"Glee" has pushed all sorts of emotional buttons for me in the past, so why did "The Break-Up" leave me dry-eyed and irritated? Am I grumpy? Heartless? Horrible?
I'm also frustrated by the feeling that we've seen this all before, that it won't mean much in the long run, that the powers that be are only messing with fans who have invested a lot of time in and developed affection for relationships that didn't need to be simultaneously blown apart in an hour long episode of break-up porn.
Sometimes break-ups are necessary, and that hurts. But "The Break-Up" wasn't necessary, it was nonsensical.
After last week's stunning, brutal and divisive installment, it would've been a surprise to see "Sons of Anarchy" deliver a follow-up quite as memorable. But I wasn't expecting an episode that felt so... hollow.
There were two major things that needed to be achieved in "Stolen Huffy": send off Opie in a fitting way and keep the story moving forward. While the hour attempted both, the results were merely OK.
It’s only fitting that Yaz’s “Only You” closes out the final season premiere of “Fringe”. Written by Vince Clarke, who many will know from his work in Depeche Mode and Erasure, “Only You” is a synthesizer-based ballad. In other words, it creates beauty from inside the cold confines of technology. That’s always been the greatest strength of “Fringe” as well. It has taken the sometimes-cold world of science fiction and imbued the genre with enough heart and emotion to fill a half-dozen other television programs. Even if the fourth season never quite generated those some emotional highs as previous years, it has still aimed to tell very personal stories within a vast universe. This makes tonight’s episode, “Transilience Thought Unifier Model-11", so perplexing.
Before you jump to the comments and chew me out, let me explain. I’m not convinced tonight’s episode is bad by any stretch (especially since this season’s narrative gamble needs to play out in full before final judgment is rendered), but it certainly demands some adjustments from the viewer. Even with Season Four’s “Letter Of Transit” serving as out introduction to the “Fringe” future world of 2036, it’s still difficult to properly process everything that’s going on through a first pass. What makes this difficult? Glad you asked!
I love Ian Brennan's vision for "Glee."
"Makeover," which "Glee" co-creator Brennan wrote and Eric Stoltz directed, wasn't a Very Special episode like last week's "Britney 2.0." There was no musical icon to celebrate or serious social issue to tackle. There was a special guest star in Sarah Jessica Parker, but Brennan knows how to write to that having previously penned Gwyneth Paltrow's debut episode "The Substitute" and Ricky Martin's "The Spanish Teacher."
More importantly, Brennan knows how to keep "Glee" light on its feet. "Makeover" was both the most relaxed and best episode we've seen so far in Season 4. We're still making progress.
Kurt Sutter, you clever bastard.
Right when the networks are in the midst of launching and returning their big guns, "Sons of Anarchy" unleashes an episode designed to dominate TV chatter. Whether you loved, hated or were simply heartbroken by "Laying Pipe," it's not an episode you're going to forget. Or stop talking about for weeks to come.
If the amount of times someone says "Did you see 'Sons of Anarchy' last night?! Holy crap!" is one valid way to judge a showrunner's success, Sutter should be feeling pretty damn accomplished tomorrow.
After a sturdy if semi-unremarkable season opener, “Saturday Night Live” returns with its second episode of the year with host Joseph Gordon-Levitt, back for his second time hosting the show. Will the star of “The Dark Knight Rises” and “Looper” reference his “3rd Rock From The Sun” days at some point in tonight’s broadcast? Will former “(500) Days of Summer” co-star Zooey Deschanel appear alongside him onstage to help promote the Tuesday return of “New Girl”? And most importantly: will we see five separate sketches based on the film “Premium Rush”, or only four?