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“Abiquiu” seems like a transitional episode of Breaking Bad. Everything is moving into gear for the season finale, and I have no idea how it’s going to end. I’m not sure if “Abiquiu” will end up a very memorable episode, but it definitely moves all the pieces into place.

There are a lot of important revelations in “Abiquiu.” A key change is Walt and Skyler’s relationship. Skyler is becoming more involved in Walt’s drug manufacturing as the series progresses. Her motivations are completely in touch with her character. She doesn’t want to be doing this - she’s looking out for her family. It’s similar to Walt’s involvement, too. He started cooking meth to provide for his family. Skyler is doing the same thing. It’ll be interesting to see if she ends up in the same place as Walt: enjoying the power.

One of the best scenes of the episode is Skyler at Saul’s office. Walt is obviously embarrassed by Saul, and Skyler is always direct with him. She doesn’t feed into all Saul’s “charm.” I love how he tried to demonstrate money laundering in the exact same way he did with Jesse. He obviously had that demonstration rehearsed.

Skyler’s quick thinking is present again, as she comes up with the idea to use Walt’s old job at the car wash to launder his money. I like that the boss with the bushy eyebrows made an appearance. I hope we get to see the encounter when Walt buys the business from him - that’ll be a great scene.

By the end of “Abiquiu” Skyler asks to become the “Danny” - or the inside man who looks the other way. Naturally, Walt is against Skyler’s involvement, but she’s been doing this for Ted all season: she’s a pro at doctoring the books. Through Walt and Skyler’s negotiations, we learn that Skyler never filled the divorce papers. I thought that was the case, since we’ve never gotten closure on the whole divorced or not divorced thing.

Jesse’s story is pretty interesting this week. The episode opens with a flashback teaser with Jane. I’m glad she’s back this season, too (even if only through a flashback). She was one of my favorite characters last season, and her loss on the show is still evident. Last week, we saw Jesse eyeing the cigarette from Jane. Opening “Abiquiu” with her is appropriate because the episode deals with Jesse starting a new relationship.

It’s not clear if Jesse’s relationship with Andrea will pan out to anything further… I doubt it will. It seems her character was only a plot device to get Jesse to interact with Tomas. The whole thing was a freak coincidence, reminiscent of Walt’s encounter with Donald in the bar. Jesse is likely taking this all as a sign… that he has to avenge Combo’s death. Imagine how he’d react if he found out what Walt did (though indirectly) to Jane. Jesse was a hell of a lot closer to Jane than he was to Combo.

One scene that I found really strange was the whole encounter between Gus and Walt. I’m sure that was intentional, and we’re not supposed to know exactly what it means, but please comment if you have any thoughts. Am I missing something - what is the mistake that Walt’s making twice? Letting close friends or relatives get involved? I’m not sure…

Also, before I wrap this up, I just want to mention how bad I feel for Hank. He’s in such pain, and I don’t blame him for not wanting to go home to a hospital bed. I hope he’s able to make a quick recovery. He deserves it.

There’s only two episodes left for season three. As usual, I have no idea what’ll happen, but I suspect that Jesse’s going to be in a lot of trouble when he seeks out revenge. We’ll have to wait and see what happens.

-MP

Note: This review is taken from Review Hub Central.

LOST was a great show. The finale was not.

That’s about as direct as I can be regarding LOST. I’d never been a huge fan of the show. I’ve seen every episode, and I loved the first season. After the second season I started to lose faith in the series, and began to notice the storytelling trend. My not being a “lostie” (what an embarrassing term - I’m glad I’m not one) might put me in a better position to review the show objectively… or maybe it doesn’t. I’m not sure, to be honest.

But that’s besides the point. “The End” was a huge disappointment. I’m surprised to see the great reviews and fan praise it’s been getting. The episode started with promise, and felt like the whole season had been leading up to this reveal - that the two universes would collide.

But what we’re left with - to be perfectly honest - is a storytelling mess. I know I’m not the only one, so I have to say it here: I feel cheated. As a writer, you cannot do this to an audience. Well, you can - that’s what happened - but you shouldn’t do this to the audience. The ending felt like this obscure, metaphysical explanation, that basically tells everyone watching: “You figure it out. We give up.”

If you’ve been reading my reviews, you know I’m more into character-driven drama than plot. So the explanation that LOST is a character driven show, and that this is a character-driven ending, is nonsense. LOST started as a character show in season 1 (which is probably why that’s my favorite season). But after that first season, it’s been a non-stop plot ride. I can’t think of a show on television that’s more plot-driven than LOST, now that I think about it.

So it’s a problem when the most plot-driven show on television decides to ditch the plot and focus on only the characters during the final episode. It not only cements the idea that the writers didn’t know how to end the series, but that they were making things up as they went along with no answers in mind. Obviously that’s how television works - you can’t plan everything - but there is such thing as asking too many questions. I think LOST proved that.

There’s a great writing book I bought for a creative writing class last year. One of my favorite passages relates to the LOST finale:

“The one unforgivable sin in writing is to be deliberately obscure. The freedom from the modern writer from the need to be explicit or obvious was hard-won - it was achieved at the cost of alienating all but the few readers capable of understanding and appreciating the form. While it is the obligation of the contemporary writer to exploit this freedom, it is absurd for him to take advantage of it.”

- Rust Hills

That pretty much defines my problem with the finale. I don’t know if I need to add much more. The writers clearly added an obscure ending to an obscure series. I think of a writer as God - if he doesn’t know the rules of his own universe, he can’t create anything that magical.

This review isn’t meant to knock LOST. I enjoyed the show for what it offered, and it hurts to have to put this review in the “Classic Television” section, since it’s no longer on tv. LOST was a great show, and it’ll be remembered that way. Still, I think it’s disingenuous to pretend the series finale was more than a disappointment. “The End” may have wrapped up LOST’s character moments, but it completely ignored the show’s plot.

-MP

This review is going up later than usual because of the Lost series finale. I’ve never been a huge Lost fan, but I watched that last night instead of Breaking Bad. I will never do that again. After the storytelling mess on Lost (I apologize if you liked the finale - maybe I’ll put up a review of it later), I came home to my DVR and watched Breaking Bad. Thank God I did - “Fly” is simply amazing and reminded me how good television can be.

I should mention that “Fly” is a bottle episode - meaning it’s intended to save money by using few cast members, in one or two set locations. Bottle episodes are often hit or miss in television. You can always tell that it’s a bottle episode, so that’s always at the back of my mind. But like Breaking Bad’s other bottle episode from season 2 (“Four Days Out”), “Fly” delivers some amazing character moments.

“Fly” is very much like a two-man play. It’s almost all dialogue, and hardly any action. “Fly” contains just two actors on one set, and it helps that Bryan Cranston and Aaron Paul are so talented. I mentioned once before that Breaking Bad can make the most boring, everyday speeches incredibly interesting. “Fly” is proof of that. I spent forty-seven minutes watching two grown men hunt a fly, and I was on the edge of my seat. It had nothing to do with the fly - it was all about the characters. I’d like to find another show that can accomplish that.

By the way, on a side note, the plot reminds me of a Richard Matheson short story called “Shoofly.” It’s a strange story - I don’t remember all the details, but it’s pretty interesting. You can find it at the back of the Tor edition of The Incredible Shrinking Man, if you’re interested.

Anyway, I love that “Fly” picks up on the Jane storyline from season 2. “Phoenix” is my favorite episode of Breaking Bad. It’s the episode where Jane begins to threaten Walt and make demands. The scene between Walt and Donald at the bar was so powerful, and we’ve never heard Walt’s take on it. “Fly” allows Walt to finally express his thoughts about that chance encounter, and it leads to an equally powerful scene. Walt finally apologizes for Jane’s death. He doesn’t admit his role in her demise, but you can tell he wants to.

Walt’s monologue about the exact moment he should have died is chilling. I literally could not take my eyes off the television for a second. He is completely breaking down, and I think Walt’s hit rock bottom. He was actually analyzing the time he should have died. His opinions about living too long seem legitimate. If you go back and watch “Phoenix,” you can see how content he was when Holly was born and Skyler was singing her a lullaby. I loved the teaser for “Fly,” too - Skyler’s lullaby in the background made for such a creepy atmosphere. It really set the tone for the episode.

Back in my review of “Caballo Sin Nombre,” I mentioned that Walt was developing an obsessive compulsive disorder. In that review, I wondered how far the writers would take it. While it’s been hinted at all season (think back to Walt flipping out at Gale when the temperature was slightly off), “Fly” is the answer to my question. Walt has gone off the deep end - he’s being destroyed on the inside. As I said, we spent forty-seven minutes watching Walt hunt a fly. His OCD stems from all the poor choices he’s made, and I doubt it’ll be going away soon.

“Fly” is just oozing with great writing, strong direction, and amazing performances. There are so many noteworthy moments. One I forgot to mention is Jesse’s anecdote about his aunt’s cancer. That was an amazing scene, too, and I love how the camera slowly panned in over the long monologue.

It’s starting to bother me that my Breaking Bad reviews never discuss any flaws. I suppose I can find a few if I look really hard, but there’s no point in doing so. This season of Breaking Bad has been stellar so far. I didn’t think anything could top season 2, but season 3 is even more gripping. Walt’s descent into depression is a fascinating ride. With only three episodes left, I can’t wait to see how it ends.

-MP

Note: This review is taken from Review Hub Central.

I don’t know about you, but I love cliffhangers. You know, the kind of storytelling that builds all season long, and leaves you wondering what’ll happen next? Fringe leaves us with a fantastic cliffhanger, and I can’t wait to see the shift in storytelling for season 3.

Anyone who’s nervous about it, don’t worry, Fringe has been renewed for a third season. I just want to say that now, because it would be really disappointing to end the series on such a strong note, and with such an amazing cliffhanger.

With that out of the way, let me talk about “Over There: Part 2.” The episode picks up where last week’s left off. It moves quickly - even faster than Part 1.  It’s clear from the beginning that the stakes are higher than ever, as alliances grow and shift throughout the episode.

It’s getting kind of difficult to write about Fringe, since there’s pretty much two of every character - I’ll stick to referring to characters as “regular” and “alternate” before things get too confusing.

Regular Olivia and alternate Olivia share a couple great scenes together (I’m sure that fight sequence was a nightmare to film and choreograph). Regular Olivia dying her hair brown foreshadows all the mistaken identity to come, and it was a clever move from a storytelling perspective. By going undercover, Olivia is able to interact with the other side as “one of them.” The shift in alliance is always interesting, with Olivia feeling nostalgia for Charlie at one point, and then smashing him over the head a second later.

One of the most noteworthy sequences in “Over There: Part 2” is Olivia telling Peter she needs and loves him. Part of me is bothered that the show went there so soon, but the twist ending to Part 2 promises to keep the story interesting. I understand how it’s the right time to pull that card, since Peter doesn’t feel welcomed anywhere. He was originally from the other side, but grew up in the “regular” universe, and now he’s back to the other side. I don’t blame him for being confused. Olivia tells him exactly what he needs to hear - that she needs him. Rather than choosing where to stay based on the laws of physics, Peter makes his decision for another character.

There are many great scenes between William Bell and Walter Bishop. I love their back-and-forth banter. Walter keeps referring to Bell as a sellout, and I’m surprised that Bell didn’t rub Walter’s destruction in his face. After all, Walter really screwed up this alternate universe by stealing Peter. That amber covering everything is a really creepy display of Walter’s impact on the alternate universe. And speaking of that, Part 2 gave us plenty more of the other universe differences. As I mentioned last week, the attention to detail is remarkable.

The ending of “Over There: Part 2” leaves us with a great cliffhanger and setup for season 3. Regular and alternate Olivia switch sides. I kept thinking that season 2 would end with all our characters being trapped on the other side, but the actual ending is just as effective. Only Olivia is trapped, and nobody even knows it. Alternate Olivia is now an agent for the other side - we see her typing on that mysterious typewriter from earlier in the season (I’m glad that thing is back!). Meanwhile, regular Olivia is a prisoner to Walternate Bishop, who by the way, is terrifying. The closing scene of Part 2 is really dark and frightening. Walternate is such a cold man… I suppose it makes sense, given that his son was stolen and his world is in chaos… but still. The way he kind of smiles, and closes the window on Olivia? It’s just cruel.

There are tons of questions at the end. I’m most interested to see how Peter interacts with alternate Olivia. He probably thinks they’re a couple now, and I suspect alternate Olivia will play along. Also, I have a feeling that alternate Olivia won’t be as cold as she appears. We saw that look of joy on her face when she realized that her sister was alive on the other side. I’m sure that will play out in season 3.

“Over There: Part 2” closes season 2 in a satisfying way. It answers enough questions while changing the Fringe rulebook in the process. I’ll miss writing these reviews, but no worries, I’ll be back next fall with the new season.

-MP

Note: This review is taken from Review Hub Central. 

“Kafkaesque” is another strong episode of Breaking Bad that expands on the Season 3 universe. “Kafkaesque” works on clearing the air and letting characters know the truth.

Breaking Bad has always been a show filled with lies. Throughout seasons 1 and 2, it’s been Walt starting most, if not all, of the lies. This season has been different, and Walt’s been kept in the dark, too. Gus has been hiding a lot from Walt. Last week, Walt found out some of Gus’s agendas, and “Kafkaesque” continues to reveal those secrets, while starting new lies in the process.

One of the most important scenes is the confrontation between Walt and Gus. Walt lays his cards on the table, telling Gus exactly what he suspects him of. One notable detail (that I hadn’t considered previously) is how Gus intentionally called Hank in order to ensure a gun fight took place (from the episode “One Minute”). Here I was thinking that Gus warned Hank because he cared for Hank’s safety. I mentioned last week how cold and calculating Gus is, and “Kafkaesque” only cements that. As much as I love Gus, he’s really not a nice guy.

Another important detail from the scene between Walt and Gus is Walt’s admission that he would have done the same thing had he been in Gus’s position. I’m not sure if Walt was bluffing, but that’s a pretty drastic statement, especially with Hank in such critical condition. Walt has really become a hardened criminal, and I’m finding him a lot tougher to sympathize with.

Jesse is given a more prominent role this week. I’m glad to see he’s still in rehab - even if he’s about to start selling meth to his rehab peers. Although I predicted the story would go there in “Kafkaesque,” I still find it a bit surprising. I know it’s been hinted at that Jesse’s a drug pusher (think back to that girl at the gas station in “Green Light”). But even so, Jane was in rehab for six months, and look at where she ended up after quitting rehab. I feel like that must be at the back of Jesse’s mind.

Jesse has a lot of other great scenes in “Kafkaesque.” The one between him and Saul is fantastic and has me wondering if Jesse’s going to buy the nail salon. I honestly can’t imagine that. Still, the best scene with Jesse is in rehab, when he explains his box project from high school. I wasn’t sure how to interpret the scene at first because I was so sure that the monologue was just a metaphor for Jesse’s relationship with Walt (“Mr. Pike” = “Mr. White”). By the end of Jesse’s explanation, I realized that the box project was a real memory - it wasn’t a cryptic retelling of his meth business… At least I don’t think it was. I’m still not sure, to be honest. It was a great scene, regardless, and I like that I had to juggle back and forth with its meaning. Did anyone else feel the same way?

In retrospect, “Kafkaesque” is a wonderful title for this episode. If you’ve ever read any Franz Kafka (I have this book, and I really should read it more often), you’ll see a lot of parallels. The word kafkaesque describes the feelings in a Kafka story - where everything is government run and bureaucratic, making for a surreal and frightening state of mind. That’s the business Walt’s in. He’s no longer in control and there’s a bureaucracy to drug dealing. Gus is high up in command, and he makes a ton of political movements. In the larger scheme of things, Walt is only a pawn in Gus’s plan. He’s no longer the chess player from seasons 1 & 2, and Walt has finally realized that.

Another big piece of “Kafkaesque” is Hank’s recovery; it’s not going to be as quick as I’d hoped. It’s also going to be expensive, in a way very reminiscent of Walt’s cancer in seasons 1 and 2. By the end of the episode, Skyler comes up with a plan to give Walt’s money to Marie for Hank’s treatment. Skyler provides this whole elaborate story about Walt gambling. I’m pretty sure she’d come up with that ahead of time, because nobody is that good of a liar… even if you’ve learned from the best.

At the end, Walt seems turned on by Skyler’s ability to break bad. He has this creepy kind of pride about it and Skyler shuts him down by saying that she knows Walt is responsible for Hank’s condition… and she won’t forget it. Good for Skyler - but sometimes I feel like she’s too smart. How does she always know everything?

Skyler also shuts Ted down, when he arrives at her doorstep. I think it was kind of rude of Ted not to leave when Marie was there, but I can understand his frustration. He’s divorced, too, so why should Skyler always come by his place? Why does only she have to keep their relationship a secret?

“Kafkaesque” clears a lot of the air, but puts Skyler in the liar’s position. I’m not sure if Marie will buy into the whole gambling thing, but it seems like she was willing to accept the story. I doubt she’ll be asking too many questions once the money starts coming in.

-MP

Note: This review is taken from Review Hub Central.

After last week’s interesting, but somewhat tame story, things really pick up with “Over There: Part 1.” I’d been waiting for this episode all season, and it pretty much delivers on all my expectations, and sets the stage nicely for Part 2. I can’t wait for next week’s Fringe.

“Over There: Part 1” starts with a bang. I loved the teaser. The writers didn’t waste any time in showing us the alternate universe. “Over There” literally begins over there, teasing at what’s to come. And things move at a break-neck speed when the episode jumps back to the regular universe. I’d expected the whole episode to build up to the jump to the other side - I figured it would end with Olivia and Walter making it “over there.”

That’s not the case at all. About half-way through, Olivia, Walter, and several other former Cortexiphan children (introduced in earlier episodes) are already on the other side. On that note, it was nice to see these former characters return - although I was a little surprised at how quickly they were killed off.

As I mentioned, it definitely took me by surprise that these characters crossed over so quickly. It’s for the best though, because “Over There” is about introducing us to the alternate universe. If the episode built up to them crossing the boundary, it may have been more impactful, but we wouldn’t be given enough time to understand the laws of the alternate universe.

But don’t worry, because we’re given plenty of time “over there.” And things are different on the other side: way different. It feels like if the alternate universe were that different, the humans wouldn’t look anything like us - they’d be human-plants, or bred with aliens, or something equally insane. But I won’t talk too much about the laws of alternate universes (simply because I don’t know what the hell I’m saying).

The most substantial difference on the other side is the inclusion of Charlie Francis! Okay, that’s not the most substantial difference, but I was excited to see him back. Thank God he’s alive over there - I miss him. There are literally tons of differences on the other side, and I won’t bore you by listing them all. Just keep an eye out for all the subtle differences; let’s just say that the show has a very strict attention to detail.

Peter seems pretty happy on the other side. There was a nice reunion with him and his mother - she seems like a really sweet lady. Walternate Bishop, on the other hand, seems nuts! He’s the Secretary of Defense, and it’s fascinating to watch John Noble play the part. He stands incredibly straight (unlike the often hunched Dr. Bishop we know), and he really looks like the Secretary of Defense. It appears that he’s building a Doomsday Device, or something like it. I’m sure will learn what that’s all about next week - and I’m excited to find out.

Near the end, there’s a nice scene where Olivia watches her doppleganger with her boyfriend (by the way, what’s with those weird tattoos on their backs?). It was a sad scene, and her expression said it all. The scene is then interrupted by Lenoard Nimoy! Since next week is Nimoy’s last episode before his retirement, I wonder if he’ll survive Part 2 of “Over There.”

I can’t wait to see how it all ends.

-MP

 Note: This review is taken from Review Hub Central.

Breaking Bad always provides an admirable mix of human drama and crazy action. Last week was an example of Breaking Bad at its finest. All the drama over the first half of the season led to the dramatic climax of Hank being shot. This week, things slow down, and the human drama takes front and center.

“I See You” (a parallel of Hank being in the I.C.U.) forces the White family back together. It makes sense, given Hank’s tragic shootout - I mean, can you imagine if Walt didn’t stay with the family? It’s nice to see them all come together during a time of crisis… it’s to be expected and Skyler doesn’t try and yell at Walt or anything. They’re all there to support Marie, and to get through the ordeal together.

“I See You” is filled with irony. I guess that’s to be expected when Walt is pretty much responsible for Hank’s condition. This season, we’ve know a lot that Walt’s been unaware of: Tuco’s cousins, Gus’ relationship with pretty much everyone, Hank’s state-of-mind… these are just a few examples. “I See You” breaks down a lot of those walls. Walt finally knows what’s been going on, partly by seeing one of Tuco’s cousins come crawling towards him in the hospital… how gross was that? And by the end of “I See You,” Walt knows that Gus has been hiding a lot from him. Gus (as we’ve seen time and again) is an incredibly cautious man.

I was surprised to see how much humor is in this episode. For such dark material (Hank being on his deathbed, and all), “I See You” has some of the funniest moments of the season. Walt firing Gale was perfect. Walt’s explanation of Gale being jazz (as indicated by the Vince Guaraldi music from the episode, “Sunset”) and his being classical was so good. I laughed out loud for the first time this season when Jesse came in - he is not classy, at all. And speaking of Jesse, he’s given some great material, too… it’s hysterical to see him messing around in the lab. I don’t blame him - I would have inflated that yellow suit, too.

But the humor doesn’t mean “I See You” is a comedy. It’s far from it. As I said, this is one of Breaking Bad’s darker moments. Gus is expecting a shipment of meth from Walt, and Walt simply doesn’t have time due to Hank’s condition. There’s a really interesting scene where Jesse calls Walt, and Skyler’s standing right there. Walt pretends the caller is a close friend and playfully asks Skyler if she knows who called. She just stares and smiles - Skyler knows that it’s someone from Walt’s drug business. She’s not as dumb as Walt likes to think.

Gus pays a surprise visit to the hospital and sits down with Walt’s family. It’s a weird move on Gus’ part - like Walt asks, is this some message? It’s hard to know, but I think Gus wanted to see what he’d caused. Also, he probably needed to learn about the cousin’s condition. The whole scene with Gus in the hospital provides so much dramatic irony that it’s overpowering. Seriously, if I were Walt, I would have just gotten up and left the second Gus stepped in.

By the end of “I See You,” Walt finds out a lot about Gus… and we do, too. He’s a pretty ruthless character. Gus sends Mike in to finish off Tuco’s cousin, and he betrays one of his drug suppliers in Mexico. Gus is a cold man - everything he does is so calculated. I suspect he wants to cut off all ties with the Cartel and make Heisenberg his new, and only, supplier.

“I See You” ends on a somber tone. I kept thinking we’d hear from Hank… or at least see him by the end. We barely do - the episode ends with the White and Schrader family gathered around Hank’s hospital bed. It’s a dark ending, and I imagine things will only get darker in the weeks to come.

-MP

Note: This review is taken from Review Hub Central.

“Northwest Passage” is a good episode of Fringe. It never really hits “great,” but it’s still enjoyable. I like to think of “Northwest Passage” as a transitional episode. It’s paving the way for the two-part season finale… and I’m confident that that’s going to be awesome.

While “Northwest Passage” doesn’t reach the brilliance that Fringe has delivered in the past, it’s certainly a huge step up from last week’s random musical. I like that Peter is given his own story here. He always feels like an underused character. The most insight into his life came from an episode  (“Peter”) that he wasn’t even in.

And though I like that Joshua Jackson is given some more screen time,  the plot in “Northwest Passage” just isn’t that interesting. This might be because the episode is so distant - it’s set in a Twin Peaks-style town, instead of Boston. Also, Sheriff Mathis feels like a much bigger character than she needs to be. I like that she’s given more focus, but she didn’t need to be such a huge part of the episode, did she? I don’t know, I just didn’t find her (or her story) that interesting.

One thing that makes “Northwest Passage” a bit uncomfortable is the fact the Sheriff Mathis has no idea about any of the crazy Fringe cases. I think that’s a mistake on the writers’ part, because the show is pretty ridiculous if you step back and look at all that’s happened. I’m willing to sustain my suspension of disbelief if the writers stick with characters who know what’s going on. But when you bring in a character like Sheriff Mathis, who has no clue about any of this, it makes the whole show seem ridiculous, especially when Peter tries to explain everything. Maybe that’s just my opinion, but I think it takes away from the credibility and it could have been avoided.

I’m glad Newton reprises his role as the villain this week - he’s such a cool character. He doesn’t even need to talk. We don’t find out too much about him, until the very end, where we learn The Man From the Other Side’s identity. Spoiler Alert: It’s Walternate Bishop! (which by the way was one of my predictions! Although I guess it was pretty obvious.)

Walternate Bishop looks so much more determined and angry than the Walter we know. It’s going to be interesting to see how John Noble plays the part. I’m sure he’ll do a great job.

In the end, “Northwest Passage” is an enjoyable episode. As I said, it’s not the best episode of Fringe, but it definitely sets the stage for the two-part finale.

I don’t know about you, but I’m really excited for it.

-MP

Note: This review is taken from Review Hub Central.

I’ve written about the Dementium franchise before. I loved the first game (you can read about that here), so I’d been anticipating the sequel for a long time. After a couple of delays, it was finally released yesterday in North America. So the question is: should you buy it?

The short, simple answer: Yes.

Before diving deeper into the review, I want to talk a little about the first Dementium. I have to admit, I have a strange kind of attachment to it. I bought Dementium on an impulse, during the beginning of my senior year of high school. For that reason, I associate it with a lot of good memories - I can remember the day I bought it, playing through it on a rainy November day, and talking to some of my friends about it. I know, I know, maybe that’s not an indication that the game is any good… but I say it is. If Dementium had been boring, it wouldn’t have made the same impression.

But moving on to its sequel, I want to say right off the bat that Dementium II is an amazing experience on the DS. If you’re a survival horror fan, and you own a DS, go buy it. There’s no reason not to.

There are only two flaws I have with Dementium II. The first is its length. Granted I played it on easy, it only took me a day to beat. 3 hours and 33 minutes to be exact (hmm, if you double that, it’s 666 - that’s kind of creepy and suitable for a game like this). The first Dementium took me much longer (around 5 or 6 hours).

I don’t consider this a flaw so much because the game is always fun and interesting. You want to keep playing. The first game got monotonous because the environments were so similar, and those 5 or 6 hours felt a lot longer. That’s simply not the case in Dementium II. The pacing is great. If you’re getting bored with one environment (and I doubt that you will), it’ll change quickly and without warning. And if the length bothers you, it has a survival mode, too. From what I’ve seen, the survival mode is pretty cool. I haven’t really tried it out though.

The other flaw is the story. If you’ve been reading my reviews, you know how important a good story is to me. From the beginning, Dementium II promises better storytelling than its predecessor. You get a lot of insight into William Redmoor (the same character from the first Dementium). But when the story starts to pick up and you’re really getting into it, it kind of fades away. The story is pretty cryptic, too, and it would have been nice to find out once and for all what’s really going on. By the end, you really don’t know much more than when you started.

I really wanted to know what happened to William’s wife and daughter, but you don’t learn much. It seemed like the story of William’s family was at the heart of Dementium II, but then that plot disappeared altogether after defeating the Windigo Witch. The ending of Dementium II is strange and abrupt, but I appreciate it more in retrospect. I have to say, though, that it comes out of nowhere and leaves a lot of loose ends.

Now that those minor issues are out of the way, I want to talk about why Dementium II works… and ultimately, why you should get a copy. Dementium II, like its predecessor, relies on atmosphere. Like the best survival horror games, it has a really unsettling atmosphere. You never feel safe, and you’re always on edge. Play the game with headphones in the dark. I guarantee you that it’s scarier than most console games.

The first person shooter genre is a great match on the DS. Your hands might get a little tired, but it’s fun, regardless. I recommend you play Dementium II a little bit at a time. Take a few breaks (get a cup of coffee) and come back to it. It’s amazing how the creepy atmosphere lingers with you after you close the system.

The enemies, the weapons, the environments - they’re all cleverly designed. I’m a huge fan of the alternate reality concept in Dementium II. Just when you’re comfortable in one setting, a whining noise comes over and the screen turns white: You’ve been transported to the Hell (for lack of a better word) dimension. It’s a great device and works to keep you on edge and surprised.

There’s always a feeling of tension in Dementium II. Not to spoil anything, but here’s an example (feel free to skip the next paragraph if you want to go in spoiler-free):

There’s one point where you’re in these mines - it’s similar to the mines at the end of Resident Evil 4. You hear this awful noise - somewhere between a wail and a groan. That noise is constant, and it’s really unnerving. There’s a lift that’s out of order and a note attached to it. The letter is from a man. He explains how he stole the battery that operates the lift and hid it in his boat. He doesn’t want anyone to see the unspeakable evil at the other end of the lift. You spend 25 or 30 minutes recovering the battery from the boat… and you know that the lift is only going to lead to the source of that awful noise you’ve been forced to hear all along. And Jesus, just wait until you see what’s there - it’s one of the best bosses I’ve seen on the DS.

Now, if you can’t tell, I loved playing through Dementium II. I’m actually about to go back and replay it to soak in all of the tense atmosphere (and to get one of the weapons that I somehow missed!). Before ending this review, I gotta say: One thing I miss from the first game is the rain. I loved the sound of thunder and lightening. In Dementium II, the rain and thunderstorms have been replaced by snow. It’s a style choice - I appreciate it, but would have liked a few claps of thunder here and there.

So do yourself a favor and get yourself a copy of Dementium II. It’s available through Gamestop and Amazon. Buy it, enjoy it, and support the creative minds that bring these games to life.

-MP

Note: This review is taken from Review Hub Central.

When I saw that violence warning at the beginning of “One Minute,” I knew we were in for a good episode. I never imagined how good it would be.

“One Minute” is an amazing episode of Breaking Bad - across all fronts. I can write about every scene, and every minute (not just “one minute”). They were all so memorable… but I don’t want this review to go on for pages.

“One Minute” is pretty much the definition of Breaking Bad. It has everything the series is known for, and it delivers an incredibly memorable hour of television. We’re given slow-placed, moving character moments, and then provided with some of the most intense action shown on television.

The episode starts with Hank beating Jesse to an inch of his life (the writers used that violence warning from the very start). Jesse uses this opportunity to get back at Walt - he does so by threatening to ruin Walt’s brother-in-law, Hank. He explains that he will haunt Hank for the rest of his life.

Walt and Jesse’s relationship is pretty much a backstory to “One Minute.” It’s given careful attention, but it doesn’t get much screen-time. There’s a great scene where Jesse explains to Walt how Walt has literally ruined his life and left him alone and scared. By the way, I suspect that camera work was inspired by Batman’s Two-Face. There’s a lot of truth to what Jesse says, so it’s a little peculiar that Jesse still agrees to partner up with Walt again. I feel like that could have waited until next week, but who am I to outguess the Breaking Bad writers? They have proven time and again that they know what they’re doing.

Walt and Jesse’s relationship is good and interesting… but it’s nothing compared to Hank’s story. I’ve said in the past (particularly in earlier episodes, such as “Green Light”), that Hank’s storyline had me a little nervous. Well, this is what it’s led to. And damn, I feel sorry for Hank.

In “One Minute,” Dean Norris again plays the role of Hank fantastically. Hank started as a very one-dimensional character in Season 1… and he kept that through most of Season 2. But this season, Hank has become so raw and emotional. There are some really powerful scenes between Hank and Marie - the elevator scene in particular. In addition, the scene with Hank explaining to Marie his decision to tell the truth is fantastic. Hank is becoming the most moral character on Breaking Bad. He’s a vulnerable guy, who’s been joking through the first two seasons to cover up these deeper emotions.

Sadly, all these noble decisions lead Hank to a very dark place. He’s forced to turn in his badge and his gun and go on indefinite leave (without pay). And then, when we least expect it, Hank gets a call from a mysterious stranger (likely Gus), warning him that he’s got one minute before he’s killed. Hank doesn’t heed the warning and all hell breaks loose. I was literally (and I hate to use this expression) on the edge of my seat for those final few minutes. I still can’t believe how crazy things got.

Hank will likely live to see another day, but I don’t know about Tuco’s cousins. One of them is definitely dead (I mean, we watched his head explode), and the other one is in critical condition. Breaking Bad has a habit of killing off important villains sooner than we expect (just like the great Tuco in Season 2).

“One Minute” is a phenomenal episode all around. Again, there’s so much I haven’t mentioned here (like poor Gale!), but I think I touched on the most important scenes. It’s going to be interesting to see where the show goes from here. I suspect there’s going to be a lot of drama with Hank in such critical condition.

Let’s just hope that woman who wasn’t killed in the parking lot called the police!

-MP

Note: This review is taken from Review Hub Central.

Last night, I was writing a paper on Joyce’s “The Dead.” While writing the paper and reading a few critiques, I noticed an allusion to Henrik Ibsen’s A Doll’s House. (If you’re curious about the reference, note the way Gabriel treats his wife in “The Dead.”)

To be perfectly honest, I usually don’t love books/plays the first time I read them. There are very few that I love instantly. With the rest, the story has to sink in, and I’ll usually look back on the work a year or so later with a greater appreciation. Writing this paper on “The Dead” made me think back to Ibsen’s A Doll’s House. And God, I almost reread the whole thing instead of finishing my paper.

This might be a bold statement, but I think A Doll’s House is the best play ever written. Okay, I know that’s not entirely true. It’s simply an opinion. And I’m sorry, Shakespeare - I want to like you more, I really do. That’s not to say I don’t appreciate Shakespeare… I do, just in a different way.

I read A Doll’s House in high school and I recall enjoying it to a certain degree. But when I look back on it now, I appreciate the work so much more. I give a lot of credit to my high school English teacher. She didn’t introduce the play by giving us historical context and discussing its controversy. Instead, she waited until we finished the play to get into those details. That was a great move on her part because not knowing the plot of A Doll’s House will greatly add to your enjoyment of the play.

So if you want to go in with a fresh slate, I suggest you stop reading this review now, and start reading the play. Or you can order a copy through Barnes & Noble. So you’ve been warned. I’ll be taking about the play and its ending from here on in.

The strength of A Doll’s House (at least in my opinion) is that you don’t know where the story’s going. If my English teacher had told me that it’s the first feminist play, I may have dismissed the story as “one of those.” Yes, it is a feminist piece, but arguably the strongest one out there.

We see that Nora is treated awfully by her husband, Torvald. The tragedy being that Torvald doesn’t see any problem with his actions. This is really a commentary on the times. The play was written in 1879, and I suspect there were a lot of “dollhouse” situations back then.

Ibsen cleverly structures his play so that Torvald is never really seen as “the bad guy.” We’re tricked into believing that Krogstad (as suggested by his ugly name) is the antagonist, and that Torvald is only a secondary character. But by the play’s end, we learn that Torvald has been the villain all along. He’s been treating Nora as a doll - pulling strings and living their marriage as one giant façade. Nora finally decides to leave him and the children to start a life of her own. It’s a really liberating moment and it’s so powerful to watch this woman stand up to such a controlling man.

The play may not sound so great based on my retelling. However, Ibsen’s language flows beautifully. There’s this sort of back-and-forth banter between characters that makes the dialogue move along seamlessly.

But if I have to mention one thing about the play, it’s the ending. A Doll’s House is most famous for its final piece of stage direction. Nora packs her bags and leaves Torvald, as he sits in his study, wondering how he can get her back. And at this very moment, a heavy door is heard slamming off stage. It’s seriously the perfect ending to the play - I love it.

I highly suggest you read A Doll’s House if you haven’t already. It’s an amazing play, and you’ll be surprised how well it holds up today.

-MP

Note: This review is taken from Review Hub Central.