It was okay. I expected for Cookie’s episode to be the exception of the whole series. I awaited that most of the episodes will not be entertaining for me, or way too cute to be actually cute. I still like the show though, and this episode mostly for one reason: It played with the genre of horror.

Who would have thought that a childish (in a literally sense) story of Bigfoot can be suited into a HALLOWEEN or JAWS similar score, very quiet and silent, making this episode somewhat of a thriller for pre-school kids. Which was very neatly done, despite the fact that the episode didn’t survive the 1990s – let alone the 80s. But I don’t really care about that, though I kinda need something which makes me go through the rest of THE KIDS OF DEGRASSI STREET. There is no serialized plot, and I already know that none of the characters won’t be in the whole show. After all, they wouldn’t be children anymore in the 85-episodes.

The story was okay, not a burner. Since Irene (Nancy Lam) moved in (as the title suggests), it promises that she will be some sort of an important character in the next couple of episodes, and maybe even the writers took her with into the first real “season” of the show, together with the main kids. Of course the story kinda made them bad actors, especially when Ida (Zoe Newman) and Irene were fighting, followed by Irene’s lovemaking with the yellow color on her sweater and face. But the story kinda vanished for good, when the second half was all about the Bigfoot sighting. I would have wished to see more Ida and how she copes with the fact that she loses her girls to the new girl on the street. There were some good story points in the first half, but there was nothing about it in the second half. Instead just Bigfoot, who was clearly a dog, and couldn’t even surprise me anymore (as a story element).

At the end, the drama and the cuteness (emotions) weren’t really working this time. The episode is still recognizable in its effort to make a horror episode out of it. Which kinda worked (in the second half mostly), sometimes didn’t (when Irene was in the center of all attention). I believe that “Cookie Goes to the Hospital” won’t be beaten for the rest of this show. And I’m secretly awaiting DEGRASSI JUNIOR HIGH already. So much that I think about watching it simultaneously with this show. It’s hard for me to wait to begin with a new show I haven’t seen yet. 6/10

Irene has all kinds of yellow over her face

Ida does a happy face, because she just beat Bigfoot!

This episode was okay. Again, it didn’t feel like being part of a miniseries, and I’m thinking about the possibility that Global might be interested in turning BOMB GIRLS into a series. This is probably not true, but I can’t think of any other reason the writers didn’t put much focus into the stories. Instead this show is just about how Gladys (Jodi Balfour) wants to be a different woman than she is with James (Sebastian Pigott), how Kate (Charlotte Hegele) lives to be a different woman, and how Lorna (Meg Tilly) is going to be a different woman, after her experience and love romance with Marco (Antonio Cupo). There is nothing else about this show, which makes it kinda lame. At least it’s entertaining.

And now with Leon (Jim Codrington) being introduced as Kate’s possible romance for the second part of the episode, I kinda got my heart crushed with this episode. I was still thinking about the possibility of Betty (Ali Liebert) being a lesbian and having the hots for Kate. Yet nothing was teased this time here, and it all became another friendship storyline with Gladys. Which was definitely not wrong to do, but I was anticipating the lesbionic action in the second part of the miniseries. Now I’ll probably get the first relationship between a runaway and an African-Canadian in a TV show set in the 40s. Which is also not a wrong thing to do. The lesbians just get me every time.

The thief storyline with Hazel (Brittany Allen) was also okay. First I thought it could just be another “friendly fire” storyline between Gladys and the girls, but then it turned out to be an interesting storyline for the rest of the miniseries. I always wondered why the relationship between Gladys and James sucked like that, and now with Gladys’ mother (Kate Hennig) in the game, the whole engagement could literally blow up in everyone’s faces – which would be a nice little dramatic storyline in a show, which doesn’t have much drama offerings. In fact, now that Gladys knows James’ secrets, I expect for this storyline to become more available as a drama, to get more emotional and stuff. Not just dancing around the sub plot of Gladys becoming independent from her family. I also love that Gladys was hanging around with Betty and Kate. Now Kate has two friends (three with Leon). Seems like she’s gonna be the hero at the end.

Kate’s story was also okay, though her almost-rape was totally predictable. Thanks to that idiotic score coming up in that crucial scene. Wouldn’t the score have been there, the rape attempt could have been a bit surprising, but it was not like that. And with it, I knew that the real singer would turn up and save Kate’s day. I was just disappointed about Lorna’s story though. She really lets Marco kiss her? What a lame character she is all of a sudden. Two episodes ago she was hating him; this episode she pt the Italian paper in his locker, just so he disappears out of the factory and her life, and not even half an episode later they share a romantic kiss, and Lorna is open for some Italian cuisine in her life? Sorry, but I just can’t buy that Either she hates him or has a crush on him. One or the other. I know the one can result from the other, but it feels too damn forced here – as if the writers didn’t even know whether to have a spy arc with one of the factory workers, or not.

Vera’s (Anastasia Phillips) story was lame though. Didn’t care about her troubles, didn’t care whether she is taking the life in the hospital way too serious, didn’t care about collecting the pills (the suicide theme didn’t even go through properly). I was laughing about the scene, where she put the pills out of the cigarette package, into her hand, just so the audience can see that she hasn’t taken any sleeping pills. A completely ridiculous scene, which stole the “magic” from the scene, where Archie (Billy MacLellan) dropped the package and all the pills were falling out. That could have been a more dramatic scene, if you wouldn’t have had the info about Vera beforehand. Bad writing in this case. I also don’t really like she is the third character getting a romance plot here. This show is three episodes old, and has way too much love going on. Especially since it’s all about the Second World War… 6.5/10

Kate was almost raped

But instead she opted for helping Gladys in the rain

It was kinda a solid episode, though the first half wasn’t really thrilling. In addition, I hate being right, only I was glad being right, because Lynne’s (Brianna Brown) death moved the possibility of Farid (Amir Arison) being Abu Nazir’s financier in a new direction, and also delivered a new villain besides Abu Nazir and possibly Brody. That’s why the final third of the episode worked best, since it moved the story forward, after it completely stood still in the previous two thirds. But then again, the episode wasn’t much a burner. The thrill is still missing, and I’m still not completely involved with the characters. Carrie (Claire Danes) still remains the persona she was in the pilot (she just cried more), Brody (Damian Lewis) still remains the persona he was in the pilot (he just tries more to keep his family together). And the rest of the cast isn’t much involved yet. Not even Saul (Mandy Patinkin), who seems to have a singular role only: being there for Carrie, when she needs a father figure. Meaning: He isn’t even much of a CIA official after three episodes.

The story was okay. Sure, I didn’t like Brody’s interview much and how Jess (Morena Baccarin) is trying to keep her sex life going back to normal, but I liked that Lynne’s story meant something at the end, even though I had to think twice about the season why she was killed by Farid’s aide. In fact, I still don’t know if Farid acted during the police interrogation, or if he really doesn’t have anything to do with the financial side of terrorism. If the latter is the real fact, it could be interesting to see what the story beholds, when Farid finds out he does business with terrorists, and doesn’t even know. That would be a cool story.

The Brody family and their interviews were boring. It’s okay for the writers to show how Brody tries to reason with Dana (Morgan Saylor), and make the relationship between mother and daughter function again. But was this story for any more good here? Again I wonder if Brody could be considered one of Abu Nazir’s turned sleepers, or if he’s just a war hero trapped in suspicions of a crazy CIA agent. Three episodes in, and this part of the story still isn’t developed enough. I know, the questions about Brody’s involvement in the story is the point of the whole show, but to make HOMELAND an intriguing show, the writers should have gotten into this story during the beginning of the show, and not fill the first couple of episodes with generic family drama and father/daughter talks. I liked the lock fence though. Interesting little artefact collection, but that’s just a personal opinion.

So, what about the ending? Some newlyweds moving into a house near the airport, and the woman (Marin Ireland) tells the realtor she likes being close to the airport? Plus an Arabic-looking man (Omid Abtahi, I instantly recognized him from SLEEPER CELL)? Everybody who thinks logical would think ARLINGTON ROAD right here. Even I do, as an audience member, who hasn’t heard or seen about those two new characters. Of course they are getting important for the story. But for now it just feels like it was thrown in to replace the Lynne story. Since one way to Abu Nazir was killed with Lynne, the writers obviously look for another way to keep the characters interested. It’s a bit obvious. 6.5/10

Father and daughter laugh in her room. For a mother it must have a double-meaning

Carrie cries. As if she is in a midlife-crisis

A very good episode, and honestly, it doesn’t even feel like a part of a multi-episode arc, where all kinds of shit is happening. Instead I had the feeling this episode was written to connect the present storyline with the hostage situation to the flashback storyline with the war against (terrorism in) Afghanistan. I can actually remember that time. Back then, the free-TV premiere of ENEMY OF THE STATE was scheduled, and when the news of the war came, I was actually fearing for not being able to see the movie. You know, I was young, a movie freak, never cared about politics or war. And now, ten years later, I can understand why Matt (Matthew Perry) was unsure of delivering comedy in such a time; wondering if he is ready to poke fun, when there’s a war happening, and when soldiers are about to lose their lives and families are losing their sons and daughters. In addition, the plot was connected well to Matt as a character: his feelings about God and religion, his endless discussion with Harriet (Sarah Paulson) about it (the montage at the end was great), and the final moment, where he literally wanted proof for the existence of God, believing in Harriet for the first time, and, if you will, losing this millennia-long fight between the two.

The present storyline was totally fine with me. I don’t really know if the K&R storyline, as depicted here, can be considered real of some sorts. I’d never imagine for Matt to say “Yes” to giving terrorists a million bucks without hesitating, and I would never imagine for Jack (Steven Weber) to think about giving money away for the rescue of three soldiers. After all, it’s the network’s money – what would people (and advertisers) think when their money was given away to some terrorists for ransom? So, I would actually expect for Jack to decline Mary’s (Kari Matchett) offer, and forgetting all about K&R. But then again, Sorkin wouldn’t have a story, if he thought realistic. And also, the series finale wouldn’t be like this when there wouldn’t be a story.

I wanted to have more from Tom (Nathan Corddry) though. He was crushed, disappointed at the army, mad at the press, happy he still has friends around, and stuff, but this only in, like, three scenes or so – not enough when it comes to me. I would have wished for some emotions from him, showing the family side of the hostage, and how Tom would cope with Captain Boyle (James Lesure) and his kinda-funny approach to the situation, to lighten up the mood (which is understandable, considering the situation, but it was taking away from the drama of the story). Also, I would have wished to see how the other characters cope with the situation. Simon was completely absent, Cal (Timothy Busfield) only had something to say about the success rate of K&R situations, Harriet was praying, and Danny (Bradley Whitford) and Jordan (Amanda Peet) were completely busy with something else. At least this story had some charm again. I just love the two together. Danny doubting the abilities of the doctor (J.D. Walsh), and the engagement at the end – Jordan’s happiness, when she said “I am engaged” while she was rolled into the OR (That’s the best time to pop the question; is a woman in life danger, make her happy again for a short while – excellent writing here). It’s just a shame he wasn’t connected with the story in the theater anymore, was basically cut off from anything else happening in the show. Though it is understandable that he worries about Jordan and the baby, without knowing more than anybody what is actually going on. 8/10

The Captain is here to calm you down

Happy moment right here!

I never liked intervention episodes much. I always believe the writers try to push the limits of character drama to the extreme without being too over the top with the topic. But most of the time the writers don’t even realize they are going overboard with their story. This episode could have been so much more. After all, it is the penultimate episode. It should have prepared the season finale, instead it just brought the brothers apart. As long as this isn’t a bigger plot for the fifth season, then this episode was literally a waste of time for me.

Now I finally know that I didn’t like the demon blood drug thing in this show. It’s just not SUPERNATURAL, and it doesn’t really fit with the characters. Even Bobby (Jim Beaver), who is only standing on the sidelines, basically doing nothing, because he doesn’t have the balls to do anything. And he said to Sam (Jared Padalecki) that he was like his son. If this would be the case, Bobby would do anything to help him, and not just hold a shotgun under his nose. That didn’t help at all. Also not helping were the hallucinations. They were typical for a show like this. Have Sam talking to himself in a younger version (Colin Ford); have Mary (Samantha Smith) understand him, have Dean (Jensen Ackles) fight him. And done is the new Sam, who doesn’t even care about anything in the world anymore, except killing Lilith. Sorry, but that’s a problem for me, because it pushes the character drama way too hard. It pushes the story, as if the writers wanted to have an emotional storyline completely outside of all kinds of supernatural and paranormal. But it feels so goddamn forced.

And similar to the last episode, it focused way too much on Sam and his “drug” problems. No time was given for Castiel (Misha Collins) to explain himself, and what was up with Anna (Julie McNiven); no time was given for me to think about if he’s acting against God with freeing Sam, or if there is a larger plan behind all of this, when it comes to fighting Lilith. Even the information of Lilith breaking the last seals was just a side note – because a couple of seconds later Sam and Dean were fisting in each other’s faces. By the way: It’s the first fight of the brothers, which was not cast by a spell, by shapeshifters or other demons. The first real fight between brothers. After four seasons. Respect for that. It could have been a longer fight though, after all, it was a “first”.

Another by the way: I totally hate Ruby (Genevieve Padalecki) now. I want her dead, because she has nothing to do in the story anymore. She’s just giving her blood. She doesn’t help the brothers anymore, she doesn’t even do bad things. She’s just there for her blood. Better kill her off then, because it is getting annoying. No wonder why her character was hated in this season, when she became so damn useless. 4.5/10

Momma Winchester is bloody around her stomach

A little bit of sucking going on. Even more, when there would be more light

A pretty solid season finale. No “supernatural” things going on (except a flying and glowing ship), instead just story and conflicts. And in season two, almost all episode will be meteoroid-monster-of-the-week episodes, until the season finale gets on with the story again. I call that lazy storytelling, but whatever. The episode was good, it was dramatic for a bit, the goodbye between Lana (Kristin Kreuk) and Whitney (Eric Johnson) was kind of heartwarming, the romance between Clark (Tom Welling) and Chloe (Allison Mack) was sweet, and the conflicts Lex (Michael Rosenbaum) finds himself in are interesting enough to not serve him up with generic episodic storylines in the next season. In addition, the story of the twisters turning into a tornado (yeah, I know it can’t be considered a story by itself) feels kind of thrown into the mix, just for the cliffhanger.

I still think that Roger (Tom O’Brien) is a pretty shitty character, who can’t just reveal everything about Clark without asking anybody (just leak this stuff, idiot), but at least he’s creating some tension now. Would be cool for Jonathan (John Schneider) to do something stupid, and for him and Martha (Annette O’Toole) to have a fight every now and then. Until now, they came over as the perfect parents with a secret, the perfect married couple with a farm, the perfect everything. Now there’s a chance the façade is breaking, and I would give the story of one angry Jonathan and one mad Martha a welcome parade, when it should come in the second season. Fortunately I can’t remember anything what happened, so it’s all gonna be new for me.

The spring formal was a bit boring though. It was just leading up for a kiss between Chloe and Clark, and for a goodbye scene between Lana and Whitney. Other than that, the spring formal was basically nothing. Normally, teen shows like SMALLVILLE, whether a Superman adaptation or not, would use the shit out of a spring formal to create tension, but that’s not what it is about, right? The talk between Whitney and Clark was empty of anything though. I was expecting for them to share a few more words than just “take care of her while I’m gone”. Like a realization Whitney’s that Clark really feels something for Lana, and that Clark might be the only one to watch out for Lana in the first place, which is why Whitney trusts him so much now. In addition, there could have been a bigger date between Chloe and Clark. Didn’t feel like one, since Clark was hanging out with Pete (Sam Jones III), promoting Remy Zero, while Chloe was seen with other girls. Lame.

Lex’s story was good though. But I wanted more madness between him and Lionel (John Glover), after latter closed down the plant. Even though there was supposed to be loads of tension between everybody (mostly the folks of Smallville and Lex), I didn’t feel it. Instead Lex just tried for a buyout, hates the guts out of his father, and Lionel just wants his son back to Metropolis for whatever reasons. Yeah, there are not just motives and reasons missing, but the whole fight between father and son is completely lame. And every honest son, who hates his father, would let his father die during the storm. Sadly I already know it won’t come to that, and I have to get myself through more Lionel years. Uargh.

And the cliffhanger? Well, it’s obvious that Lana will be saved and Clark will be a savior, while the storm is winding down. No surprises there, though I’d give anything for Lana to find out about Clark here. Sadly, I already know it won’t come to that and the writers will have ruined another potential good storyline. What a shame. 7.5/10

Action in the barn calls for something extraterrestrial to happen

A twister calls for the stuck Lana to cry for her life

So, it’s the ninth time AMERICAN IDOL is in (or near) Houston, Texas, and weren’t tired to mention once again that Kelly Clarkson once auditioned in Texas and eventually won the season. In addition, the episode was not tired to give some “Spirit in the Sky” as the opening song, together with greeting words from the ISS. Where I wondered: what was that all about? Was it a promo of “Spirit in the Sky” being sung by one of the auditioners? Or was it just because the NASA saw some great promo in their own work, when millions of teenagers see this second of entertainment television and decide to become astronauts? I hope it’s the former. Because I actually want to see somebody singing a real classic. And with a real classic I don’t mean The Beatles, or Aerosmith. Or some of the 90s stuff from Jennifer Lopez…

The first contestant of the day is also another cry-baby, who loves the camera action: Phong Vu (25), whom you can see as the first failure of the day, as soon as he looks into the camera for the first time. Even more, when he started to ta;lk to the judges and repeatedly mention his love for Steven Tyler. And of course he loves Jennifer Lopez (he missed Randy though). This is one of the rare times of the show where you pray to God that this contestant will have a bad voice, and an even badder appearance on the audition stage. It also showed, once again, that the audition episodes of AMERICAN IDOL don’t really care about talent and stuff, instead just wants to get through the crazy stuff, the crazy contestants, and the crazy scenes. You still have the talent in Hollywood and in the live shows, so who needs the talent in the audition episodes? Anyway, thankfully he was a catastrophe on stage. It really would have killed me, when Phong would have been a real singer. Yes, he was the first ear-bleeder of the season. Five episodes into the season, and he was the first one letting my ears bleed. And he really said he could feel the pain of the song (Unbreak My Heart). I could too. Hopefully his empty threat of returning next year is in fact empty.

Skylar Laine (17) was hopefully the contestant to save this episode after ten minutes of horribleness (is that a word?). Unfortunately, she as well didn’t sound much like a great contestant, and her Texan dialect sounded like she would ride the Country music wave from the beginning – a musical genre I don’t really need on AMERICAN IDOL, but everyone for himself. Well, her voice was nice enough to deserve the trip to Hollywood, though I don’t see her as the contestant who saved the episode. At least she wasn’t terrible, but she’s also not a favorite of mine. It proves the cliché that Texan singers with the stereotypical Texan dialect always sing Country. Or can somebody give me the name of a Texan voice singing Folk, Rock, or even Hip-Hop? (when I think about it, Hip-Hop in Texan dialect would probably sound crazy awesome)

The next contestant is an old friend of AMERICAN IDOL: season 6 contestant Baylie Brown (21), who, back in season 6, made it to Hollywood, and was “buuh’d off” of the stage thanks to the non-existent chemistry with two Jersey BFFs. Does this mean Baylie will getting her ticket to Hollywood, even though she hasn’t sung in front of the judges yet? Does it mean that the producers will get her story from season six back on the screen, when she’s making it to Hollywood? Well, of course she made it to Hollywood again this time, but I’m actually interested in the fact that Baylie told to the camera she’s more mature now, while she was a baby five years ago. Could be true. But her voice didn’t wow me. In fact, it sounded a bit artificial to me. Not literally, I mean it metaphorically. Baylie might be a cute baby, eh… I mean, a cute mature young woman, but that doesn’t mean I will be friends with her in Hollywood. 15 minutes into the episode and it hasn’t produced another favorite for me. Somehow I’m feeling left out.

But while Baylie is going to use her second chance for this season, it’s the first and last chance for Kristine Osorio (28), a three-time mother, who is going through a divorce and has decided to use the money she wanted to pay the divorce lawyer with for a ticket to Texas and AMERICAN IDOL. Well, at least the money paid out for Kristine, because she was actually good enough to be considered a favorite of mine. If I like her as a character I’ll see when she’s in Hollywood. For now, I just see in her a three-time mother with loads of tattoos on her left arm, who isn’t much of a special singer in the bunch of singers here. Again, no awesome contestant, who rocks my socks off. Literally this time.

After almost three minutes of awesomeness I want to mention at the end of this review, Alejandro Cazares (26), overweight, annoying, wanted to start a revolution. And he obviously thought the producers were stupid enough to let him go through the judges, so that the editors of the show will have something to fill the episode with. The only thing I liked about his introduction bit was Lady Gaga’s “Alejandro” playing – because it was so much fitting with this guy. And I was shocked about myself, when I found out he was not as terrible as he and his introduction bit looked like. Of course he doesn’t have a voice for AMERICAN IDOL, and of course he seems to be an idiot. But after being introduced to him, I expected worse. My ears didn’t even bleed, so “average” was he. Well, at least the was the first contestant of the season to be shown out by one of the bodyguards in the room. And since he mentioned that his revolution is not over, before he says it’s over (did he just say it’s over?), better expect him in one of the remaining auditions.

When I remember correctly, Cortez Shaw (20) is the first one of the season to sing Adele’s “Someone Like You”. I was waiting for somebody to sing that song, and I wasn’t expecting for a guy to sing it first. And I was actually surprised he could sing that song. It was a nice little audition, with him being a cool and light-hearted guy, who made the judges smile, and who didn’t have any fear on stage. That’s the guts and gals I like on stage, and I wanna see more of those types on AMERICAN IDOL. Otherwise Hollywood is getting uninteresting, because I don’t know all the guys being there and fighting for the semi-final shows. Anyway, Cortez was a cool dude, and I’m happy he advanced. He could be a favorite during the live shows, but for him to become a favorite, he better sing some better songs. Adele is too overhyped for me at this moment, and everybody singing her will get a mad-ass look from me.

Ramiro Garcia (28) is the last contestant of the episode and probably of the day for the judges. When you hear that he’s a worship leader, you’ll probably get big eyes. Like “Oh no, Scientology invades AMERICAN IDOL” (I know he’s no Scientologist, and he’s nobody who could have starred as a villain on Kevin Smith’s RED STATE). But when you hear that he was born without ears, and had to get numerous surgeries to get his hearing canal discovered and repaired, then he might be the story of the past four episodes. Nothing I really care about though. It’s the typical “last of the episode” character, who is going to wow the judges with his or her story. There’s not much to say about Ramiro though. Solid singer, solid contestants. Solid five minutes for him. It’s getting predictable again.

The episode was good because of another factor though: the aforementioned three-minute awesomeness in the middle of the episode, where Jennifer was against her two guys and started to hate them for their decisions. I was actually impressed about how much screentime this part was getting in this episode. I would have thought it would be all about a montage of various “Yes”s or “No”s from the judges, instead they were full-blown auditions with comments from the judges. And I could understand Jennifer’s disappointment for her two guys here, because I remember what Steven and Randy were letting through to Hollywood in the past four episodes – not for the favor of those three people here, who won’t be going to Hollywood. What a shame that there wasn’t a real fight between the judges though. Like, a real verbal fight, with Jennifer saying some harsh things, and Steven saying some harsh things back. While Randy is just laughing or not caring a bit. Whatever.

A final question for this episode: Where was Jennifer Diley? 6/10

Returner Baylie shows what she has learned in the past five years

And Ramiro is proof that dreams can become true

This episode was fairly okay. It was to be expected that the story would somewhat come to a halt after the pilot, and instead the writers are trying for some different storylines. I liked the introduction of Lynne (Brianna Brown), and that Carrie (Claire Danes) can find another way to get to Abu Nazir, and that the story doesn’t depend on Brody only. In this case, the episode did some nice work, but while I was interested in the characters in the pilot, their actions were less interesting this time around. I don’t even know why. maybe it’s the part of depicting the Islam and/or the Muslims, which I’ll never get, because I always have no idea what religion in fictious television is all about: a plot in the story, a necessary evil, or actually part in the characters’ lives?

So, I can’t say much about the ending and Brody (Damian Lewis) on the carpet praying in Arabic. I have the feeling this scene was included for a shock value, showing that he has been turned, showing that he is working for Abu Nazir, showing that he is not an American though in an American body. But then again the scene welt so “normal” in Brody’s life that I think he’s just an American muslim – not much shock value at all. That’s why the last act wasn’t very much entertaining for me. Also, Carrie spying on Brody all the time can be tiring. She sits on her couch, watches the monitors, and follows Brody’s life. As a writer, you couldn’t do a bigger mistake: Carrie is inactive. She does nothing, when she spies on Brody. Instead she just reflects on his actions in his own house – which is not developing at all. Sure, Brody sat in a corner all day, and made Carrie think that the torture in Iraq left bigger traces in Brody’s mind, but that’s already it. Just this tiny information, and the episode had like 20 minutes of Brody being watched by Carrie.

Like I said, I liked Lynne’s story. It seems a bit awkward that her story was introduced after the pilot, but I like the aspect of how the CIA’s assets are working within a terrorist plot and are affected by it. I hope Lynne is going to return, just to show a woman’s perspective of how it is to be an asset, an undercover agent or similar. It’s not even a repeat of SLEEPER CELL here, because Lynne isn’t really into the business of anti-terrorism, Then again I’m suspecting that Lynne is one of the first characters to die. Just to show that Carrie will be alone in the fight against terrorism and Brody.

Other than that, the episode didn’t have much to offer. I’m already hating David (David Harewood), because he is the clichéd CIA boss, who wants everything, but doesn’t do it himself. Even the secrecy between Jess (Morena Baccarin) and Mike (Diego Klattenhoff) was almost extinguished here – which is great though, because I don’t need that storyline. Instead the writers could push for a conflict between Mike and Brody, when it comes to going back to the Marines. I loved the talk between the two men outside the house, and I like that Mike is basically “forced” to push Brody out in the open, because the government needs a poster boy.

I have one thing to nitpick though: Who is so crazy and puts a couch right beside a stove? When I saw that in Brody’s house, and the butter was about to burn, I was just thinking what would happen, when the stove starts to burn, and the flames jump over to make themselves comfortable on the couch. I have never seen that setup in a living room before. And I don’t know if that’s a setup in most of American family homes with a kitchen in the living room… 6/10

This is not an audition for a porn shoot

Brody had another one of those flashbacks

I love this episode for numerous reasons: First, and foremost, Aaron Sorkin knew he would have the chance to write a series finale, which is why he created the story at the end and finished this episode with a cliffhanger. Second, even though Mary Tate’s (Kari Matchett) return also brought back the talks about Matt (Matthew Perry) and Harriet’s (Sarah Paulson) past, Sorkin did good in not bringing the past relationship overboard. For the first time since before the Harriet dinner. Third, Sorkin has a talent for writing big storylines, where all the characters (well, almost all…) are involved in drama and have to fight with their emotions. And fourth and not least: The story of Tom’s brother being a hostage is great: cutting-edge, political, it has a message. That’s how I want to see a great drama, and that’s how STUDIO 60 ON THE SUNSET STRIP would have changed as a TV show, if it would have had the chance for a second season.

Believe it or not, but this really is the first part of the series finale. Back when I was watching the finale for the first time, I was quite surprised that this episode was literally just the beginning of things, and the series finale of a first-season show takes place over a course of five episodes. I can say this is pretty much a biggie for a first-and-only season show, which doesn’t rely heavily on serialized storytelling. And the whole hostage drama in Afghanistan, and Tom’s (Nathan Corddry) emotional involvement in it, couldn’t be bigger for such a storyline. It affects the characters, it will start discussions, and it will show a side of hostage/war themes Hollywood hasn’t shown so far: how the family is handling it within the media and the press, and how it is handled in a TV show in a multi-episode arc. It works especially well here, because the theme of the next episode was so subtly teased during the episode: Danny (Bradley Whitford) opening the show with a war-themed cold open (where Tom is the star); Tom having a bad show in general; and the angst of Simon (D.L. Hughley) and Harriet, because she gets calls from Tom’s parents. And in the meantime talks about ratings and a troubling pregnancy. Sorkin really rolls out the big guns for the finale.

I was missing the talks about the ratings in the show so far. Sure, there was the question how the retention should be for the guys to have a job, but that was it. Then the mention that Studio 60 is losing audiences and ratings, losing in the half hours and eventually advertisers, and showing how it affects the business relationship between Jack (Steven Weber) and Jordan (Amanda Peet). What a shame that the discussion never came up earlier in the show. At least it did now. Though it’s noticeable how subtle Sorkin hold it here. He was only talking about the A18-49 ratings and the half hours, even though network executives definitely get bigger and more meaningful numbers than that. But obviously not the showrunners. Interesting little side fact you could get here, when you read between the lines.

And finally, the pills story of Matt is finished. Well, better is, because it wouldn’t have turned out to be a great story in-between a hostage situation and the resulting character drama. For that, Danny and Jordan have baby troubles now, which seems to be a bit over the top though. Jordan not in scare-mode, when she can’t feel the baby kick, but Danny is? I don’t know if that’s realistic here. I would have expected for the mother-to-be to turn crazy because of this. 8/10

It could be an iconic shot

It could be one of the most dramatic storylines in a Sorkin show

Well, I kinda was right. I call this one another stand-alone episode, which basically didn’t deliver anything. Castiel (Misha Collins) is gone, Jimmy is back, Sam (Jared Padalecki) and Dean (Jensen Ackles) are looking, Jimmy’s family in danger, and all of this in a blah form, which bored me. Not even junkie-Sam could entertain me very much, since the story feels too much like the effort to copy BUFFY’s metaphors. In addition, this story went nowhere over the season, and now, so short before the season finale, the writers have decided to hammer the nail and have an intervention written in for Sam. Sorry, but waiting almost a whole season to develop a character story? Silly writing. But hey, it seems like every writer is waiting for the final episodes of a season to hit, just so all the left-behind stories of the season are picked up again.

Jimmy’s story was not a burner, as most of the stand-alone stories over the past seasons. I wonder why he barely could remember anything, while it was possible for the demon-possessed people to remember anything the demon did in their bodies. It’s probably because Jimmy was chosen, and because he had an angel in himself. But it’s still a bit inconsistent for me. In addition, I just don’t buy he would return to his family, completely believe anything he has seen and/or heard, but still playing the crazy card to his wife Amelia (Wynn Everett). I would have expected some real drama, a better discussion between returned husband and wife about his life and what he has done over the past year. I even expected something from daughter Claire (Sydney Imbeau), but not even here was anything happening. Especially the daughter should have gotten some characteristics, figuring that it will be her, who becomes the new “Castiel”. Figuring that Claire would take on Jimmy’s job is just too much of an interesting twist to just play it out like that. But hey, the writers weren’t even working towards that, since Castiel was always supposed to be in Jimmy’s body. Think about it for a second though: When Claire had gotten more scenes, a better character drawing, eventually make the audience believe she would die. And then at the end she’s supposed to be the new angel, while Jimmy is dying. That’s a better shocker than what the episode delivered. I was disappointed.

And finally there’s Sam and his cray cray addiction to demon blood. Oh my god, I was rolling my eyes, when he sucked on that demon at the end. Seriously, you have a family and your brother right behind you, and you start behaving like a vampire. Of course you’re gonna turn out to be ugly and a misbehaved junkie-hunter. That “revelation” was completely beneath me and I didn’t like it. But when the writers needed a scene for Dean to see what Sam is doing in his free time, I’ll take it. At least it brought the story forward. I’m intrigued to know what will happen now… 5.5/10

Castiel is in the mood for some light stuff

Meanwhile, the wife is not so wifey anymore