Last spring, when "Chuck" had no reasonable assurance of a future on NBC, Chris Fedak and Allison Adler wrote a season finale that turned the show upside down. "Chuck vs. the Ring" was a great episode and a terrific season finale, but had it been a series finale? Oh, there would have been grumbling.
It seems that “Project Runway” is the five-year-old brat of reality television. You miss one little episode, and suddenly it’s running willy-nilly through the kitchen, turning on all the stove burners and grabbing that new Costco-sized container of peanut butter just so it can smear the goo through its long, luxurious Heidi Klum tresses before rolling around in the dog crap in the backyard.
"I.F.T." opens with a flashback. In and of itself, this isn't particularly remarkable. TV does flashbacks all the time, mostly to fill in story points that won't come up in the organic sweep of what's happening. But "Breaking Bad" doesn't really do flashbacks all that often. There have been a few back to when Walt was a floppy-haired chemist working on a potentially Nobel Prize-winning research project, and there have been some other timeline switches heading into the future of the show's timeline (particularly in season two), but this series, for the most part, doesn't engage in jumping back into its own history, particularly to events that occurred within the timeline of the series proper, all that often. So on that level, tonight's opening scene - separated from the rest of the episode in typical "Breaking Bad" fashion - is remarkable. Creator Vince Gilligan and episode author George Mastras want us to see this moment for some reason.
[Full recap of Sunday's (April 4) "Breaking Bad" after the break...]
A lot was made going into this week’s episode of “The Amazing Race” about the handicap facing cowboys Jet and Cord, who face a Speed Bump in this week’s trip to Malaysia, but I didn’t really see the concern. My problem, I think, is that the entire race seems to be facing some sort of handicap: Steve and Allie are without their luggage, and if we’re being completely honest some of the other teams aren’t exactly operating with a full toolbox in terms of strategy or general intelligence. Last week’s episode saw the teams living up to our expectation from the premiere that this may be one of the most mistake-prone casts of all time, and so the idea that Jet and Cord’s Speed Bump is a huge disadvantage just doesn’t fly.
And if you have any doubt of that, I’m pretty sure that this leg more or less sealed the deal.
Spoilers for this week’s snake-infested episode of “The Amazing Race” after the jump…
This week in Mystic Falls, everyone's all about technology -- cell phones, texting, chat rooms. Can double dates, out of control MILFs, and Jeremy's Internet research cause half as much drama as the army of old-new bloodsuckers congregating in Pearl's Vampire Halfway House in the woods, learning how to -- gasp! -- text message?
[Full recap of Thursday's (April 1) "The Vampire Diaries," titled "There Goes the Neighborhood," after the break…]
If any recently launched genre show learned the true lesson of “Lost” (“It’s the characters, stupid!”), it’s “Fringe.” While its individual episodes can be hit or miss, it has at its core the type of unorthodox family that’s necessary to hold an audience’s interest even if The Pattern doesn’t. Tonight, in “Peter,” we saw the start of The Pattern, itself derived from an easily understood starting point: a father’s grief over a lost child. In fact, the mythology of “Fringe” was summed up nicely tonight by Carla, Walter’s assistant in 1985: “For the sake of one life, you will destroy the world.” Much more eloquent than my previous version: “Two worlds. One door. WHO YA GOT?”
[Full recap of Thursday's (April 1) "Fringe" after the break...]
Oh, here it comes. We’re just far enough into Cycle 14 that the crying begins in earnest. Right off the bat, we get to hear from a model mommy who had to leave her baby for this, like, amazing opportunity. Now taking bets on how long it takes for Anslee to cry.
9:00 p.m. ET Excellent. Tonight's "American Idol" results show has been brought to us by "Clash of the Titans." On Wednesday night's "American Idol"... Titans... Will... Clash!
[Full recap of Wednesday's (March 31) "American Idol" after the break...]
"A wise man once said war is coming to this Island. I think it just got here."
This week's episode of the final season of "Lost" was deceptively simple, and at this point, watching fans of the show micro-manage their expectations from week to week is fascinating. I think part of the problem is a sort of separation anxiety that's setting in, and so instead of enjoying the ride from here to the end, fans are starting to go a wee bit crazy. As a result, anything that strikes them as less than perfect gets magnified and they seem to be lose focus.
Relax, kids. Even a week like this week, where things seem very direct and surprisingly linear, is packed with information and answers and suggestions for where we're going in the next two months. Also, let's be fair... almost anything would have seemed like a comedown after last week's Richard Alpert episode, but I think Paul Zbyszewski and Graham Roland did solid work in building this Jin/Sun-centric installment, and in a few moments, I think they may have given us some major peeks behind the curtain.
It had to happen eventually that we'd get an episode that focused on the drive to get Jin and Sun together again, and they've been hinting at it in moments, but tonight, this long-separated couple took center stage, and there were some powerful emotional punches thrown and landed as a result. In TIMELINE A, we backed up a few steps from the point we've already seen, picking up with Jin and Sun at LAX, just after Jin has been questioned by customs about the $25,000 in cash he was trying to carry into the country. He's released, but customs keeps the money. When Sun asks why he was carrying it, he admits that he's not sure. Her father gave it to him just before they left and, as he puts it, "I do what your father tells me."