really? Do I have to even say it? “Do me a favor babe, hope up on that table for me...” swoon!
Guilty Pleasure: Was I the only one who wanted to see a little more of Mr. Andrew’s Big Exam? That Benjamin Gold (Austin Butler) was FINE!
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