News & Reviews:

Celebrity Ghost Stories Review

Celebrity Ghost Stories is a little known shown on The Biography Channel that’s been on for nearly five years and has featured well over two hundred celebrities. I’ve seen almost every episode and didn’t realize how much I enjoy this show until Season 4 wrapped up a few weeks back. Until Season 5 begins, my DVR is rendered unemployed on Saturday nights.

Celebrity Ghost Stories is simple in style and execution. Each episodes features three or four celebrities recalling a peculiar memory from their pasts. Interestingly, they’re not all hauntings; the stories range from bizarre encounters in the woods to a more typical haunted house scenario. In fact, the broad spectrum of stories works well because you never quite no where each story is headed. Some are terrifying (like Cary Elwes’ sleepless night in a seventeenth-century Spanish castle), while others are poignant and moving (such as Lainie Kazan’s spectral visit from her late husband). The stories are consistently surprising and intriguing.

The show uses minimalistic recreations intercut within each celebrity’s narrative. But, these aren’t Unsolved Mysteriesrecreations; these are simply-filmed images with little to no recreated dialogue. This minimalism works especially well for Celebrity Ghost Stories. The tales presented here are the kind you hear around a campfire, and the less hand-holding by a director, the better. Much of the story is left to your imagination, and the anecdotes are often just as successful if you were to close your eyes and simply listen.

I should mention that not every celebrity story is a success. Some of them are downright terrible. The most successful are the ones that take a peculiar event - maybe a night in a haunted house - and recreate every detail of the encounter. The worst usually cover months or years at a time where “strange things kept happening until I moved out of that house.” But, regardless, there are enough great tales here to overshadow the bad.

I generally steer clear of reality television (and the word “celebrity” only raises more red flags) and yet, Celebrity Ghost Stories works. In fact, the celebrities (not all are as recognizable as Regis Philbin or Carrie Fisher or Joan Rivers, but you’ll know most) actually enhance the narratives. These people are generally well-educated and successful, which adds authenticity to their accounts. That doesn’t mean you’ll believe everything you hear; in fact, I’m sure, like me, you won’t, but the guests are able to accurately articulate their experiences and provide intriguing reflection on the supernatural.

I know this show isn’t for everybody, but I recommend you give it a shot. Celebrity Ghost Stories offers fascinating slice-of-life stories by celebrities who are haunted by an experience from their pasts. The range of storytelling is remarkable, and fans of biographies - or simply those who love a good ghost story - shouldn’t let this one slip by.

If you’re a fan of the show, or are considering watching it for the first time, I’d love to hear your thoughts below.

-MP

Note: This review is taken from Review Hub Central.

Fringe: Series Finale Review

Ah, Fringe. Tonight marks the resolution of FOX’s five year science-fiction series. What began as a typical freak-of-the-week pattern emerged into something entirely different and ends with a two-part episode that neatly wraps up the series. “Liberty” and “An Enemy of Fate” have big shoes to fill in a show that managed to reinvent itself every year.

Part I, “Liberty,” is all about Olivia, who doses up on Cortexiphan and crosses through to the other side. It’s great seeing the alternate universe one last time, as Olivia checks in with Altlivia and Lincoln, who are married with a child. I suspect that if Season 5 had been provided a full twenty-two episode order, we would have spend much more time in this calmer, alternate reality.

The concept is engaging with Olivia crossing over, being escorted to Liberty Island, taking Michael and crossing back another two times. It’s pretty elaborate stuff, yet in typical Fringe fashion, the writers assume we understand and don’t over-explain to their audience. Of course, we Fringe fans have followed much crazier story-arcs over the course of this series.

Then, in Part II, “An Enemy of Fate,” Walter expresses his plan to escort Michael into the future in order to rid humanity of the observers once and for all. I must say, the observer mythology, as elaborated on last week, is quite compelling, and it reinforces the very notion which makes Fringe so special: the importance of humanity in a world governed by science. This notion is the basis of most great science-fiction.

The rest of the episode is handled well, with strong action sequences and a great sense of momentum. In the final moments, we’re given the happy ending foreshadowed in the Season 5 premiere. Though the resolution might have been a bit predictable and possibly seen as an easy “reset” in this sometimes convoluted science-fiction series, it ultimately works here. Why?

Because Fringe has never been about the science, not really. Of course, science was the catalyst for storytelling, yet the crux of the series could be condensed down to the lovely Season 2 flashback episode, “Peter,” in which a grief-stricken Walter tampered with nature in order to save his son from death. Everything since has been a consequence of those actions, and “An Enemy of Fate” allows Walter to let go of Peter once and for all. This is what he needs to do; it’s what the series has been building up to, and Walter realizes that September’s suggestion to go instead feels wrong. Walter’s sacrifice will allow for some karmic justice that he has been searching for over the course of the series.

The final image of Fringe - the white tulip - harkens back to the wonderful conclusion of Season 2’s “White Tulip,” yet it bares a very different connotation here. In that episode, Walter sought out forgiveness from God. Here, Walter is able to forgive himself, and he can honestly face his own trepidations involving losing Peter once more. It’s a poignant ending that may not be all that surprising, but it is satisfying in its own right.

Credit is due to all the wonderful cast members on this show, and I hope that John Noble will finally receive that hard-earned Emmy nomination for “An Enemy of Fate.” Likewise, let’s not forget to credit FOX for allowing this series (with a small but incredibly loyal following!) to stay on the air for so long. It’s not often a network will stand behind a faltering science-fiction show.

Fringe will stick in my mind as one of the strongest and most entertaining shows of the past few decades. Though it’s had a few wickedly strange episodes (“Brown Betty” and “LSD” come to mind) and some storytelling missteps (I’m still not a fan of that reset in Season 4), the show consistently addressed science in relation to humanity. It’s the first show I’ve ever reviewed for this website, and though I sadly stopped writing for Review Hub Central this past semester (due to the demanding writing required for graduate school), I knew it would be disingenuous and somehow wrong not to review this final episode.

So, here’s to Fringe, the wonderful science-fiction show that never sacrificed heart for science and showed us the distinct possibilities of both.If you’ve been reading my reviews, I cannot thank you enough for the comments, feedback, and theories you’ve given me these past few years. I hope that we find one another on a different show… or perhaps in an alternate universe.

-MP

Note: This review is taken from Review Hub Central.

Fringe: “In Absentia” Review

I’m a week behind on my Fringe reviews, but I still want to post a quick article on Season 5’s second episode, “In Absentia.” This episode works to ground the new dynamic by reintroducing us to old series’ staples in a new, very different world. I enjoyed this episode a lot, as it effectively collides two different worlds.

“In Absentia” is essentially about recapturing the Harvard lab. Thankfully, the writers know how iconic that set is to the Fringe universe. Harvard has been overtaken by Nazi-esque observers, and getting in isn’t going to be easy. There’s definitely a Star Wars vibe going around this season with imperial and resistant movements, but I suppose those dynamics just go with the territory.

The episode focuses on a Loyalist - Manfretti - who is captured by Olivia and the gang. Manfretti is a physical representation of the 2036 world, meant to make us question the morality of this future society. When trying to extract information from Manfretti, is Olivia’s sensitivity the way to go? Or is Henrietta’s cynical torture device the proper approach?

On any other show, this good cop/bad cop routine is neither fresh nor interesting, but it works here because we know so little about this future society. The writers pretty much threw us into this world with little to no exposition. As viewers, we’re just as confused watching as Olivia and Peter. So the dynamic works because we begin on Olivia’s side; we’re seduced by Manfretti’s humanity as she is. But of course, his story is one big lie.

Yet, here’s the poignancy: Olivia believing Manfretti’s falsehood showed Henrietta that hope exists and the perhaps there’s something worth fighting for. Overall, Henrietta hasn’t been the most interesting character, but her cynicism will certainly allow for an interesting transformation as the series moves towards its finale.

At the end of “In Absentia,” Walter finally finds the tape he recorded before ambering the lab and himself. The coming scavenger hunt seems too contrived for the series (especially since it’s been done in Season 3, when building that damn machine), so here’s hoping the writers find a way to make it compelling.

As noted, this was another strong episode of Season 5 that further grounds the show in 2036. I’m excited to start watching “The Recordist.”

-MP

Note: This review is taken from Review Hub Central.

Fringe: “Transilience Thought Unifier Model-11” Review

Once again, Fringe has re-invented itself as the series moves into its fifth and final season. “Transilience Thought Unifier Model-11” serves as a strong setup to a very different season. Last year’s polarizing “Letters of Transit” laid just enough groundwork for “Transilience” to establish itself without alienating the show’s audience.

The year is 2036, and the observers have taken over the world. After last year’s odd, somewhat-rushed resolution, I like that the show jumps forward. The flashbacks are kept to a minimum, with one notable scene involving a young Henrietta being torn away from her parents, Olivia and Peter. This scene is referenced later in the episode, as Olivia and Peter share an emotional reflection on the day they lost their daughter. Interestingly, Olivia kept fighting while Peter broke down.

The pacing is great throughout “Transilience.” From rescuing Olivia from amber to shutting down the carbon dioxide filters, this episode moves along quickly while also establishing the new and bleak universe. In fact, this is what I admire most. Fringe is not always plot-driven; the show has a strong emotional core that is often overlooked by critics and fans. “Transilience” manages to reveal the beauty in the desolate.

This is accomplished in a number of ways. Notably, the relationships are at the heart of the show, and Olivia’s interactions with Henrietta are especially riveting. The writers pay careful consideration to the ensemble, and there’s a few lovely moments between Astrid and Walter.

The Season 5 aesthetics are altogether unique, as Fringe enters into a dystopian nightmare. A fascist government run by the observers tightly control a gritty, imperial New York. The scenery is very different from typical Fringe landscapes, and I love the attention to detail. Everything from the Nazi-esque uniforms to the crumpling, brick and mortar buildings help to situate the show and add to its credibility. Likewise, the scene with the amber gypsies was beautifully filmed.

The ending is great, when Walter sneaks out to a car and listens to music. He stares at a dandelion growing up through the rubble. It’s the perfect conclusion; Walter manages to find beauty in a bleak, cruel world. This dystopian nightmare isn’t without hope, and Henrietta manages (like the dandelion in the opening scene) to prosper and provide optimism in a world gone mad.

“Transilience Thought Unifier Model-11” situates Season 5 in the Fringe universe while also providing a thoughtful, poignant episode about family, politics, and hope. This is a strong start to the final thirteen, but there’s only twelve episode left. I can’t wait to see how the series ends.

What are your thoughts? As always, I’d love to hear your comments below. Do you like the new direction?

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: “Gliding Over All” Review

Breaking Bad wraps up part one of its fifth and final season with a very different episode. “Gliding Over All” is a brilliant hour of television that manages to reflect on the series in a quiet, subdued manner. That being said, this one still ends big and dramatically changes the scope of the series.

Before getting into specifics, I’d like to start off with this: “Gliding Over All” has lofty ambitions and manages to tell a lot with very little. This episode jumps through time, and some might see this as a fault. I disagree, as the episode certainly pulls out all the stops and shows us both sides of Walter White: the good and the evil, while we’re left wondering where his morality lies.

We start with the evil, as Walt orders the hit on Lydia’s nine names (ten, if you include the lawyer). The murders are grisly and all committed within a two minute time frame. There’s a lot of Heisenberg in the first twenty minutes: from his dismissal of Jesse to his meeting with Lydia. But then, we’re given a montage, in which nearly three months pass.

I suppose some might argue that this change shouldn’t happen off screen - that Walt’s transformation back towards humanity needs to be visible through action and dialogue, not through a montage. However, I disagree with these sentiments. The near constant visual cues to seasons past (the paintings, the smashed hand towel dispenser, the fly, the references to the RV, the same images preceding the Wayfarer 515 crash are just a few examples) show Walt’s newfound reflection. The monotony of cooking without Jesse wears on Walt until he, too, wants out.

This change is also aided by a visually brilliant scene between Walt and Skyler. Skyler decides to show Walt what she’s been doing with the money: she’s been stacking it up in a storage unit. This action makes sense; it’s hard to imagine Skyler still laundering money the same way she did in Season 4: by faking customers and ringing up artificial transactions. Her resolve has weakened considerably this year, and I love that she demands her life back as both she and Walt stare down at the money.

There will no doubt be speculation as to whether or not Walt’s cancer returned in “Gliding Over All,” thus prompting his shift in character. It’s certainly possible, but any thoughts would be just that: speculation.

“Gliding Over All” seemingly ends well. Walt gives a near-suicidal Jesse his share of the money, and then tells Skyler that he’s out of the business for good. Things are seemingly back to normal until that final tease. Hank finds a signed copy of Leaves of Grass from Gale. The quick flashback to “Bullet Points” is a great moment, and makes the wait for next year all the more exciting. On a side note, I have that exact edition of Leaves of Grass on my bookshelf (I have since before it even appeared on Breaking Bad), and I loved watching it take on greater significance with each year.

Sadly, we’re halfway through. Halfway through the final season of one of television’s finest dramas. “Gliding Over All” is a smartly-directed episode that quietly reflects on Walt’s good and bad traits, while allowing a sort of karmic ending to unfold. I loved every minute of this decidedly different episode, and I’m eagerly awaiting the final eight episodes.

I thank all of you who’ve read and commented on my reviews this past season. I always appreciate hearing your unique thoughts, opinions, and theories. I’ll see you all next summer for the final eight.

-MP

2 Hours Until the 2012 Breaking Bad Finale!

Can’t wait. I’ll post a review shortly after tonight’s episode, “Gliding Over All” airs. While we wait, feel free to catch up on all of my Breaking Bad reviews right here. How do you think it’s going to end?

Breaking Bad: “Say My Name” Review

“Say My Name” - the penultimate episode of 2012 - is another strong one with a big ending. Season 5 has not been the tension-ridden nightmare of last year, but it certainly brought about some huge changes for Walt thus far. Things are different now. This year has not been about the external threats caused by Walt’s choices. No, instead we’ve been stripped of those threats and provided with a look at who Walt’s become. And “Say My Name” provides some terrible revelations.

I have to say, the teaser is one of the strongest of the whole series. Seeing Walt back in Heisenberg-mode is great, and his negotiations are always a strong point for the series. Walt is very reminiscent of Gus here, and his pride is front and center. The line “I’m the man who killed Gus Fring” shows us exactly where Walt’s mindset is. Cranston played the scene wonderfully, and his concluding line - “You’re God damn right” - was delivered perfectly.

I was especially struck by Jesse’s resolve in “Say My Name.” Last week, I was a bit critical of Jesse’s reactions proceeding the child’s murder in “Dead Freight.” However, here we Jesse put his foot down and refuse to continue with Walt’s business. This decision was well played, and certainly more realistic. It shows a strength to Jesse that I didn’t expect to see so soon. After all, it wasn’t long ago that he was praising Walt for saving his life.

Every now and then, there’s a scene on Breaking Bad that resonates strongly without trying. In “Say My Name,” my favorite moment was at the carwash. There was this oddly sad moment of understanding between Jesse and Skyler; it was understated and could easily be missed, yet it managed to encapsulate how poisonous Walt’s become to those near him. As Skyler shakily walks back the office, part of Jesse realizes that Walt is a master-manipulator, both at work and home. I know the ending of “Say My Name” easily foreshadows this quiet moment, but I thought it extremely effective and work mentioning.

But, let’s get to the ending. Poor Mike. He’s easily one of the most likable characters on Breaking Bad for his no-nonsense attitude and strong resolve. But here we see him weakened and maybe a little scared… certainly more humanized than at any other point in the series. And of course, Walt kills him. If anyone would kill Mike, it’d have to be Walt.

The actual murder is left a bit hazy. Part of me suspects that Walt just wanted to shatter the windshield, and Mike inadvertently shot himself while reaching for his handgun. I’m not certain though. After all, what would be the point of just blowing out the glass: to get Mike’s attention and gratitude? I have no way to confirm who fired the bullet, so I’d love to hear your thoughts in the comments below. The fact that he was shot in the gut makes me think he was reaching for his own gun.

Either way, the outcome is grim. Walt’s awkward body language and dialogue reflects on his state of mind as he stands next to a dying Mike. The scenery is particularly striking (was that the same lake where Hank threw Tuco’s grills back in Season 2?), and it provides a stark contrast to the grisly accident (or murder?). It’s sad seeing such a strong character go, and it’s only appropriate the he dies because of Walt.

“Say My Name” marks another strong episode of Breaking Bad that raises the stakes even higher. Next week is the finale for 2012. Then we’re halfway through the final season. Mark your calendars… the countdown begins.

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: “Buyout” Review

“Buyout” is a transitional episode of Breaking Bad. It’s definitely not the strongest hour we’ve seen this season, yet it manages to move the story forward in all the right ways. More importantly, “Buyout” looks back just enough at Walter’s roots, revealing some of the underlying motivations behind his behavior.

The episode begins with Walt, Mike, and Todd disposing of the body in - you guessed it - hydrofluoric acid and a barrel. The teaser was especially effective by having the group deconstruct the bike before even showing the body. After, the group discuss Todd’s behavior and what needs to be done.

I often don’t blame Breaking Bad for taking shortcuts on anything, but I did feel that Jesse’s reaction was a little out of character. It’s hard to pinpoint the reason - maybe it was the forced anger - but his emotions didn’t feel as dramatic or resonant as when he shot Gale in “Full Measure.” And, I imagine a child is much worse, even if he didn’t pull the trigger himself.

Meanwhile, Skyler has a great scene with Marie, in which she laments over her poor parenting. Skyler was seemingly moments away from revealing the truth (but honestly, how would you even begin to explain all that’s gone down?), yet is taken aback by Marie’s knowledge of the affair. It was a typical Breaking Bad moment, in which the muddled lies reveal varying opinions and sentiments among characters. Both Betsy Brant and Anna Gunn were great in that scene; they really felt like sisters.

“Buyout” picks up when Jesse and Mike decide to sell out the business to competitors. We all know Walt won’t handle this well, and the escalation is handled nicely. I like that Jesse’s decision is influenced by Walt’s chilling whistle while manufacturing meth. It was a clean, effective way to show Walt’s solid foundation after the murder; he’s mostly unaffected by the closing moments of “Dead Freight,” even if he claims to lose sleep over it.

My favorite scene of “Buyout” has to be the discussion between Walt and Jesse in the White home. Walt’s explanation of Grey Matter was a long time coming and reinforced many of the interesting character arcs from Seasons 1 & 2. Not only does it reflect on Walt’s unwillingness to allow Gretchen to pay for his treatment, but it certainly connects with his current predicament: selling out of a multimillion dollar industry. But as Jesse points out, it’s not the same thing.

Also, the dinner scene bears mentioning. Seeing Jesse interact with Skyler again was perfect, as the two have absolutely no chemistry whatsoever. The dinner was appropriately awkward, as Skyler continues her passive-aggressive behavior in front of a visibly uncomfortable Jesse. I loved the conclusion, too: Jesse mutters “Thank God,” when Walt explains that his kids are gone. It’s nice to see some humor back on Breaking Bad.

The final moments of “Buyout”are purely speculative, as Walt hatches yet another plan. It should be interesting to see what that entails next week, where seemingly everybody wins. But as we’ve all come to accept: nobody ever wins on Breaking Bad.

“Buyout” likely won’t be a very memorable episode in the larger arc of the season, but it continues to tell the story honestly and with precision. With only two episodes left, it will definitely be interesting to see how the first part of the final season wraps up.

-MP

Note: This review is taken from Review Hub Central.

The Closer: Series Review

A few summers ago, I turned on the TV one morning. I saw a woman with a southern accent screaming at a young, pregnant teenager to confess. The pregnant teen had apparently murdered an innocent family execution style to protect her imprisoned boyfriend. After tricking the pregnant girl to confess by using her unborn child as bait, the southern woman went home to her husband and cried about her sick cat. Part of me wondered what in God’s name I had just watched, while another part wondered why I enjoyed it so much.

The Closer - TNT’s flagship series - came to a close last Monday. After seven years, the show had established itself and done remarkably well for a basic cable series. For some reason, Kyra Sedgwick’s Deputy Chief Brenda Leigh Johnson resonated strongly with me. For a show that’s generally marketed towards retired women, I cannot tell you why. But, regardless, The Closer was a strong show from beginning to end, and it comes highly recommended.

Though The Closer is a straightforward police procedural, I can’t think of a series quite like it on television. Sedgwick really made the show her own by delivering an infinitely complex character - a frazzled woman with strong conviction and a confrontational approach. We not only see her strengths as a detective and interrogator, but we see her humanity and vulnerably at home. The Closer is a show that seamlessly interweaves humor and drama to great effect.

My biggest problem with the show is in its procedural format. Every episode is meant to stand on its own, and while there is a strength to this structure (and surely a reason why the show’s ratings were so high), it ultimately hindered the series, too. Larger issues didn’t always translate into later episodes, and despite each season attempting a theme, the results were slim. At times, I wished the show would have gone grittier and darker with recurring characters, but it’s clear that the producers didn’t want to risk their audience by doing so.

The result? Some truly remarkable hours of television, and many not-so-strong hours in between. However, the good of The Closer far outweighs the bad. If you have to watch just one episode of the series, make it Season 5’s “Maternal Instincts.” Here you’ll see Sedgwick at the top of her game in an Emmy award winning performance.

There are many other standouts: “Ruby,” “Homewrecker,” “Cherry Bomb,” “The Round File,” “Sudden Death,” “Blindsided,” “Products of Discovery,” and “Good Housekeeping” are just a few of many great episodes. These hours, along with many others, feature fantastic acting, strong direction, and surprising outcomes.

Overall, The Closer was a strong and somewhat underrated show. It had a great run on TNT, and Sedgwick’s Brenda Leigh Johnson will surely be missed on Monday nights. TNT clearly has trouble letting go, too, as a spinoff series has already begun. Major Crimes, starring Mary McDonnell, attempts to fill the obvious void of The Closer. Though the pilot was strong, I have trouble watching without Sedgwick. Her presence really made The Closer work, but who knows? McDonnell is another strong actor. We’ll just have to wait and see.

If you’ve ever watched The Closer or enjoyed its run on television, I’d love to hear your thoughts on the series or the finale. Will you be tuning into Major Crimes? As always, share your comments below.

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: “Dead Freight” Review

Why can’t things ever end well on Breaking Bad? Though I suspect that’s why we love the show so much. “Dead Freight” continues the traditional Murphy’s Law, while we continually question how the biggest heist in Breaking Bad history will fail. “Dead Freight” is in many ways like the season premiere, “Live Free or Die,” especially in its containment. But, don’t be fooled into thinking this is a standalone episode: the repercussions are surely coming.

“Dead Freight” opens with a cold, strange teaser: a young, adventurous boy on a dirt bike puts a tarantula inside a jar (a new pet, perhaps?) and hears a train whistle in the distance. The opening is odd and easy to forget by the conclusion of the episode. This is likely due to the fact that Breaking Badoften gives us strange images (the pink teddy bear, Tuco’s grills, the fly, 52-year-old Walt) without answering them until later in the series.

From there, “Dead Freight” is actually a pretty fun, and dare I say light-hearted, episode. It’s a caper, with Walt, Jesse, Mike, and new-comer, Todd trying to rob a train full of methylamine. The trick? Doing so without anybody ever knowing the train was robbed. It reminded me a bit of The Lone Gunman - another great (and underrated) Vince Gilligan series. Like in “Live Free or Die,” Jesse comes up with the solution as Mike and Walt argue. He’s certainly grown much smarter over the course of the series.

Lydia has a surprising amount of screen time, and her character is a great addition to the show. Her paranoia and neuroticism is entertaining and adds a new dynamic to the show. I suspect that there’s an interesting backstory coming; maybe she grew up in a foster home, which would certainly address some of her trepidations involving her daughter.

And, on the subject of parenthood, the Hank and Marie dynamic with Walt, Jr. (who’s back to Flynn, apparently) and Holly is compelling. I wonder if the writers will touch on why the Schraders don’t have any children of their own. Regardless, seeing Hank and Marie interact with the kids is great, and I wonder how much longer it will last. Skyler continues to be adamant about keeping the children away, and her bargains with Walt reveal her desperation. But, at the very least, Walt is finally honest with her (“I’m robbing a train”).

The actual heist is handled well, with the suspense ramping up throughout. Apparently Saul sent part of his A-team to help, while each character fills a specific role. Once more, Walt’s ego nearly ruins the entire operation, as he refuses to stop until they reach an even thousand gallons. Surprisingly, the plan works, as Walt, Jesse and Todd celebrate.

But, of course… the kid on the bike. Todd pulls out a gun and shoots the innocent witness in the head: a tragic ending that takes all the fun of the heist and turns it on its head. God only knows where this will go next, and I suspect especially dark places for Jesse.

With “Dead Freight” over, we only have three episodes left of Season 5: Part One. This season has provided some truly great moments, and I can’t wait to see where it leads. I imagine this one’s going to end on a cliffhanger.

What about you? Feel free to leave a comment and share your thoughts on tonight’s episode or the fate of Walter White.

-MP

Note: This review is taken from Review Hub Central.