Thankfully, the show gives another reason why it would be dangerous to return power. Sure, we get the usual crap exchange of “we can’t do it because people will have guns and be dangerous” with the follow up of ”But hospitals!” But tonight, we learn that when the light is restored, there’s a chance that the world will catch on fire.
“Finale” is about bringing them all together for one last hurrah, and it works emotionally and comically. Unlike “Goodbye Michael,” which was really farewell Steve Carell, this episode says good-bye to Jim Halpert, not John Krasinski; Stanley Hudson, not Leslie David Baker; and Creed Bratton, not Creed Bratton.
By the end, Star Trek Into Darkness ends up feeling too much like a retread of the first feature without offering anything unique or different stylistically or intellectually. The characters are still likable, Abrams (and crew) knows that we like the characters, and Abrams (and crew) clearly likes the characters. Even Scotty’s little green friend returns. That pleasantness can and does cover up many flaws, even if certain moments dance dangerously close to cutesy and irritating.
If there’s one thing Revolution has done wrong, and it’s done so, so many things wrong, it’s been the sidelining of Captain Tom Neville. Thankfully, “The Love Boat” at least attempts to remedy this problem by putting Neville close to the forefront as he joins Miles as a representative from the Georgia Federation.
One of my favorite aspects of The Office (both incarnations) is that we are watching sad people. Not damaged in the way the gang from Community are/were, but normal and pathetic. Painfully average. When the show started obtaining some popularity around the second or third season, this aspect kind of floundered. But “Livin’ The Dream” brings it back and moves forward many long-running story lines.
Since the start of this show, Aaron has always been the most problematic character. While Tracy Spiridakos is probably Revolution‘s worst actor (though she has been improving), Charlie serves an important function both within the story and as a trope of the genre. But after more than half the season, the show still hasn’t figured out Aaron’s place.
There are two ways to view tonight’s episode of Revolution, both equally valid. One involves completely shutting off one’s brain to an extent that very few television shows or movies require you to do and enjoying the ride. The other involves taking it with a modicum of seriousness, which means going after ridiculous plotholes and developments.
The problem with writing this review of Upstream Color is that I’ve only seen it once. This isn’t to say that the movie will make complete sense upon subsequent viewings, but it definitely requires multiple watches (plus access to Wikipedia, fan theories, and frame-by-frame analysis) in order to begin to appreciate what writer-director-actor-composer-fundraiser-distributor Shane Carruth accomplished with his second feature about the “subjective experience of life,” relationships, and several other intangibles.
How many episodes of The Office: An American Workplace did they release to the press? Assuming that each “night” corresponds with a “season,” Senator Lipton did not appear until Season 7 and he was not officially outed until Season 9. Does each episode focus on a different character instead? Also, the poor documentarians had one thing of public interest in all their footage, and the news had to go and spoil it.