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(02/15/14 5:25pm)
The buzziest, most binge-worthy and most addicting show of 2013, the political thriller “House of Cards,” has returned, with Netflix streaming all thirteen season two episodes. Fittingly, Frank and Claire Underwood’s ruthless behavior drives the power couple further up the ladder in Washington. But at what price?
1. Into the Heart of Darkness
The premiere commences with a long shot of the park that the Underwoods are running through at night. This steady run along the path up to their eventual stop at the camera echoes their plunge into darkness, especially since Frank is about to learn that Zoe knows more than he and Stamper think about their involvement with Russo’s untimely death. While Claire was absent from Frank’s side for most of the latter half of last season, this run also signifies their re-allegiance to one another, re-committing themselves in the wake of their newest inferno. Admittedly, they are participating in Clarie’s favorite pastime (aside from window smoking, which we later learn is over).
2. Jackie Sharp Jumps the Shark
Scouring for his replacement as Majority Whip, Frank privately meets with junior Congresswoman Jackie Sharp, a well-spoken, charismatic politician with military experience. After all, Frank doesn’t enjoy conventions, casting aside two suitable veterans of Congress and initiating the spark necessary to garner support in Jackie’s crusade. During their meeting, he brings Jackie over to his computer, producing both the veteran’s and Sharp’s files, advocating that she read hers first. From behind the desktop, the camera focuses on Sharp’s ambivalent countenance, limiting our view of the files. Yet, we later learn there’s nothing in them; they’re wiped clean, presumably by Frank. What does Sharp have to hide?
3. “I’m the only one who can protect you.”
Stamper arrives at Rachel’s apartment after forcing her to quit her job at the restaurant, only to be greeted by her death threats. Forcing the knife out of her hand and up against the wall, he delivers Russo’s prostitute this demoralizing message. After, he jars her to the ground, opens up the closet, throws her a suitcase and demands her to pack. Most of the scene is dim lit, signifying Stamper’s similar descent into the abyss. As long as he’s connected to Frank, he’ll continue on this journey.
4. “You took advantage of the situation.”
Zoe meets with Frank to interrogate him on the circumstances surrounding Russo’s death. She remarks that his conscious involvement in the murder has propelled him to the vice presidential nomination; the accusations run wild. Frank offers her an ultimatum- a clean slate. Yet, this scene is more than just Frank covering his tracks and Zoe being a persistent investigative reporter. It’s a culmination of what the series has constructed until this point. Zoe utilized Frank to become a prominent news journalist, while Frank and Stamper utilized Russo’s inexperience and alcohol and drug abuse to mitigate his downfall. Even Claire’s exploited her employees, including her terrorization of Gillian Cole in this episode. It’s all for power and control over others, a prevalent theme in the series. With it, they’re hungry for more, but without it, they’re thrown in front of the next arriving Metro train.
5. “Have you ever killed someone?”
At the end of the episode, Frank meets with Jackie, discussing their ideologies. She polls Frank on this weighty inquiry after acknowledging his true motivations behind his patronage may be dishonest. Regardless, his admiration of her utilitarian views on human life from her military experience is evident. He asserts, “you did what needed to be done, and that’s why I chose you.” With this ‘ruthless pragmatism’ similar to Frank’s, Sharp can execute what her wants her to do in Congress. Yet, with this disposition she can implement her own agenda. Has Frank met his political counterpart? Time will tell.
Hunt or be hunted. Starting 2/14/14, Netflix is streaming both season one and two, with thirteen episodes apiece.
(02/06/14 3:23pm)
Frank Stokes’ (George Clooney) reflective monologues in “The Monuments Men” incessantly question the risking of human life to preserve a cultural artifact. Indeed, this utilitarian conflict is the central premise of the film, but “Men’s” haphazard and blatant inclusion of Stokes' commentary only serves to sober an otherwise light and disappointing film encapsulating a unique historical tale.
(10/03/13 9:17am)
The opening credits of “Gravity” cautiously signal its central premise, that life is impossible in space. Yet, Alfonso Cuaron’s uninterrupted seventeen–minute opening shot offers a breathtaking view of Earth. Immediately, this aesthetic is juxtaposed with the catastrophic destruction of the space shuttle Explorer. This cataclysm propels surviving astronauts Dr. Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) into the depths of space with limited oxygen and radio silence with Mission Control in Houston.
(09/30/13 2:00pm)
Instead of revealing the whereabouts of fugitive Brody, Homeland’s third season premiere delicately provided us with a glimpse into the despair he’s left behind. Additionally, it reminded us not to cross Carrie. She will go ape shit.
(09/19/13 9:40am)
CBS’ aging reality show competition “Big Brother” concluded this week after a tumultuous season of racism, sexism and homophobia. As a rule, CBS avoided broadcasting any controversial material (e.g. a former houseguest’s homophobic rant on Dumbledore’s sexuality). Yet, after discrimination directly affected the houseguests’ gameplay, CBS began airing nasty tirades after disclaimers. This is less impressive when you consider that superfans first drafted petitions to the network demanding the expulsion of one contestant for racist declarations about African and Asian American houseguests.
(04/28/13 12:37am)
1. Instead of focusing solely on the adulterous antics of SCDP's ad men, Matthew Weiner propelled most of our illustrious female characters into the spotlight this week, with Joan taking center stage. Last season's fourth installment, "Mystery Date," was Joan-centric, with Greg returning from the war only to clash brutally with Joan. And then we got the acknowledgment of the rape prompting the cessation of their relationship. Yet, Joan's struggle to support her newborn son didn't stop there. She made a difficult decision in "The Other Woman," securing a partnership in the agency. Over half a year later, Harry Crane wasn't afraid to address the ever-so delicate matter after Joan fired his secretary. Once Joan ignored an apology to teary-eyed Scarlett, she sauntered off to the partners' meeting. So, Harry decided to further press Joan's buttons. Granted, he was still wound up from wooing Ken's father-in-law at Dow Chemical into sponsoring the television special "Broadway Joe on Broadway" and reckoned Joan was complaining about him in the meeting. As Ken patiently waited outside, smoking a cigarette, Harry marched into the conference room to interrogate SCDP's partners as to what lies Joan was telling about him. As always, they disregard Harry and revert to Joan for an explanation. And that's when Harry does it. He affirms, "Just keep talking to her because she's partner. I'm sorry my accomplishments happened in broad daylight and I can't be given the same rewards." Now, on "Mad Men," characters' dalliances and immoral activities are often inconsequential or several episodes later one's misdeeds (i.e. Lane) yield fatal results. Joan truly questions if it's worth being a partner. There's even a sense of uneasiness when Harry mentions her prostitution, as Don's eyes widen as he stirs in his seat, Pete is tense with a defensive rebuttal and Roger just slowly glances at Joan. It's almost as if Harry's spoken a taboo, yet there's no limits in "Men's" landscape. Once the train arrives in the station, our characters spin more out of control. There's glimpses of feminism in this episode, and Joan's at the forefront of it. How does she escape this menacing shadow? Can they respect her as a secretary? We get it. Everyone (except Don, remember that beautiful scene between Jon Hamm and Christina Hendricks in "Christmas Waltz" when he arrived at her apartment to express his concern for her not to undertake the degrading action?) utilized Joan as a means to an end, so how much do they really value her?
(04/18/13 12:30am)
1. We commence the episode several weeks after ringing in 1968 with the revelation that Don's sleeping with his downstairs neighbor (and friend's) wife, Slyvia Rosen (Linda Cardellini). Even as the radio blurts out alarming messages about a tumultuous point in American history, the Vietnam War, our favorite ad man is only concerned with indulging in a quick morning delight with his new mistress. After laying in bed for a while, Slyvia inquires Don's thoughts about their affair, and receives a "This didn't happen, just in here," from Don with a discrete point to his cranium. "Mad Men" has constantly surprised us with moments of disbelief, yet we as viewers truly understand that Don is simply hungry for more, yet again. At the end of last season, Don returned from what Bert Cooper had deemed a "love leave" and was finally back to wooing clients, after having a gut check from how SCDP landed the Jaguar account. For Don, everything's a mirage, yet his misdeeds come back to haunt him. It's a recurring theme of the episode, as we glimpse into his life as a child in a whorehouse. It's alarming, yet just another layer to one of television's most morally complex, yet beloved characters.
(02/21/13 10:19am)
At the end of every day, I frantically hop into bed. The next day, I’m likely to repeat this routine. If it’s a weekend, I lend myself to the social scene, catch up with my freshman hallmates, some of whom I rarely see, and relish the night. Penn’s “work hard, play hard” mentality sucks me right in. I’m guilty, I know. What happened to my television blog? Haven’t updated that since September. How about running three times a week? I’m lucky to do that once every three months. This disengaged pragmatism has me caught in a continuous loop, one that I struggle to control.
(12/05/12 5:58am)
The trailer for the post-apocalyptic film “World War Z” provides a glimpse into one of next summer’s blockbusters in which Brad Pitt races to stop a zombie outbreak from destroying the world.
(12/05/12 2:31am)
“Softly” is a straightforward yet subtle spin on the crime genre, adapted from the 1974 novel “Cogan’s Trade” by George V. Higgins. While the film’s premise mainly focuses on Jackie Cogan’s (Brad Pitt) investigation of the robbery of a mob’s underground poker ring, its political undertones draw parallels to the 2008 American financial collapse.
(11/01/12 9:26am)
The opening scene of “Flight” commences the morning after a typical evening of drugs, booze and sex for Captain Whip Whitaker (Denzel Washington). Following a tormenting phone call from the ex–wife and a quick fix of cocaine, he’s ready to pilot SouthJet Airlines’ 9 a.m. flight from Orlando to Atlanta.
(10/11/12 9:34am)
Often, films recycle past successful concepts to drive the plot, resonate with viewers, and add a new spin on its typical elements. This formulaic model is prevalent in the new sports comedy, “Here Comes the Boom,” making it overly predictable and clichéd, and often too comparable to films such as “School of Rock” and “Dodgeball.”