TV Episode Review: Justified “Bloody Harlan”

Last week I set aside space at the end of my review to take some guesses at who would come out of the season finale alive, and re-reading them I was amazed to discover I batted 1.000, if you don’t get picky about how people actually went down or hold it over my head that a couple situations are left up in the air, which, you know, don’t be a jerk about it.  Let’s not pretend I’m a genius for knowing that Doyle was going to get put down for a season’s worth of unforgivable assholery, nor is it really an act of extra-sensory perception to predict that Mags would have to pay some price as the season’s villain.  Dickie always seemed too pitiable to pay with his life when, truthfully, he’s right in pointing out to Raylan tonight that he owes Raylan about 7,000 steps a day, times 20 years of days, on a gimp leg thanks to Raylan’s home run swing.  Loretta got a wonderful wrap-up to one of the more painful stories of the season—she gets to put a bullet in Mags without carrying with her the burden of killing for the rest of her life.  I had said that she might provide one of this week’s surprises, and I’m not sure if that’s really true or not in retrospect.  It seems inevitable in hindsight that seeking to rectify her father’s unavenged murder would be her final act of the season, given her feistiness and quiet resolve in pretty much every moment of screen time.  I will claim at least partial credit for seeing Ava’s chest wound coming, but since I had a feeling she’d die and now I get the impression she’ll pull through to annoy us more with her poor decision making skills and make up for it with the way she wears a pair of jeans, I can’t really say I guessed it entirely. 

TV Episode Review: The Chicago Code “Bathhouse and Hinky Dink”

Tonight started off with another one of those trademark openings wherein a character narrates a bit of Chicago history to us, this time regarding public officials on the take (including those in the episode’s title).  It continues to serve as a nice grounding element for the show’s master story—they don’t do enough to link history with the show’s fiction, but I appreciate that the writers are making efforts to embed the characters of the show not just in the locations of the city but in its history, which is something of a glacial force pushing ever-forwards despite the best efforts of Colvin and others.  Thus do the proceedings tonight begin with a city official named Darren Wall getting off on a slam dunk embezzlement case (in the waste management department—those guys are always involved with the mob, if TV teaches us anything).  Jury tampering is the obvious conclusion, but the show at least offers a clever twist in how the tampering is accomplished.  More importantly, we get to see Irish mobster Killian in action again, and by “in action” I mean “infuriating and incriminating Gibbons and splattering Liam’s face with juror blood”. 

TV Episode Review: Fringe “The Last Sam Weiss”

I think I’ve been pretty good during the course of writing about this and other shows about focusing on the episode at hand and minimizing or avoiding the distractions of “next week on” type previews.  I’m going to break that unspoken rule tonight for just a moment in order to observe that it looks like Fringe is about to go crazy.  That’s partially an observation embedded in tonight’s final moments where we discover that the machine transports Peter’s consciousness into a future version of himself, who is possibly involved in the Machine Wars of the original “Terminator” film.  He certainly seems to have borrowed his hairstyle from the soldiers in those films.  It seems an apocalypse has occurred sometime between the moment he enters the machine and 2021 (where a beautiful new building has replaced the Twin Towers, along with a 20 year memorial plaque).  Whether this “is” our Peter or simply a future version of him which is now controlled by the consciousness of the one we know (probably a safer bet considering the machine doesn’t seem to physically send his body anywhere) is an important question which I’m sure we’ll have answered next week.  What seems pretty clear is that he is in full control of Future Peter (good luck with that nickname—Feter? Futer?  Fu-Pete?  I kind of like that last one) and he has no clue what’s happening, and he’s wounded.    

TV Episode Review: Community “Applied Anthropology and Culinary Arts”

There’s so much to distract our attention on Community that it’s easy to forget fairly major incidents (which may be their way of escaping from some of the quagmires I felt they wrote themselves into with certain characters earlier this season).  I, for one, hadn’t even considered the fact that they would probably want to deal with Shirley’s delivery prior to season’s end.  Had I thought about it, I would have guessed it to be a good season finale topic given the rather interesting controversy at its center.  I much preferred the use of it tonight, though, as a straightforward premise to bounce pretty much every character on the show off of one another as they gather in the Anthropology room for the arrival of Shirley’s (and possibly Chang’s) baby.  It made for some great self-aware moments regarding this small study group taking over everything that happens at Greendale (the birth disrupts a non-existent final exam and puts the dean’s big article in Dean Magazine at risk) as well as some really clever pop culture riffing, and of course it all managed to wrap up with a sugary moment between mother and father and baby…and Chang.

TV Episode Review: Justified “Reckoning”

There’s a great moment in the sadly maligned and little-known (at least to modern film lovers) Clint Eastwood musical (you read correctly) “Paint Your Wagon” where a town built on all of man’s vices begins to literally implode on itself due to the fact that greedy gold miners have literally gutted the ground beneath the town looking for gold.  As the streets and buildings sink into this man-made pit, the inhabitants of the city sing “No Name City, your reckoning day is here!”  As the church sinks a miner says to the preacher “Welcome to hell, parson.”  Minus the musical number, the scene contains a lot of parallels to tonight’s excellent and troubling episode.  “Reckoning” lives up to its name as pretty much everyone answers, or prepares to answer, for everything they’ve done this season.  The result, as the preview for next week’s episode makes clear, is a “war com(ing) to Harlan”.  Indeed, it seems that the county itself will be sinking into its own sort of self-created hell as the history of violence, corruption and crime finally comes to a head.  The ground seems to open up beneath several characters tonight, and you can see the cracking fault lines under the footing of others.