laniparker Reviews

The L Word: Left Hand of the Goddess (2006) Season 3, Episode 12

So far so acceptable

[8/10 · 1 July 2014]

The L Word is one of those shows that you either watched when it incredibly popular or you knew of it when it was on the air and didn't get around to watching it until later. Honestly, I may have never actually found the to do a full watch through of the series. It is just blind luck that I was surfing around Showtime's channels the day after they started the Gay Pride reruns this June. I missed the first three episodes, but I caught on to the various plot lines quick enough.

As I have only seen the good seasons, although I unfortunately already know how the series ends, I haven't been exposed to the horrible latter half but I have to say that even at this point this show is kind of amazingly horrible. It is entertaining even when the character motivations don't add up, like how this particular episode ends, and the characters are obviously being molded to continuously repeat the same cycle of behaviors. I mean as much as I may have disliked Carmen, the contrived plot development that gets Shane to stand her up rang especially hollow. Still, even with moments like this littered throughout its run, including the supposedly great first season, the show manages to hold my attention.

Generally, I generally don't watch shows where the tone isn't serious and major events don't occur on a semi-regular basis. I just like the stories I engage with to be driving towards something. All too often, The L Word will pick up a story and get semi serious about it and then next episode will pick up weeks after and the issue magically becomes a non issue. Lara finds out weeks after the fact that Dana died? Check. Lara hooks up with Alice almost immediately? Check. Lara want to get serious and have a "Talk" with Alice? Well, forget that noise, we have to have Bette go all Walter White on Tina and Angelica. I was genuinely interested in how that conversation would have played out.

It's not all negative. Shane and Carmen have really chemistry, even though Carmen is a complete ass to Max and Jenny during their respective archs. Helena made a great villain, although she somehow became the most likable character in season 3 minus that sexual harassment scene. Bette and Tina's relationship was really interesting in season 1. Despite all the hate Jenny gets, some of it for things she does that I haven't seen yet, she is the most compelling character of the series and I can even kind of understand why she does the messed up things does. If nothing else, at least she is boring.

That, in the end, could sum up the entire show. At least its not boring. Not every show can be a cultural milestone or shining example of writing at its finest. The L Word is a show that did something that hadn't really been done before and to middling success and with many a problematic moments. It is amazing and horrible and really difficult not to enjoy.

Lost Girl: Dark Horse (2014) Season 4, Episode 13

Oh, Lost Girl

[6/10 · 7 April 2014]

How you wound me.

The show has derailed itself this season. Sure, it is nice that writers are experimenting with structure more and are avoiding doing the same thing twice (although, it could be argued that the oncoming daddy threat popping up in season 3 and 4 is quite similar to the Walking Dead's Governor redo). The execution, however, is so off I can't restrain myself from feeling nerd rage at the inane campy direction the show has taken.

Worst thing's first: the walking 2x4 aka Rainer. People like to say that Kristen Stewart and Keanu Reeves are wooded but holy hell this guy. I could have handled the whole "destiny" direction and the stalling from season 3 to 4 if the guy at least had a personality (which he spontaneously developed in his last 5 minutes of screen time). Rainer is pretty much the poop icing on the cardboard cake; his presence itself is insulting.

Then there is Bo. Oh, Bo. Remember the good old days when you were firmly entrenched between sexy bad ass bi lady and unbearable idiot. Nowadays, you are just married to unbearable idiocy, aren't ya? You used to be inquisitive and alluring and now you just emptily pontificate in that Alan Farragut like whisper.

The biggest slight, however, was the Bo is dark plot thread. Now there was a chance to really shake up the show with Bo getting cut off from Dyson and the other light peeps and being expected under Fae law to put dark interests first and create a real rift between Bo and Kenzi. Instead we get one episode where Bo goes to a party and gets peeved at Evony and Lauren and then it is back to business as usual. The Lost Girl of seasons 3 and 4 seems dead set on ignoring great dramatic opportunities and clumsily slapping together mediocre ones.

One the positive side, I did enjoy Tamsin's rebirth and being taken in under Kenzi's wing even though it trailed off. The Santa demon episode was pretty funny and felt most like the older, good Lost Girl. The bonding between Vex, Dyson and Lauren in that episode despite being indicative of the limp dark Bo plot.

At this point I think I am done with Lost Girl. I will wait till promotional material for season 5 pops up to make any final decisions, but I am not anticipating its return at all. This season really ruined the show for me.

Shameless: Lazarus (2014) Season 4, Episode 12

Musical Chairs

[9/10 · 6 April 2014]

Season 4 of Shameless has been a surprising beast even given how consistently fresh the show has always been. While the plot threads weren't all necessarily the best we have seen from Shameless, the changes in character this season have struck me as the most significant so far.

First of all, Sheila has become quite the piece of work this season. Amongst all of the shameless personalities in the first 3 seasons, Sheila was always the least assholish (to the point of becoming a static, dull character) so having her develop into this manipulative, vindictive new member of the Gallagher family. I also loved the shift away from having Fiona be the main caregiver this season to becoming a lost, tormented felon. Shameless for a long time had developed into the Fiona and sometimes Frank show and now that she has taken a backseat, Deb and Ian and Lip and Carl have become three dimensional and more in charge of their own lives.

Sammy taking on the mantle of the devoted child of Frank is another welcome change. While she seemed at first to be another character with ulterior motives, she has been refreshingly genuine. The continued development and ultimate payoff of Mickey and Ian's relationship and how it clashes with Svetlana is probably the best singular thread of the season. The complex relationship between Ian and Amanda is a close second. The scene in the sorority house during the season finale has a surprisingly intimate moment that almost immediately has a monkey wrench thrown into it.

The musical chairs of characters characteristic of Shameless reached new heights in season 4 with 3 whole families shuffling in and out of the Gallagher household. It really demonstrates how cluttered the Gallaghers' lives have become. I am very much looking forward to what chaos will ensue next year.

By the way, saw that final credits scene coming a mile away. Also, that final (pre credits) scene between Frank and Carl is quite possibly my favorite Frank scene of the series.

The Red Road: Snaring of the Sun (2014) Season 1, Episode 6

Hope to see another season

[8/10 · 3 April 2014]

The Red Road has been a fairly interesting 6 episodes. It hasn't always hit the mark and I feel there were plenty of opportunities to flesh out class and culture and race issues and clashes that weren't taken. The season is certainly guilty of racing through some themes and scenarios and thus a few of the episodes feel a bit claustrophobic. Had the season been 10 episodes it probably would have had enough room to breathe to be a great show. Instead, it is a good albeit rushed season.

It was pretty sweet seeing Gabriel Basso show up as Brian, Jean's long dead twin brother even though it was only for a moment (His younger sister Annalise plays the younger Jensen child). The Big C is one of my favorite Showtime series due in part to his acting. Julianne Nicholson's performance is its best and most fully realized in the season finale. Unlike the first half of the season in which she was pushed to the sidelines and felt a bit flat so it nice to see her more integrated into the main going's on.

I would very much like to see The Red Road get renewed and the ending of the episode certainly left an open door to a great plot thread. If, however, this is the last of the show, it was quite enjoyable while it lasted.

The Walking Dead: A (2014) Season 4, Episode 16

So, this season

[9/10 · 30 March 2014]

Has been quite the roller coaster of extremely high highs and notably mediocre lows. This episode, which was flashback central-presumably to the early interim between seasons 3 and 4-and the two episodes preceding it make up the highest point of the season in which all of the emotional threads that had been set up earlier in the season paid off in spades. Not sure if made up for the 8 or so episode lull.

Maybe I am just not sufficiently moved by the characters of Glenn, Daryl, Carl and Beth (yet), but I spent such a long time yearning for the confrontation between Tyreese and Carol. That being said, the payoff of Jeff's group felt a bit too rushed even though it was still thrilling. However, the rest of A delivered on bringing the character development of season 4 to a head in an episode that had my stomach in knots for its duration which has been rare for The Walking Dead since its first season.

The season leaves off on a pretty amazing cliffhanger with all of the characters' lives potentially in danger whereas last season ended with everything all honky dory. Season 5 has a lot of puzzle pieces at its disposal this fall. Hopefully it doesn't fumble as much as season 4 has.

Helix: Dans L'Ombre (2014) Season 1, Episode 13

Le sigh

[6/10 · 28 March 2014]

Here we are, at the end of a turbulent, and possible only-oops, spoke too soon-season. Okay, it has been more than turbulent. It has been a drunken circus padded with unintentionally humorous revelations and woefully wasted potential.

Between the the fairly average portrayals of the cast save Hiroyuki Sanada and the diminishing returns of intrigue as the series progressed, it is difficult not to feel incredibly let down especially given how good last year's first season of Defiance got in its latter half. I am not sure when Helix stopped being, but I do know that Hatake's revelation of the 500 immortals was the point of no return. Even though Sanada's incredible delivery of the line is the best one can expect out of any actor, it can't distract from the fact that it is Helix jumping the shark.

Maybe the Pilot fooled us into thinking Helix could be good viral outbreak show rather than a disguised Supernatural wannabe. Maybe Helix has just been one extensive prank. Maybe the writers ran out of ideas 3 episodes in.

Now that the second season has been confirmed, I am wary of what direction they will take. Will the show maintain the one day per episode format? Will we get different main characters? Will the show take itself more seriously or continue down its ridiculous path? Certain plot points actually do have genuine emotional impact so it is clear that there is some semblance of realism in the show.

Wherever it goes, I am sure I will wind up checking it out next year. Masochistic tendencies and all...

Black Sails: VIII. (2014) Season 1, Episode 8

Boobs and dicks and some plot, too

[8/10 · 16 March 2014]

When the first season of Black Sails began, I wasn't all that impressed. Sure, there were boobs and bushes aplenty with a fair amount of wit but the whole pirate treasure set up was incredibly underwhelming and it didn't help that it felt like we were stuck at Nassau for years. It wasn't until the last 3 episodes that the show actually picked up and the characters (other than Flint) started becoming developed. This is possibly due to how many characters were killed off; if finally felt like we weren't bouncing around from person to person aimlessly.

As far as what remained consistently good throughout the season, Hannah New's performance as Madame Guthrie is the standout of the season. From her introduction to her last scene, she was a believable tyrant of commerce and it completely believable that all on the islands would fear and resent her. She is also the character with the most significant changes this season. Vane, too, was enjoyable the times he was actually around, although Zach McGowan will always be Jodi to me.

It is strange that this show began airing not long after Black Flag came out. Featuring many of the same characters, it has been interesting to see which portrayals I prefer more. Even though ACIV has more likable portrayals of Anne Bonny and Vane, I like Black Sails' more hostile takes as well. And this version of Jack Rackham is infinitely better (I can actually believe Bonny would want anything to do with him).

I hope with next season, the writers pick up the pace with the narrative. The boobs and dicks are fun to watch and all, but they aren't a good way to distract the audience from a narrative that is stalling out.

True Detective: Form and Void (2014) Season 1, Episode 8

An intense end of a fantastic season

[10/10 · 9 March 2014]

Given the nature of television, it can be quite surprising to come across a program that doesn't waste time and manages to build massive amounts of tension and deliver a satisfying outcome. True Detective started out excellent and by its fourth episode became a standout work of fiction for any medium. And while any false step could have caused the story to tumble out into a ridiculous or unearned direction, I can say having seen all eight episodes that the quality was maintained to its last shot.

Not since season 4 of Breaking Bad have I seen a season of any show that did not let me down in some way (even BrBa had some bizarre character and narrative choices in its final season despite being quite monumental). Everything feels earned and within character. The partnership between Cohle and Hart grows and wanes and strengthens in ways that doesn't betray the mutual contempt they hold for another. The antagonist is that right balance of chameleon and psycho.

Despite all the praise, I was quite worried that the finale wouldn't deliver, that the writing trip itself up in the face of the climax. However, the writing, acting, directing and editing all worked in creating an intense end to the story.

It would be interesting to see another season tackling the dangling threads of the case, but given how much resolution we get I am happy with the ending. It doesn't feel cheap or cheesy. It is genuine.

And now I have a little depression to look forward to as there is almost 10 months left in the year and I am almost positive that I have watched best show of 2014.

The Red Road (2014–2015)

Pretty good so far

[27 February 2014]

I am not that familiar with Sundance's television programming up to this point, but when I learned that Jason Momoa was going to be in a dramatic series about race relations between a First Nation people and the white community I was fairly excited. For one, it seemed like Momoa would finally get an opportunity to demonstrate his acting ability. He is often characterized as a very wooden actor, but I think that is more that he is rarely given much to work with besides be big and unsettling. Secondly, it addresses racial issues that often go ignored in fiction in favor of more visible issues.

So far the acting overall is fairly good, although Julianne Nicholson's performance in the first season of Masters of Sex far outshines her work in this first episode. The direction and editing are competent. It is too early yet to tell how good the writing is going to get, but so far the show is quite engrossing and has the potential to be a great show.

In the wake of the recent wrap up of Breaking Bad and the thoroughly impressive True Detective, The Red Road may seem a bit light weight but the brief episode order (6 eps) and rather uncommon setting and perspective show a lot of promise for improvement.

The Walking Dead: After (2014) Season 4, Episode 9

After the suspenseful, albeit uneven Fall season

[9 February 2014]

The first half of season 4 of The Walking Dead was a lot of things and got just as much as wrong as it got right. Between delaying the moment in which will find out the truth and the entirety of the rushed Governor story arch, there was a lot to dislike. However, the show re balanced the stakes in its favor with the extended gut wrenching assault that brought actual stakes and dread back to the show.

Now with everyone spread a part amidst the chaos, the show has returned with the weight of expectation on its back. And the show tackles expectation in the same way it always has: in an incredibly uneven fashion.. Somehow, even with the last episode ending with everyone fleeing a now overrun prison, the show manages to continue dicking around at the location everyone has grown sick of. Luckily, it is only a portion of the episode, but every time it cuts to Michonne everything grinds to a halt.

Then again, the momentary reprieve from the suddenly dickish Carl is almost welcome (did he have some kind of hormonal change in the moments between episodes?). I guess he has a real boner for murder now. And his emotional blowout midway through the episode while technically in character just feels like a detour to eat up time. The same can be said of the existential aimless wandering Michonne does.

So what we end up with is an episode of "so that happened" moments. There are fleeting points where the episode works, but in the end it is just another uneven, forgettable episode.

The Spoils of Babylon (2014)

Not to mime pretty much everyone else

[4/10 · 6 February 2014]

This show had such promise; promise to be a great stupid comedy, the first great stupid comedy. At first, it was working well. The Eric Jonrosh intros/outros were on the beat and the over the top funny or die style humor of the acting and plot points were eliciting real laughs.

However, the ridiculousness of the frame story (not the Jonrosh bookends, but the Devon Morehouse framing) and overemphasized jokes soon wear on the nerves. By episode 3 I was no longer laughing. I stuck it out through all 6 episodes in the hope that it would improve, but beyond a chuckle here and there at jokes that somehow managed to be funny it never really did.

The funny or die format may work for 3 minute shorts, but extended out into a 3 hour miniseries it becomes tedious.

Blue Submarine No. 6 (1998–2000)

Might be time for a remake

[4/10 · 5 February 2014]

Gonzo animation has a tendency to create work that is either extraordinarily good or horrifyingly bad. Between Speed Grapher, Last Exile, Kiddy Grade, Burst Angel, Welcome to the N.H.K. and Witchblade, Gonzo is responsible for a fair few of my favorite anime and I lament the scaling back they have had to do in recent years due to financial trouble. They also brought us the 4 episode OVA Blue Submarine no. 6.

The first time I saw this OVA, I was 8 and not yet old enough to judge the technical and artistic merits of the series. Now, that I am an adult the myriad of missteps it takes have become apparent.

The biggest fault is the sound editing. This is more of a problem in the English dub as all of the sound effects are muted, causing the mediocre voice acting to fall completely flat. However the absence of a truly engaging score outside of tonally inappropriate jazz selection for the fight scenes in both the original Japanese and English dub makes for an almost sleep inducing experience. The jazz sections are especially enigmatic as they don't create a parodic or comedic tone, just cheapen what drama there is.

Then there is the wasted potential with the flooded world premise. This could be used to create an endless horizon and massive void under the surface, but instead everything feels minuscule and claustrophobic. Outside passing comments about the current death toll, we never get a real sense of the scope of this world. It just comes off as a collection of hastily pasted together set pieces.

And as for character development, what character development? Many characters are only present long enough for tacked on plot developments and associations and don't even amount to basic stereotypes. Then there is the jaw-droppingly ridiculous name Zorndyke. Maybe it would have worked if he was one of the fish people, but as the Dr. Moreau of the story it is just distracting.

The OVA isn't without its positives, though. The development of the understanding between the mer lady and the protagonist is a good idea and is at times executed quite well. As irritating as the shark antagonist is, the last scene actually gave him significant development and I found myself being able to sympathize with his position if only slightly.

The great untapped potential of this OVA is why I think it is probably time for a remake with an overhauled plot, a remake that goes for more subtlety and characterizes the world these characters live in better. Both live action film and animation have come a long way in the 16 years since and could do a fantastic job updating this story.

Helix: 274 (2014) Season 1, Episode 3

Inconclusive

[8/10 · 20 January 2014]

"274" has us at Day 3 after the assault on Dr. Walker and we have entered the make it or break it stage for the show. The pilot was great, the second episode, "Vector" while having a couple disturbing images was ultimately rather boring in comparison as too much focus was spent on the doctors Dr. Jordan was held up with.

The pleasant music that opened the pilot is back as the title sequence theme and it adds a nice bit of levity and contrast to the tone. The two major conflicts of the episode, Walker's struggle with the earlier attack and what she knows based on what they have seen will happen to her and the ongoing fight for control between Farragut and Hatake, bring the excitement and intrigue that had petered out last week. There is more interaction between the Major and Dr. Boyle which was one of my favorite parts of the pilot and it is equally enjoyable here if a bit hammy.

All that being said, I am still not sure if this series will deliver in the end. Mr. Moore's track record isn't immaculate and while he is only Executive Producer it is still entirely possible that the show will go off in a disappointing direction.

True Detective: Seeing Things (2014) Season 1, Episode 2

World keeps spinning

[20 January 2014]

"Seeing Things", the second episode of True Detective maintains the momentum and gravitas established in the premiere. Detective Hart learns the secret about his partner that his wife learned last episode. And we learn a somewhat morally ambiguous secret about Hart himself. It is interesting that the show actually spent some time on the other person involved and their motivations and desires. An actor from Breaking Bad has a cameo which was a pleasant surprise.

Once again I have to praise the photography. The early morning scenes of the decayed marsh and obfuscated flashback sequences. The show is pleasant to look at it in a Southern Gothic sort of way. The frame story format is really starting to come alive and augment the story itself (the two interviewers are becoming characters unto themselves as opposed to just plot devices). I am also glad that Kevin Dunn got more screen time this episode and exercise his authority over Kohle.

I am definitely looking forward to how the rest of this season plays out.

"You know, throughout history I bet every old man probably said the same thing and the old men die and the world keeps spinning"-Detective Hart, 1995

Looking: Looking for Now (2014) Season 1, Episode 1

Holy crap, It's DK

[20 January 2014]

So I am watching this new premiere and I recognize one of the three mains, Dom, as DK from Farscape (John Crichton's friend on Earth). For that fact alone, I may have to watch this (just like I pretty much have to at least check out everything Jason Clarke is in). I didn't know he was gay before now and oh my god that is one epic stache.

That being said, the show is pretty much workable so far. The editing is a bit scatterbrained with some scenes bleeding into each other without an identifiable transition and it is pretty light on the drama. Then again I can see a couple of my gay friends digging the cinematography and characterization.

Shameless: My Oldest Daughter (2014) Season 4, Episode 2

Major improvement over last week

[20 January 2014]

Last week's Shameless was a bit weak in comparison to the last three seasons. Very few new plot threads were introduced and major developments didn't really star occurring until the end of the episode.

On a more positive note, the bigger focus on the previously secondary characters and drift away from Fiona and Frank has continued and gotten even better in "My Oldest Daughter". The focus of the series has become more of an ensemble than in the past as such each scene pops more including a brilliantly written and acted scene involving Stan's transgender child at the Alibi Room. This also extends to Frank and Fiona's plots as the increased brevity of their scenes makes them more humorous and immediate.

Shameless: Simple Pleasures (2014) Season 4, Episode 1

Maybe finally moving beyond Fiona

[6/10 · 12 January 2014]

Shameless is a bit of an odd show. Sure, there are plenty of over the top white trash moments throughout the first three seasons and enough baby daddy drama to satisfy anyone's guilty pleasures, but the oddness is in how the show continues to maintain one's attention when the plot becomes rather hollow.

Entering this fourth season, many visceral conflicts that characterized past seasons are settled and in their stead is a premier episode that feels a bit Shameless-lite. Sure, there is the serious decline of Frank's health after a lifetime of alcoholism, Debbie's rushed transition into adolescence, more baby mama drama from Kev and V and Mickey learning to live with Ian's absence, but this episode doesn't hit with the same urgency like the previous season premiers. And yet there are major improvements already over last season.

With the departure of Jimmy and the attainment of financial stability, the focus of the show is finally not to Fiona. Debbie, Carl, Mickey and Kevin all get more time in the limelight and more to do. For what seems to be the first time, we see Mickey in the bar talking with Kevin and while it does seem out of place at first, it is a welcome evolution. Kevin gets two big concurrent problems within the episode, also another first. And, while the memory of her attempted murder and psychotic episodes haven't quite faded, Debbie behaves more like a normal girl her age-she shirks her responsibilities, goes out of her way to hook up with boys and shows no interest in her deadbeat father.

I am quite torn. Nothing truly big seems to be coming at the moment, at least not in comparison to what we have already seen, but if this less insane installment in the overarching narrative drifts away from the fixation on Fiona-Frank-Lip-Ian it has been nailed, bolted and riveted to,it could be a refreshing if odd change of pace.

"Frank is a cockroach, you can stomp on him, spray him... but he always comes crawling back up out the toilet bowl."-Kev Ball, 2014