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FBI: Best Laid Plans (2024)
Facepalm. So far off-protocol. How are they not dead?
But for the reckless judgment calls, this was an above-average episode for the season, which has been a measurable step down from past seasons. It was really glaring in the last half, when Scola and Chase would give in, rather than call off the deal every time the jewel thieves would change the terms of the exchange, sacrificing their safety to ensure the deal was completed to guarantee arrest. The capper was when Beto wouldn't present the full take of diamonds after the money was shown, insisting one of them meet his brother Carlos outside the apartment for the balance. Nina meets Carlos a block down, follows him around the corner, and he commands her to get in the car, to which she reluctantly complies! I'm thinking, "Nina, WTF are you doing! DO NOT get in the car! The probability of things going bad goes up tenfold the second you get in." Sure enough, a squad car passes the alley in front of Carlos seated in the driver's seat, he gets spooked and draws a gun. Of course, Nina's a badass, and is able to flout unfavorable odds and get out of a bad spot with her life. But no agent who wants to go home at the end of the day would make that call. They just wouldn't.
Tracker: Mt. Shasta (2024)
Felt low-stakes. Two things in the plus column.
Despite the stakes of this week's search- a boy has gone missing from a boarding school and is being pursued by a violent offender- the episode lacks urgency. The boy concerned has a link to Shaw's fixer Reenie, yet that didn't raise this viewer's investment. What saves the episode from being wholly unexceptional are the two head fakes the episode slyly includes. When it's mentioned the boy and a friend were seen at a dive bar, the confidence is high a brawl will occur in the next scene. Instead, Colter prevails upon the bar's bouncer the preferable course of action is to answer his questions. And this without threatening a fight, but laying out the alternative of law enforcement intervention. When Colter closes on the boy's location in the woods, he runs into the boarding school's security officer, whom he teams up with to resume the search. The obvious twist, which is that the officer has a different agenda and will betray the kid, with Colter as collateral, doesn't come to pass. The ep gets credit for sidestepping those clichés.
The Blacklist: Raymond Reddington (No. 00): Good Night (2023)
All that's missing is Journey's "Don't Stop Believin" playing over the last frames
This will likely be regarded by most as the worst finale imaginable. Red's end ignominious, not worthy of so formidable a character. My take is as the closing song expressed. He did it his way. I don't expect Red's post-retirement would be a peaceful existence, even having escaped successfully to the idyll of Spain. His last act on American soil killing a congressman ensured he would be looking over his shoulder the remainder of his life. This way, he dies perhaps not at the time or way of his choosing, but he never stares down the prospect of spending his last days in an 8x10 cell. It was foreshadowed Red had made his peace with whatever would befall him, barring arrest and incarceration, when Ressler returned to the villa, to find he had left his Browning in his room before he went for his walk. I liked how Red betrayed no sense of fear when he turned to face the bull in reaction to hearing the snarling and huffing. I even grinned at the comic aftermath of Red's demise, when we see the gnarled state of his corpse, post-goring. Consistent to the series' sardonic edge throughout.
Bob's Burgers: Radio No You Didn't (2023)
The family lore eps are overtaking the triptychs as my fav
I'm impressed with the storytelling in this, and Sauce Side Story from last season. I can't recall if the creators had drawn from this well prior to season 12, but this genre of episode is the creative kick in the pants the triptychs were earlier in the series, though seemed to have worn thin recently. When they have Bob, and Linda in Sauce Side Story, telling a story about their family history as a framing device for a story set in the past, with a new cast of characters, it has the effect of making me perk up my ears, lean in, and get absorbed in the narration, same as Tina, Gene, and Louise. The muted color palette of the story-within-a-story, meant to evoke events taking place some 80 years ago, also give the episode more interest. This one even has a Hitchcockian plot concerning Bob's grandma Alice's suspicions about a neighbor. All the more impressive considering, when you account for the narrative bookends of Bob explaining the history of the antique radio cutting into the already slim run time, you're left with 16-18 minutes to get immersed in the core story. If the pattern holds, Loren Bouchard is doling out this sort of episode as a once-a-season event, so as not to wear out their novelty. A very well done episode.
FBI: International: Imminent Threat: Part One (2023)
Jubal's judgment is lousy. Again.
Jubal thinks an expectant Agent Chase shouldn't participate in the rescue of an abductee and orders her to stand down. But Forrester overrides that and allows her to tag along. Having learned this only after the team is on site, Valentine relents, permitting Nina to watch the perimeter with Agent Vo. Things go sideways, and Nina is hit by hostile fire. The way the FBI shows present it, foot chases, kicking in doors, and active gunfights comprise 75% of an agent's work in the field. If Jubal were duly concerned for Nina's condition placing her in undue risk, he would have just had her stay in New York, and brought Bell, Zidan, or Wallace overseas. This, added to Bell's previous issues with his behavior in the field should be enough cause to bench Jubal until he gets his head on straight.
Law & Order: Organized Crime: Friend or Foe (2022)
I dunno. They're already repeating the denouements from past arcs.
To say nothing of the Brotherhood being improbably sloppy addressing the Stabler problem. Donnelly's henchman pops him when he's down, and they don't confirm he's fertilizer. Or promptly dispose of and conceal his body. I guess we otherwise wouldn't be presented the retread of Stabler in hot pursuit of Donnelly, same as the climax of the Kosta Organization arc, with Stabler pursuing Albi and Jon Kosta. Oh right, and Wheatley too. The juxtaposition is almost comical, with all this hi-tech wizardry, executed by the OCCB's own discount Lisbeth Salander, brought to bear on prosecuting investigations on criminal kingpins, only to have them end in a car chase. I get that Organized Crime is its own animal within the Law & Order brand, so the deviation from the formula isn't a flaw to me. But I could do with something more clever and substantive than shootouts and car chases to put a bow on these multi-episode arcs. Dick Wolf serves up enough action already with Chicago PD and the FBI franchise.
The Good Doctor: Potluck (2022)
You remember that S1 episode of Star Trek: The Next Generation
...when the crew of the Enterprise is afflicted with something that causes them to present as intoxicated? "The Naked Now", it was titled. Yeah, that wasn't one of the better ones either. You never really buy into the premise that the characters would behave in so foolish a manner as the result of a food borne contaminant. That leaves you with just a series of badly acted scenes played for cheap comic effect. The plot is spurious. My guess, the mail carrier mis-delivered a script for 9-1-1 to the set of The Good Doctor, and no one noticed.
The Thing About Pam: She's a Loving Daughter (2022)
Young Pam scenes not irrelevant. What's past is prologue.
While not relating directly to Russ Faria's endeavor to reverse his conviction in the series' present, the scenes of young Pam serve to flesh out the long-simmering resentment between Pam and her mother, which sets up what happens in the last ten minutes. It bears noting also teen and twentysomething Pam were played by another actor- Emily Topper, not Zellweger.
The Simpsons: You Won't Believe What This Episode Is About - Act Three Will Shock You! (2022)
Might've been better as a two-parter, then again
...unlike A Serious Flanders, the story doesn't feel dense enough to merit 44 minutes. That highlights how rushed, simplistic and unsatisfying the resolution of the plot feels. It was also lacking in the layering of humor and references that are hallmarks of the series' quintessential seasons. For instance, I appreciated the assembling of the clients seeking to salvage their online reputations in a movie theater. The episode would have benefited from more of that. Then they spoil that sly reference, when Kirk spells it out by confirming with Theo (Kumail Nanjiani), "Kind of like a suicide squad?".
S.W.A.T.: Provenance (2022)
Not preachy, just absurd
The third act reveal of who hired the robbery crew is when I checked out. Of course we should have been eyeing with suspicion the Japanese-American intern, because when we learn her grandmother's drawings of her WWII internment were acquired by the auction house without compensation, any reasonable person would have surmised that her first response would be to contrive a heist plan that would make Hans Gruber smirk with pride, and to exact revenge and get recompense from the auction house in the form of an eight-figure diamond necklace. That sort of injury inflicted on your ancestors naturally would turn you into a Bond-level villain and remorseless killer.
Law & Order: Organized Crime (2021)
Didya see this week's episode promo...
And think, "Oh gawd, would you give the Stabler-Wheatley antagonism a rest already!" This has gone on far past any realm of plausibility. At least revise the intro in the style of Itchy and Scratchy: They fight! And fight! And fight and fight and fight! Fight Fight Fight! Fight Fight Fight! The Stabler and Wheatley Show!!!
S.W.A.T.: Survive (2022)
The rare TV brawl where physics supersede gender politics
Apart from being judged an above average episode due to my general bias for the "protagonists in a tactical trial by fire" scenario, it gets points also for Chris not outright dominating and ultimately winning the fight she gets into with the sicario. Usually a series regular has immunity from serious injury in a fight, whereas in this scene, it doesn't override Chris being half the mass of the assassin she squares off against. Granted, the outcome of the fight was in service to the jefe gaining leverage. Setting the firefight on a deserted Old West movie set also adds to the entertainment value.
Bob's Burgers: FOMO You Didn't (2021)
Facepalm for Tina and Susmita
Surely it can't have been more obvious to the two Tammy's intent was to draw them away from the darkroom so she could destroy the evidence unimpeded. She said as much while they were there. Why would they trust her to be alone with the photo and negative? I didn't think Tina had the memory of a goldfish. SMH.
CSI: Vegas: Pipe Cleaner (2021)
A closer facsimile of the original than any episode previous,
The dodgy physics of the solution to the A-story notwithstanding. Besides Grissom and Sidle being more engaged in the investigation of the week, this one recalled classic episodes for its comic attitude, suspects, and details of the crime. I can't say I bought the explanation Grissom finally arrived at to account for the tub o' two-person soup. While the explosive reaction caused by adding hydrogen peroxide to sulfuric acid might explain (allowing for a wide berth of disbelief-suspending) the high position of the head impact on the wall, it seems less probable the rebound force would have been sufficient for the hapless cleaner to travel that much lateral space (5' to 6' is my estimate) to come to rest in the tub. It doesn't really spoil an ep that was closer in spirit to ones from season 6 and later than any thus far.
Bob's Burgers: Stuck in the Kitchen with You (2021)
A minor-key holiday episode
The episode lacks the punch and irreverent energy of their best ones, and I don't really go in for the Hallmark-style treacle. But I appreciate the occasional friction between Louise and Bob. Zeke's efforts to keep the old folks entertained are good for a chuckle. And you knew Bob was was gonna give Louise a go at the cooking torch as way to make amends, the little pyro.
Law & Order: Organized Crime: Ashes to Ashes (2021)
The court officer works the fryolator at McDonald's now.
The denouement of the Kosta Organization arc was grossly overplayed. Did no one search Agnes' (Reggie's mute, not-so-hale mom) person and wheelchair for a weapon upon being taken into custody, let alone as she was being brought into the courtroom?!
Chicago P.D.: Fractures (2021)
Hank has exhausted the allotted nine
Lindsay covering for Hank avenging his son's death in S3 going into S4. Olinsky doing the same in S5 and paying the tab for his friend in the process. Ruzek holding the line first for Antonio, then Hank in S6. These cases ultimately didn't make, and Voight survived to fight another day.
Now Upton, and later Halstead are carrying his water. Realistically, how are Hailey and Jay going to toe the line without getting caught in a lie, or jeopardizing their careers or freedom? It's a forgone conclusion that Hank will skate on this one as well, being that the show is guaranteed a tenth season.
There has been a war on Voight from the show's start, with him prevailing every time. Even with the willful suspension of disbelief, what was a series of failed battles becomes a campaign of attrition, with the ultimate casualty being Voight's reputation. Hank has said as much. Plausibly, the unit would have been disbanded years ago as a direct result of these numerous cases being opened, irrespective of them not once meeting the threshold for indictment. That's the thing about a TV series- the need for the show to continue is often in opposition to narrative plausibility. That's a very fine needle to thread. I still find the show engaging, but eventually, in good fiction as in life, the bill comes due. That's what Al's death represented in S5. What will the cost be this time?
The Simpsons: A Serious Flanders (2021)
Less a parody than an homage.
The episode title seems to be a play off 'A Serious Man', a Coen Brothers film from 2009, though the plot and direction are more evocative of the Coen Brothers-inspired FX series 'Fargo'. Interestingly, the writers signaled at the top of the show what they were going for with the 'Simpflix' logo. I appreciate the casting of Brian Cox as well. Points too, for the heavy he is voicing looking like the product of a gene-splicing of Paulie Walnuts with Le Chiffre. I get 'Who Shot Mr. Burns' vibes also, for it being a thriller/mystery two-parter. As deserving of rapt attention as any of the above works.
Law & Order: Organized Crime: High Planes Grifter (2021)
Civil servants don't live extravagant lives
But they live to an average lifespan, usually. Shame the court clerk didn't make the correct risk/benefit assessment. It was especially cruel when Albi threw in the extra 5k.
Chicago P.D.: Trust Me (2021)
Fissures in the unit becoming more pronounced
The promo teased the growing distrust Jay has for Voight, this being a continuation of his learning from Hank of Upton being an accessory in a perp's disappearance. Voight acquiring this new but sketchy CI serving only to erode any remaining confidence in Hank's authority should make for an intriguing mini-arc, if the writers have the attention span for it. It feels like we'll see this Ana Avalos for at least a couple more episodes, if not consecutive. I have to wonder if the collective sentiment of the cops in Intelligence right now is, "Boss, what are you doing?!"
SEAL Team: Need to Know (2021)
Yup. It's like that now.
Uh-huh. I shouldn't be surprised. Of course S5E4 is the first part of a two-parter. As if that wasn't enough, it concludes with the intel that a former series regular is endangered. Maybe it's payback for her directing last week's episode. So now you're invested in how it ends, just as they're going dark on broadcast. Apparently, only those who ante up to their paywall need to know. CBS/Paramount do enjoy their petty torments.
Chicago P.D.: End of Watch (2021)
Recalls Al and Lindsay-era CPD
I was struck by how action-heavy this episode was relative to others from season 5 forward, which are more deliberately paced. This was due in no small part to the departure at the end of season 4 of the writing team of Craig Gore and Tim Walsh, of which Gore went on to write for SWAT. The show was conceived as a platform for action-driven drama, though the slight retooling mid-series doesn't betray the show's roots. I personally like the occasional slow-burn pace of the show since the fifth season. The latter seasons don't hit the action beats as relentlessly, allowing more time for character development and the procedural aspects of a cop show. Having said that, what stands out to me most about the episode is it plays like a hybrid of the best of both halves of the series. In addition to the high bullet count of the earlier seasons, you get the higher emotional stakes of Ruzek grappling with the realization an old friend and respected fellow officer betrayed him and the job, and having to choose his duty over concern for his troubled friend. I also have to disagree about the episode's antagonist being unsympathetic. Based on Sal's actions in the first two acts, it's an easy call his character doesn't deserve a pass and needs to be held accountable, but the solid guest turn by Ricardo Chavira gives him an implied history with Ruzek and some shading of human weakness rather than paper-thin villainy.
SEAL Team: Nine Ten (2021)
If you enjoy a porterhouse but don't dig on calf brains, you're no fan of cow. Also you're a traitor.
The first two reviewers had difficulty with those subtle and complex broadcast promos that aired during the episode time slot. Seal Team is airing exclusively on Paramount+ starting Nov 1, meaning there is one more set to air on CBS Sunday Oct 31.
It feels like they played around with airing order given the timing of the third airing a month an a half after the 20th anniversary of 9/11. I didn't take its airing within the first four of the season as CBS/Paramount burning off a low-production cost episode during its broadcast preview window.
That said, it's unlikely to be regarded as a high point of the series. That the concept was well-meaning doesn't earn it a pass for being contrived and banal.
Chicago P.D.: Rage (2021)
Underestimate Burgess at Your Peril
I'll be honest- I didn't warm up to Burgess from the start of the series. When she was in patrol, I found her to be a naive, idealistic Pollyanna. I'm getting that was starting point of the character's arc as intended by the writers. You start to see her resourcefulness and independence take form in Season 2's 'What Do You Do', when she has to defend an incapacitated Roman and herself against gang members in an abandoned building. In Season 4's 'Last Minute Resistance' Burgess, partnered with Lindsay, in the process of carrying out a sting on two would-be rapists following the instruction of a purported pick-up artist guru, deliberately downs a cocktail she knows is roofied to ensure the suspects follow through with an overt act that is sufficient for conviction. Afterward, Sgt. Voight calls Burgess out for ingesting the spiked drink, but is ultimately convinced that she is a good fit for Intelligence. In Season 7's 'I Was Here', while on light duty taking calls at a 911 call center, she takes a call which concerns her enough that she does a follow-up with Platt on scene, even after two uniforms respond to the scene earlier, which results in her uncovering a sex-trafficking ring. While only a fraction of the Burgess-centric episodes in the whole of the series, these form a through-line to where the character goes in tonight's 'Rage'. As evidenced by the conclusion of this ep, Burgess is at her apex on the job when she walks the razor's edge between initiative and recklessness.
Chicago Fire: A White-Knuckle Panic (2021)
Heh. That fireside proposal.
You know, from Severide to Kidd. That's CF's take on "I will find you, no matter what occurs. I will find you!". It's a scene more apt to make the cut on Station 19.