Cannes Film Festival 2013

Review: 'The Chicago Code' - 'Hog Butcher': It's the pigs!

A busy but effective second episode for the cop drama

<p>Jason Clarke and Matt Lauria on "The Chicago Code."</p>
<br />

Jason Clarke and Matt Lauria on "The Chicago Code."


Credit: FOX

A review of tonight's "The Chicago Code" coming up just as soon as I can taste the history in this sausage...

"But there is corruption, and then there is just the way things get done, and you have to know the difference." -Jarek

Second episodes are tricky, particularly on dramas with a strong serialized component like this one. With a pilot, the goal is to make as big an impression - on both the audience and the network execs who might pick you up - as possible. With week two, you have to start worrying about the long haul, which means both making things still accessible for newcomers as well as modulating how the big story arcs you introduced in the pilot are going to play out. And I'd say "Hog Butcher" does a solid job moving over this difficult ground.

In terms of reintroductions, we get a few more backstory infodumps via voiceover, but they're not just duplicating what we learned in the pilot. Teresa tells the story of her friendship with Antonio, which both teaches us about him after he's gone but gives us more of a sense of what Teresa's about. We get Caleb's perspective on Jarek (while Caleb's own history gets saved for later), and learn more about Isaac, as well as the relationship he has with Jarek's niece Vonda and that Vonda has with Jarek.

Want More...

The Chicago Code?
  • Check out everything there is including photos, reviews, videos.
As far as the story arcs go, there's a definite sense of the brakes being gently tapped with regards to Teresa and Jarek's pursuit of Alderman Gibbons. Gibbons winds up being a fairly minor presence in the episode - other than cleverly forcing Teresa to ask him for a favor when he arranges to have Antonio's death benefits revoked - and we find out that the shooting had nothing to do with the corruption investigation and everything to do with last week's argument between Teresa and the new Commander of Mops and Brooms.

Now, it's entirely possible, even probable, that this was planned from the start - otherwise, the "You think you can change how things get done IN CHICAGO?!?!?!" scene from the pilot is just there to show Teresa ruffling feathers and giving FOX a line for the promos - but at the same time I found myself thinking back to those moments on "The Shield" when Shawn Ryan would periodically have to devise a way to slow down whoever was trying to bust Vic Mackey that season. Because Gibbons isn't the main character on this show, we could easily come to a point - maybe even by the end of the first season, but hopefully not (since Delroy Lindo's great) - where Gibbons gets taken down and Jarek and Teresa shift their attention to one of the many, many other crooked power brokers in town. So there won't have to be as much stalling as on "The Shield." But I'll be curious to see how quickly this story moves going forward.

And as Jarek and Caleb looked into the shooting, we got a better sense of how Jarek and Teresa interact, and also a little of what Caleb's about. (They shouldn't push the whole tech-savvy young guy thing too hard, but I thought his use of Twitter here was clever.) I especially liked Teresa and Jarek's argument about trust vs. respect, which was not only well-acted by Beals and Clarke, but a conflict that felt genuine, as opposed to the usual trite boss/underling scenes we often get on cop shows. ("Memphis Beat" pilot, I'm rolling my eyes in your general direction.)

And the final scene of Jarek speaking with Sister Paul (played by the great Betty Buckley) was a reminder that this is as much a character piece as it is a serial drama about a corruption investigation. It was another good scene for Clarke, and something that revealed Jarek in a way that he won't to his partner, his boss, his niece, etc.

What did everybody else think?

Alan-sepinwall-sm
Alan Sepinwall
Sr. Editor, What's Alan Watching
Alan Sepinwall has been reviewing television since the mid-'90s, first for Tony Soprano's hometown paper, The Star-Ledger, and now for HitFix. His new book, "The Revolution Was Televised," about the last 15 years of TV drama, is for sale at Amazon. He can be reached at sepinwall@hitfix.com

Comments

  • Option 1

    Comment instantly as a guest Guest
  • Option 2

    Connect
  • Option 3

    Login or create a HitFix account Login Signup
  • Default-avatar

    Josh

    Good episode. Not Shield good, but entertaining as far as network tv goes. It makes me think of the great Kidnapped, a show that doesn't get lionized the same way some one and done do but still.

    My only issue with the show is that the lead looks too much like Wes Welker from the Pats. Im a Pats fan but damn if it isnt distracting.

    February 14, 2011 at 11:05PM EST Reply to Comment
  • Default-avatar

    John

    Caught the pilot on Hulu and decided it was worth jumping in live this week...I wasn't disappointed.

    I found myself really LOATHING Gibbons for the way he manipulated the Antonio situation and turned a mourning mother against Teresa, which is exactly what the show wanted...good job, show!

    The Twitter stuff I thought was handled pretty deftly and realistically, especially since it could have easily come off as really gimmicky.

    And more Betty Buckley, please! Now that it's in vogue, I wonder how long until the show finds an excuse to make her sing...

    February 14, 2011 at 11:14PM EST Reply to Comment
    • Default-avatar

      webdiva Nah, I could do without her singing on a straight drama. This isn't Glee, folks. But she made a persuasive enough looking nun that I actually couldn't place her face for a few minutes. Liked that exchange between her character and Jarek, too: when the nuns teach you for six or eight years, they know things about you nobody else does. And the nice ones always remember to be encouraging, no matter what age you are now. In a Polish church, too - nice touch.

      February 15, 2011 at 8:26PM EST


  • Enjoyed it. They packed a lot of stuff in. Felt like they had told an entire story; I look up and it's only a half-hour into it.

    February 14, 2011 at 11:16PM EST Reply to Comment
  • Kenny_powers_wig_talkback_profile

    Otto Man

    Solid show. I wish it were on FX so Ryan could have the same leeway as with the Shield, but as far as network dramas go, I'm in.

    February 14, 2011 at 11:20PM EST Reply to Comment


  • This doesn't really have much to do with the episode itself (I found it incredibly strong), but damn if Brad William Henke hasn't confused the hell out of me this last week.

    He pops up on Justified and I have a "where's this guy from?" moment, then the same happens here on Chicago Code. Threw me off a bit.

    February 14, 2011 at 11:20PM EST Reply to Comment
    • Default-avatar

      JJ Yeah, went through the same thing. He was also the Unsub on Criminal Minds last week where he played a creepy cab driver. Had to look him up to realize that I knew him as Bram from Lost and a ton of other things.

      February 15, 2011 at 5:05AM EST
  • Kenny_powers_wig_talkback_profile

    Otto Man

    Oh, nice episode title.

    I hope future ones include "Tool Maker," "Stacker of Wheat," "Player with Railroads," "the Nation's Freight Handler," "Stormy, husky, brawling," and "City of the Big Shoulders."

    February 14, 2011 at 11:35PM EST Reply to Comment
  • Default-avatar

    blingbling

    I wish I wasn't a Chicagoan. The visuals are terrific, but the script mangles the language, the politics and the character of the city to the point where I'm completely distracted from whatever the plotline is. Not that every locally shot show gets the city right, but a lot of locals are laughing at it -- particularly the references to the "Irish mob," which hasn't been a real factor here for, oh, 70-80 years?

    "ER" had more of a local Chicago flavor than this show. It's too bad. The real Chicago could give it better storylines.

    February 15, 2011 at 12:20AM EST Reply to Comment
    • Default-avatar

      Adele I agree; the Irish mob stuff is really jarring to a Chicagoan. The only Irish mob I know is the Daleys and their cronies -- and that's a different kind of mob. But I guess New Orleans residents have similar criticisms about Treme, but that's a much better written show.

      Still, I like Delroy Lindo and Jennifer Beals, and the visuals are great, so I'll give the Code another couple of weeks.

      February 15, 2011 at 2:55AM EST
    • Default-avatar

      BR Chi I had a problem with the "Irish Mob" angle, too, but I've come to terms with it, and now I think it was a clever choice. Since there really isn't an Irish Mob in Chicago anymore, it allows the writers leeway to write the story they want, irrespective of real-life considerations.

      I think the same goes with Alderman Gibbons. If that character were really the mayor, it would seem phony because even non-Chicagoans are familiar with Mayor Daley. I think Gibbons harkens to other notable power brokers in Chicago (Ald. Burke, for instance), whose personalities are less well-known. Therefore, the writers can develop the character any way they want to.

      February 15, 2011 at 11:22AM EST
    • Default-avatar

      DB Cooper There are no One-Niners or Biz Lats in LA. There's not even a Farmington division. Charming, CA doesn't exist, nor does SAMCRO (or SAMBEL). Ocean Beach (Terriers) is a real place, but it's not an independent town with its own P.D. Hazzard County isn't in Georgia, and county commissioners (no matter how crooked) are rarely all-powerful.

      As BR CHI alludes, it's called dramatic license, and it allows the creators to depict real(ish) events, without being slavish to history.

      And when you're doing a show like this or one of the F/X shows, it has the nice benefit of not pissing off any *real* gangsters who might be inclined to swing by the shooting location and start... er, shooting.

      February 15, 2011 at 12:59PM EST
    • Ahhh yes,"ER," what a flavor of Chicago. If by flavor you mean shooting 75% inside a fake LA hospital set. Or do you mean those shots of Noah Wyle standing on the L platform?

      February 15, 2011 at 6:05PM EST
    • Default-avatar

      webdiva True enough: ER *did* have more of a local Chicago feel to it than Chicago Code does so far, and so does The Good Wife - with a lot less fuss and more subtlety. On the other hand, getting a few real Chicagoans as visual and detail consultants might be warranted, and the show still has time to correct its glaring local bloopers. I'm still waiting for out-of-towners to realize Maxwell Street isn't there anymore (victim of urban renewal that benefited both UIC and some well-connected folks who bought condos in University Village that were supposed to go to middle-income folks; big surprise there, eh?). Then again, I'm for anything that makes our fair city look as good on film as The Fugitive did. Chicago Code might still surprise on that point. We'll see.

      February 15, 2011 at 6:42PM EST
    • Oh please. ER was on for 15 seasons and by that mere fact had an opportunity to shoot more of Chicago than any other film/show ever could have. The Code has been on for two episodes and they've "got it wrong."

      February 15, 2011 at 7:22PM EST
    • Default-avatar

      webdiva @ blingbling - Irish mob? Nah, not for 80 years or so. Irish aldermen who swing clout? Oh, HELL yes! So where are they?? There are 50 aldermen in Chicago and each one has his or her particulars, but all we've seen so far is one. We don't even know which ward he's from yet, or which side of town (and we should, if you really want that local flavor; it makes a difference). And where are his committeemen and ward bosses?? Every politician has his/her network, and most of them overlap in the county Democratic party. We only ever have maybe one token Republican alderman, and that's only once every 20 years or so out of the last 60. Plus, the 1st ward alderman (downtown area) was traditionally Italian and mobbed up, whereas Hyde Park, Lincoln Park, and Rogers Park are all liberal-left independents and usually (but not always) struggling reformers. None of these have shown yet, but there's time

      @ Clay

      February 15, 2011 at 8:40PM EST
    • Default-avatar

      webdiva @ Clay - let's not jump to conclusions (including any about what I meant): I really want this show to succeed, because it looks interesting so far and I'd love it if more TV and film work came back to Chicago. We have one hell of a theater scene here and a big pool of actors. But they can't make big blunders in the early episodes if they don't want to alienate anyone who knows Chicago. Ratings are ratings, and this is the home of Nielsen; if a show about Chicago gets lousier ratings *in* Chicago than elsewhere, what does that tell you? I only wish Chicago Code had as a true a feel for Chicago as Detroit 1-8-7 seems to have for Detroit. It doesn't so far, but I'll wait longer than Fox will to give it a chance.

      What I'd really love to see is guest stints and cameos from alumni of Steppenwolf Theatre, the Piven workshop, and Goodman Theater - so many great actors to choose from! And I would've chosen someone like Joan Allen to be a commissioner (Beals isn't old enough and her accent's hokey, even if she did grow up here) and shown her carefully negotiating the tightrope of administration, diplomacy with other city departments, and not pissing off all 50 aldermen at once while still fighting the good fight. The police commissioner has WAY too much to do to be out on the street -- and if she's on the street, who does all that other stuff behind the scenes that makes for how power is *really* employed in the city - her secretary?? I think not.

      February 15, 2011 at 8:52PM EST


  • The theme song wasn't on last week, was it? I would've preferred Jeff Tweedy over Billy Corgan, but, hey, that's just me.

    February 15, 2011 at 2:05AM EST Reply to Comment
    • Madmen_icon_talkback_profile

      LJA I hope Corgan is a one-time deal. My skin crawled when I heard his voice.

      Jarek's aggressive manner reminds me of Sonny Corleone.

      February 15, 2011 at 3:08AM EST
    • Midnight_run_mca255950_talkback_profile

      sepinwall Yes, theme song wasn't in the pilot (pilots very rarely have opening credits sequences), and Corgan's around for the long haul. (The version on the screeners was sung by the song's composer, Rob Duncan, who also wrote and sang the theme for "Terriers.")

      February 15, 2011 at 7:12AM EST
    • Justified-fixer-4_talkback_profile

      conrad would've preferred a kanye theme song.

      February 15, 2011 at 10:28AM EST
    • Default-avatar

      DGC Ah, that explains why Corgan's name was in the credits. I was confused to see his name when I watched it last night, as the theme was instrumental on the version aired by Global TV here in Canada. Perhaps a licensing or contractual issue is stopping them from having his vocals on the Canadian airings.

      February 15, 2011 at 11:03AM EST
    • Madmen_icon_talkback_profile

      LJA Corgan's a famous Chicagoan, it makes sense.

      February 15, 2011 at 12:06PM EST
    • agree with Tweedy. He's got much more expression in his voice.

      February 15, 2011 at 3:00PM EST
    • Is Ryan a big Smashing Pumpkins fan? I see no other reason to include Corgan on the project. Yes, I get that he's a native but his voice and personality doesn't really emulate the city. Is he going to be scoring other episodes? What gives?

      February 15, 2011 at 6:16PM EST
    • Default-avatar

      webdiva I'm still waiting for a show about Chicago smart enough to play some hometown jazz. Everybody thinks rock or blues, but Louis Armstrong made his name here. So did Kurt Elling. They could use some Elling vocalise or Patricia Barber's piano or Von Freeman's sax instead of Corgan. Ugh!

      February 15, 2011 at 6:46PM EST
  • Default-avatar

    XK

    Really enjoying it so far.

    February 15, 2011 at 4:23AM EST Reply to Comment
  • Default-avatar

    Merve

    It was good, but I didn't like it as much as the pilot. I felt that there was a lot of clunky, expository dialogue that repeated stuff from the pilot.

    February 15, 2011 at 4:25AM EST Reply to Comment
    • Default-avatar

      Graham I'm in the same boat. But I'm starting to run out of patience. I just keep comparing this show to the Shield, and it simply is not of that quality. The writing seems fine, I think it may be the direction, and the delivery of some of the lines. Something is not working, and to say it's good for a network show is a copout, no pun intended.

      February 15, 2011 at 2:59PM EST
  • Default-avatar

    toonsterwu

    General thoughts:

    1. Having not visited Chicago much, I don't know how accurate the visuals are, but it is really a ... beautiful show in some respects.

    2. I think the most interesting scene to me was the interaction between the Super and the "Commander of Mops and Brooms" (Dan Worthen I think). It was interesting to me because it showed the dynamics between Colvin and Wysocki's characters, particularly after that strong (and well-acted) argument. Colvin respects and hears Wysocki.

    3. Another thing I really liked was Caleb asking Wysocki about the club and the officers disrespecting the Super. I was mildly worried that they were going to make him the awe-struck kid working with his idol.

    4. I loved the ending. The actual ending, panning to a shot of ... somewhere. That was a nice touch.

    5. I also really liked the Church scene. Clarke's delivery of the prayer to take down his brother's killer was ... strong (and gives us a mini-arc to watch over, whether it's this year or next year, and something that might put Devin Kelley to better use ...)

    6. I didn't really enjoy the scenes between Vonda and Issac. I don't know ... something seemed off.

    Those are the main thoughts in my head right now. Overall, a solid episode. Oh ... last one ... but geesh I wish this show wasn't on network ... the use of jaghole so many times is ... grating.

    February 15, 2011 at 4:26AM EST Reply to Comment


  • All in all, pretty solid, and in terms of acting, Beals and Clarke both feel more in their skin than they did in the pilot.

    Looks like Brad William Henke is might be the Michael Gaston (Rubicon, Terriers) of tv this year, haha.

    I really hope the audience doesn't drop too much, but given that it's Tim Minear and FOX, it's hard to hedge bets.

    February 15, 2011 at 5:35AM EST Reply to Comment
  • Default-avatar

    Dale Cooper

    "But I'll be curious to see how quickly this story moves going forward."

    They could do the done-to-death method where Gibbons is exposed at the end the season and the next season has Gibbons in jail leading Jarek etc. to the people who control him (i.e. Gibbons is just the middleman). I hope they don't though.

    Quite an interesting second episode. It's interesting that they introduced a second plotline with Jarek's brother's killer and all. I've never seen a show introduce a potential recurring arc in the second episode before. Interesting.

    February 15, 2011 at 7:22AM EST Reply to Comment
    • Default-avatar

      DB Cooper Gibbons' first name is "Ronin." Doesn't that mean he has no boss?

      February 15, 2011 at 1:04PM EST
    • Default-avatar

      webdiva The arc with Gibbons won't be remotely credible unless it shows his connections to 1) the mayor's office, or not; 2) the other black aldermen, unless they're reformers from Hyde Park or Rogers Park; and 3) the Cook county Democratic Party and its committeemen. Without that, the setting might as well be Milwaukee.

      February 15, 2011 at 7:15PM EST
    • Default-avatar

      theblankscreen@mac.com asdasdas

      February 16, 2011 at 11:46AM EST
  • Default-avatar

    Viginti_Tres

    After the pilot blew me away last week I had already built up high hopes for this show and the second ep was a solid continuation of form, if not impact. The plot-lines were all given a nice little nudge forward and off the starting block, though they left on lithe, inexperienced legs and so moved in more of a flurry than last week: Resolutions were intermingled with revelations, scenes were splayed out in strange sequence and there were multiple establishing shots that seem to have been thrown in at random. Though these are only minor, technical flaws they were still disconcerting after the much more coherent pilot.

    Content wise though the storytelling was all solid and once again the show managed to display such ease in the way that it entwines the enjoyable with the meaningful. A key example of this would be search from the shooter from the interrogation room on. The way that the three characters bartered, sparred, brawled and bickered against one another to get their one way was not only enthralling drama but great character shorthand (Ratio-ing the above methods is as good a guide of character as any) and a nice way of expanding the show’s universe -its rules, politics and the ramifications of breaking either.

    The ‘The one that got away’ twist, the twitter and the rookies stumbling into the major through-line are all potentially very interesting elements and their execution was nicely handled; they are little more than hints at this stage though, too early to tell how well they will end up. All in all a solid follow up and a nice standard to set for the average episode.

    Plus, this town has a secret cop club? If Wasaki is going to dream the way to take down the Alderman they best get Peter Dinklage in to play The Man from Another Place.

    February 15, 2011 at 8:15AM EST Reply to Comment
  • Justified-fixer-4_talkback_profile

    conrad

    was really glad they dialed the pace back for this episode. you could tell that some pieces were being moved around the chess board on this one.

    that said, i felt a little unsatisfied with how antonio's shooting was resolved. that part of this episode felt a little rushed to me and the shooting in the bar was too clean [inappropriate term] of a resolution.

    February 15, 2011 at 10:23AM EST Reply to Comment
  • Justified-fixer-4_talkback_profile

    conrad

    do chicago cops actually call each other "real police" or is ryan looking for some residual "wire" love?

    February 15, 2011 at 10:24AM EST Reply to Comment
    • Default-avatar

      DB Cooper "Copper" is an interesting touch. Never heard that one before.

      February 15, 2011 at 1:02PM EST
    • Default-avatar

      webdiva No. Maybe somebody makes an occasional reference to 'real cops' in passing, but that's it. This is what you get when someone from Rockford writes the script.

      February 15, 2011 at 8:54PM EST
  • Default-avatar

    Robin

    I was happy with it, although for some reason I found the accents more grating this episode than last. Maybe the pilot's gorgeous use of the city made me ignore how the people were talking.

    Here's my take on the Irish Mob aspect -- no, they are not a huge factor in Chicago these days, however, it's a TV show that needs to have some organized heart of corruption for the plots to work. The actual corruption that they are portraying, at least in terms of Gibbons is, to me, very true to the standard corruption that exists in this city. Also, using the "Irish Mob" allows for Ryan to create a world of villains who aren't simply gangbangers (although he definitely needs to incorporate more of Chicago's gang issues into the plots).

    Personally, as much as I'm interested in the Gibbons story, I'm more interested in how Ryan will deal with the corruption INSIDE the police department. It will be a fine line for him to walk, as production seems to depend heavily on cooperation from the real CPD, but as I pointed out in comments last week here and elsewhere, there is a rich mine of real stories about the shenanigans that go on inside the rank and file. Laziness is the least of those stories.

    And I liked how they resolved Antonio's death. I'm glad it wasn't related to Ronin, because that seemed too obvious.

    February 15, 2011 at 11:23AM EST Reply to Comment
    • Default-avatar

      webdiva YES, the accents were grating. If you want to know what a real old-school Chicagoan sounds like (as opposed to the yuppies and newbies), listen to Dennis Franz. Ironically, he hit it big playing a cop on NYPD Blue, but that wasn't a new York accent he had! If you can wangle a copy of the 1979 PBS performance of Bleacher Bums (with Franz, Joe Mantegna, and Dennis Farina, among others), that should be instructive re: what Chicagoans sound like when they're not trying to impress.

      February 15, 2011 at 9:03PM EST
    • Default-avatar

      webdiva There's corruption, and then there's brutality, both of which are issues. You may have been thinking about the Burge case, recently prosecuted (there was a conviction, too). But powerful aldermen are a lot less likely to be connected to violence than to clout; you might want to read this article in the Sun-Times about Ald. Burke the finance chair to see what I mean:

      http://www.suntimes.com/news/elections/3825434-417/ed-burkes-power-perks-topic-at-mayoral-debate.html

      February 15, 2011 at 9:15PM EST
  • Default-avatar

    David Lewis

    Shawn Ryan deserves praise..I can't say anything about the Unit because I never watched it...but already

    February 15, 2011 at 11:42AM EST Reply to Comment
    • Default-avatar

      David Lewis oops...it post too fast. Anyway, like the Shield and Terriers, the show is quickly building and becoming much stronger week to week from the beginning (although all three had great pilots), as you see the twists and turns of these lives.

      However, I watched twice and I still could have sworn that Caleb shook his head when the driver was dying as if to say "don't you dare answer!" It was subtle, but I'm convinced I saw something there...Anyone else?

      February 15, 2011 at 11:48AM EST
    • Default-avatar

      Robin Yes! I noticed that as well, but I chalked it up to my over-paranoid because of Lost mind. Interesting if it goes anywhere.

      February 15, 2011 at 2:15PM EST
    • Justified-fixer-4_talkback_profile

      conrad that's a great catch. here's the link for those who want to see it:

      http://www.hulu.com/watch/213953/the-chicago-code-hog-butcher?c=1019:1115

      February 15, 2011 at 3:58PM EST
    • Default-avatar

      7s Tim But Caleb signaling only makes sense if the resolution to the cop-killer story is a fakeout. Unless Caleb is working with Mops and Brooms (an unwitting accomplice--incitement--as far as the two mopes taking a shot at Colvin in the story presented), then he has no reason to keep the dying driver quiet. Now, if you wanna go crazy conspiracy as to why he Would want the driver to stay quiet, here goes (I don't believe this, just the only way I can at this moment justify that reasoning): Colvin was shot at by the dead guy in the cop club, but it wasn't just because Mops & Brooms got them all drunk and mouthed off and got them angry, it was because they were working at the behest of Gibbons, and then Mops & Brooms fell on his sword to keep the secret for Gibbons. Also, Caleb is a Gibbons mole, and the driver (a nobody!) knew that secret and knew to keep his mouth shut as he bled out because Caleb barely signaled his disapproval. It's a little too complicated, and if they go spinning it back around this way I'll still have a whole lot of disbelief, but maybe they can do it in a way that doesn't make Gibbons into an Event-style conspiracy guru, but just a very influential corrupt politician. But so many people would have to work so very much against their own interests that it just doesn't hang together.

      February 15, 2011 at 4:25PM EST
  • Ron-swanson-manly_pic_talkback_profile

    Timm S

    This episode was disappointing as far as a momentum-gatherer goes. Something about resolving that particular conflict, established LAST WEEK if you recall, with the sub-par cop not only giving up the shooter in 5 minutes, but also killing him in the cop-bar (nice touch, the police speak-easy) was just a little too quick and easy, and sort of serves to too quickly quell the cops-against-the-woman-boss bit. So now we only have the Irish Mob and Gibbons to chase around and worry about. Gibbons looks more than formidable, but as of now the Chicago Irish Mob only consists of about 3-5 20-27 yr old half-bright guys. Hell, the Black Donnellys could wipe this whole gang out in a couple of minutes. Maybe that's who Kevin/Liam is actually undercover for. Huh.

    But the biggest issue with this show is not the plot or how they're getting into and through the story. It's Jennifer Beals. She's brutal, and I can't believe she was cast as the female lead in this. That penultimate scene where she and Antonio's mom were having a bad-acting-off made me hopeful the show would improve itself in one swift stroke by having that 4sq ft area smart-bombed. In the show, of course. I just don't understand why she's so bad. I know some disagree with me (Alan, for one), but I'm finding it hard to overlook.

    I love Shawn Ryan, and I'm currently re-watching The Shield. And I watched The Wire again this past summer. I'm not expecting this show to be better than those, but on par, due to its creator. Ryan set his own bar, and he's a good way from clearing it at this point. I'm going to give it a couple more eps to hook me, and hope Ryan and Co. find their way.

    February 15, 2011 at 11:43AM EST Reply to Comment
    • Default-avatar

      Robin I come and go on Beals. I think alot of times her overacting might be a result of the character herself overacting to be tough in front of the rank and file. I say this because there have been a few scenes, namely with Jarek, where that has been dialed back and she seems a little more human.

      I think Antonio's murder was meant to be taken more as a crime story of the week, and thus was solved very quickly. Pulling out all of the stops to find a cop-killer, especially the Superintendent's driver, would hopefully result in a pretty quick turnaround on a case like that. Plus, I like that the story is not over completely because of Teresa needing the favor from Ronin to get the death benefits. So the murder had an impact beyond crime of the week, or even the impact of killing off what would've been a major character on most other shows.

      February 15, 2011 at 2:22PM EST
    • I was kind of indifferent to Beals before this show, but I'd tend to agree with Robin in that the actress is playing a character that has to act tough due to her job. They've made it pretty clear that she's new and that half the department doesn't accept her. I thought the scene with about trust and respect was pretty well done by both leads, but also Beals specifically.

      I'll admit that the scene between Teresa and Antonio's mom was a bit clunky (mainly due to its predictability) but hardly worthy of smart-bomb.

      February 15, 2011 at 5:54PM EST
    • Ron-swanson-manly_pic_talkback_profile

      Timm S Fair enough. I just don't connect with Beals at all, and it affects the way I enjoy the show.

      Robin-I realize the Gibbons things is FAR from over, and Delroy Lindo makes things interesting with his performance. I was referring to the rank-n-file v. Lady Superintendent storyline being effectively squashed, not the capture of the guy who killed Antonio. I agree they would get the killer pretty quickly, but that it was a cop who hated the Boss Lady and wound up a part of the murder would only engender more support for the boss and make complaining a dangerous venture for the rest of the squad. I think.

      It could be this show just won't be my flavor. But, I'll know after a couple more.

      February 16, 2011 at 12:03PM EST
  • Default-avatar

    sdjazzlady

    Write a comment...

    February 15, 2011 at 4:22PM EST Reply to Comment
  • Default-avatar

    sdjazzlady

    What IS that Irish tune the cop sang at the service??

    February 15, 2011 at 4:23PM EST Reply to Comment
    • Default-avatar

      webdiva It's The Last Rose of Summer, a traditional Irish song with music set to a poem of the same name written by Irish poet Thomas Moore. It's often sung at Irish funerals - and considering there's still a heavy Irish contingent in the Chicago Police Department, I'd not be surprised to hear it sung at a memorial for a cop killed in the line of duty.

      February 15, 2011 at 9:34PM EST
  • Default-avatar

    Ajoop

    Really enjoyed this - to the point that I gasped out loud when I saw Gibbons manipulating the mom. Brilliant. Never watched The Shield, so this will be a fun ride.

    Did anyone notice the crazy commercial to show ratio? I think I was fast forwarding every 4 minutes. Did I imagine this?

    February 15, 2011 at 5:55PM EST Reply to Comment
    • Default-avatar

      Guesser Nope, you didn't imagine it. The Ryans interviewed Shawn Ryan months ago on their podcast, and I vaguely recall him saying that he prefers a six-act structure like "Lost" to the normal four-act structure b/c it keeps up the pace of the show.

      February 16, 2011 at 1:39AM EST
  • Default-avatar

    superchunky

    Musical quality is of course subjective to one's own experiences and preferences, but even then it's not an exact science. In fact, it often makes no sense at all. For example, over the years, I've been able to pinpoint my key musical interests as (1) the loud, hard, aggressive and/or fast, (2) the unique and creative, and (3) the exceptionally hooky. However, even within these parameters, (1) I loathe entire subgenres of aggressive music (deathcore, screamo, NYHC, powerviolence), (2) I'm bored senseless or actively irritated by tons of 'unique' music (noise, IDM, Jandek), and (c) "hooky" is a meaningless word when one man's tuneful is another man's cloying. Furthermore, I often find myself reluctantly drawn to artists who fit none of these categories, simply because of a mood or attitude that appeals to me (which is how I can simultaneously love and hate artists like Bruce Springsteen, Bob Seger and Steely Dan).

    It's not that I'm trying to be unpredictable or inconsistent in my tastes; it's just how brains work. Look at your own tastes and you'll probably encounter the same contradictions. How can I love The Fall yet constantly bitch about other artists being too repetitive? How can I adore AC/DC but not have the slightest bit of interest in Slade? And what the hell's my problem with the new Grinderman CD? The answer is simple: I'm not in your brain. My life experiences are different than yours, the passageways in my brain are different, the (etc. some other brain shit). I can clearly see how my tastes developed over time: how Led Zeppelin led to AC/DC to the Ramones to Dead Kennedys to DRI to Slayer to Napalm Death and back (and alternately, how Beatles led to Moody Blues to Pink Floyd to Yes to Sonic Youth to Thinking Fellers Union Local 282), but why certain combinations of sound led to the release of endorphins while others led to me throwing the fucken stereo across the room, I've no idea. That's a private matter between my brain and itself.

    One question about my tastes that I'm pretty sure I can answer, however, is this: how can I claim to despise indie rock while consistently giving high marks to such indie pioneers as Husker Du, Minutemen, the Replacements, REM, Dinosaur Jr. Sebadoh, Sonic Youth, and Meat Puppets? ANSWER: Because indie rock was created by punk rockers. As Sebadoh astutely put it in their 1991 single "Gimme Indie Rock," "Started back in '83/Started seeing things differently/And hardcore wasn't doin' it for me no more/Started smoking pot/Thought things sounded better slow/Much slower, heavier." This is a correct assessment; indie rock grew out of punk rock. Every one of the pioneers mentioned above began as a punk rock band (except Sebadoh and Dinosaur Jr., whose principals began life in a hardcore band called Deep Wound; and Sonic Youth, whose drummer used to be in the Crucifucks). What this means is that the original rush of indie rock records still retained a certain level of aggression and energy. It still "rocked." For a while, at least. It wasn't until leaving their indie roots and jumping to the majors that these bands became boring and lifeless. And I'm not blaming the major labels for that; it just happened, probably due to age or career aspirations.

    However, as a result, what we're seeing now are indie rock bands whose roots are other indie rock bands. With no background in punk or hardcore, bands like Modest Mouse, Animal Collective and The Decemberists are 'rock' bands only in the very loosest sense. They have electric guitars and drums, but few of them seem to have the slightest interest in channelling the energy and aggression that powered not just punk rock but rock'n'roll itself in its infancy. In fact, I'd say that 95% of the stuff Pitchfork champions is the complete antithesis of rock'n'roll -- drab, slow, adult-friendly artists like Deerhunter, Beach House and Bon Iver. In other words, a subgenre literally created by punk rockers has slowly, surely converted into a form of music that is just begging for an aggressive new musical wave to blow its boring, tedious pretensions out of the water.

    Which brings us to Superchunk, a perfect illustration of this indie rock stylistic shift. When the band began, they were recognizably 'indie rock' because their songs were loud and energetic blasts of melodic punk-influenced rock music. That's what indie rock used to be. But as time went by, the definition changed. However, unlike 'grunge,' whose definition changed from 'muddy screamy noise rock' to 'heavy classic rock' due to the media's unfortunate focus on Pearl Jam and Soundgarden as the scene's key figures, the meaning of 'indie rock' changed due to the actions of the performers themselves. As I mentioned two paragraphs earlier, the original indie rockers all slowed down and lost their energy. Some, like the Replacements and Unrest, were able to continue releasing great music anyway due to their leaders' formidable songwriting skills. Others, like Dinosaur Jr. and Soul Asylum, became complete bores. Either way, by the time the next wave of indie rockers came of age, their most current influence was the rockless late-period twangle-dick music of the aging old guard.

    Superchunk used to be a great indie rock band -- one of the best. Even when they began slowing down with their fourth album, their ability to compose gorgeous hook-filled guitar pop kept them at the forefront of the subgenre. But Majesty Shredding, aside from two unexpectedly punky tracks, has nothing in common with Indoor Living or Foolish, let alone No Pocky For Kitty. I began this "review" (if you want to call it that; I sure wouldn't) with a discussion of subjectivity and personal taste because I want to make it clear that Superchunk may still be a great band. But if so, they are great at writing and performing a style of music in which I don't have the slightest interest. And though their sound has gradually changed from exuberant hooky punk-pop to inoffensive, overly cheery power pop closer in composition to Elvis Costello than the Buzzcocks, it's telling that Majesty Shredding is as unmistakably 'indie rock' in 2010 as Superchunk was in 1990.

    February 15, 2011 at 6:11PM EST Reply to Comment
    • Default-avatar

      Jim Ummmmm, what?

      February 16, 2011 at 10:52AM EST
  • Default-avatar

    mdb

    I thought it was a great epi. I was iffy on the show after the pilot but this epi got my attention and will keep me watching. Thanks for confirming what I thought, that was Betty Buckley as the nun. Took me a minute but I was pretty sure that was her.

    February 19, 2011 at 6:45PM EST Reply to Comment

Get Instant Alerts on What's Alan Watching

Latest Posts
More Posts
Recent Activity on Facebook
Most Popular on Facebook
Top Stories From Around the Web