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Agents of S.H.I.E.L.D. - "Parting Shot" - Season 3 Episode 13 Review

March 24, 2016

This week, Agents of S.H.I.E.L.D. takes a bit of a stumble after two strong episodes coming out of its mid-season break. “Parting Shot” tries to serve as a pseudo-backdoor pilot for spin-off, Marvel’s Most Wanted, but falls flat in its execution. Most Wanted’s concept relies on AoS positioning certain characters in a way that their exit from the show, and subsequent entrance into a completely new show, makes sense. Unfortunately, success in this regard is mixed. While the writers are able to provide an explanatory lead-in to Marvel’s Most Wanted, this explanation feels forced and muddled. "Parting Shot" is able to partially redeem itself with how it concludes its story-line, but it's not enough to completely make up for the convoluted taste left in our mouths.

Source: Marvel/Disney/ABC

To put it simply, this week's episode is very sloppy and confusing. The plot is fairly self-contained, and uses the season-long 'search for Inhumans' arc as a vehicle to tell a much smaller story. Paramount to the audience's understanding of this story; however, are two key one-off characters, whom are introduced so quickly that it's hard to follow what makes them so important, how this importance plays a role in the events that follow, and what these characters even look like. The narrative is split between the present and flashbacks; which doesn't significantly hinder our comprehension of events, but leaves me wondering if the climax would have been more impactful if the episode were told in a linear fashion.

I think it’s fair to say that the pressure of setting up Marvel’s Most Wanted hurt this episode in some unforeseen ways. Greenlit back in January, the Agents of S.H.I.E.L.D. spin-off shot its pilot around the same time as “Parting Shot” was filmed. From a logistical standpoint, S.H.I.E.L.D.’s show runners didn’t have the luxury to implement a logical farewell arc that could have extended into the latter parts of the season. Instead, these changes to the cast needed to be made quickly; resulting in the forced story-line this episode is faced with.

Source: Marvel/Disney/ABC

In terms of action, we are treated to a battle between our heroes and an Inhuman with a unique, though disappointingly vague power. An explanation is provided, but it's a bit out there in terms of realism, even for my tastes. The visual effects and camerawork are stunning for a network show; though, and the series' well-crafted action sequences continue to be its greatest strength. Something that might be of interest only to me is AoS's continued ‘Worf-ing’ of Mack. Make that two out of the last three episodes in which the latest Inhuman provides an initial demonstration of their powers on poor, little Alphonso Mackenzie.

When the dust settles from the fighting, the rest of the episode plays out in a way that feels all too contrived. Most shows are typically written in a goal-oriented sense. Showrunners will start with where they want their season to go, and then craft a series of narratives that will eventually get them there. The opposite, while certainly more organic in nature, is less likely to result in the high-concept, more ratings-favorable episodes that producers typically prefer to build from. Ideally, you'd like to see stories logically flow from the characters and the consequences of their actions. In the case of "Parting Shot," the writers are so desperate to get certain characters from point A to point B that the decisions these characters, and those around them make seem unrealistic and inconsistent.

Source: Marvel/Disney/ABC

And yet, despite the house of cards plot and head-scratching climax, "Parting Shot" somewhat manages to save face with its heartwarming final scene. For a show that has more than its fair share of character development problems, I'm impressed that Agents of S.H.I.E.L.D. is able to generate such a strong emotional response towards characters outside of the season one core. Maybe I underestimated my steadily growing attachment to these characters that AoS has slowly grinded out of me through one and a half seasons. Or, maybe I'm just a touchy-feely sap with an eternal soft spot for a misty eyed Jemma Simmons. Maybe it's both. (It's probably both).

Regardless, Agents of S.H.I.E.L.D. is able to capture sentiment in a way that not all shows are capable of. And, in the end, maybe that’s all that matters. As much as we tune in to S.H.I.E.L.D. for the MCU tie-ins and super-powered fight scenes, it’s our investment in the characters, and fascination with where they’ll end up, that keeps us coming back, week after week- something that ABC is surely hoping to take advantage of when Marvel’s Most Wanted debuts in the near future.


Written by A Play On Nerds Contributor, Garrett Yoshitomi. You can find his tweets @garrettweets

In television, review, article Tags abc, agents of shield, marvel, marvel cinematic universe, mcu, coulson
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Daredevil - Episodes 1-4 Reviews

March 24, 2016

Punisher Rising: A Daredevil Review

It’s been a long recess, but court is now back in session. The law firm of Nelson & Murdock is open for business, and the Devil of Hell’s Kitchen is ready to take back his city. So, fire up those Netflix accounts, forego all human contact for the next thirteen hours, and dive into the darker side of Marvel’s fare with season two of Daredevil.

Right out of the gate, season two throws us back into the action. Daredevil (Charlie Cox) chases a gang of robbers through the streets, picking them off from the shadows, one by one. After he takes down the last wrong doer and the police arrive at the scene, the camera pans toward the rooftops, with the show’s main theme rising in the background. Finally, as the music crescendos, the shot lands on Daredevil, stoic, as he surveys the city, reminding us why we fell in love with the series in the first place.

Source: Marvel/Disney/Netflix

Episode one picks up several months after the season one finale. Nelson & Murdock is humming with clients, though not necessarily ones that pay, and we’re treated to a nice, brief re-introduction to the main cast. Re-introductions are rare for season two, and while the first four episodes mainly explore new arcs, the second third of the season really hits the ground running with continuing several story-lines from last season. If you’re a little fuzzy on any of the events from season one, or if you’re one of those brave souls who reads a review for a show they haven’t watched yet, it might be a good idea to take a look back at last season.

Unfortunately, the good times do not continue to roll for our protagonists, as they are quickly brought face to face with their next big threat, The Punisher. After two failed attempts at a Punisher film adaptation, (2004's The Punisher and 2008's reboot, Punisher: War Zone); fans wondered if such a complex character would ever be done justice on the big screen. Thomas Jane's portrayal in 2004 struck a chord in the hearts of fans, to the point that he even donned the mantle again for a short film that quickly went viral after its debut at San Diego Comic-Con. Unfortunately, the creative teams for both The Punisher and Punisher: War Zone lacked any discernible sense of the property, and both films fittingly missed the mark by a wide margin.

Source: Marvel/Disney/Netflix

When word broke last June that Marvel had cast Jon Bernthal as the latest iteration of The Punisher for the second season of Daredevil, reactions were positive, though guarded. Bernthal rose to fame for his portrayal of the volatile Shane Walsh in AMC's The Walking Dead, and while fans believed he would bring the same explosiveness to the role of Frank Castle, as history has shown, the fit and talent of the actor isn’t always enough to compensate for a script that fails to capture the intricate ethos of the character.

Fortunately, Daredevil season two, easily puts these concerns to rest, and the Punisher arc is by far the highlight of the first four episodes and arguably of the entire season. Not only does Bernthal nail the nuance between Frank Castle's apparent psychosis and The Punisher's calculated and violent pursuit down the path of least resistance, but the narrative surrounding the MCU's most anti of anti-heroes matches this complexity, with a carefully laid web of clues that shrouds the character's background in mystery, and above all else, the execution of an ideological battle, between Daredevil and The Punisher, that feels neither contrived, nor without purpose. Top it all off with some truly gripping and well-choreographed action scenes, and you have a recipe for one of Marvel's finest character debuts to date.

Source: Marvel/Disney/Netflix

The Daredevil-Punisher conflict ends up having quite the trickle down effect, as Foggy Nelson (Elden Henson) and Karen Page (Deborah Ann Woll) get caught up in the legal side of the police investigation, giving us a number of wonderful moments for both characters. Particularly, I enjoyed the verbal sparring between Foggy and district attorney, Samantha Reyes. Reyes first appeared in the season finale of Jessica Jones, and serves as a nice nod to Daredevil's companion series, while also managing to establish herself as a compelling character in her own right. Karen fills the investigative vacuum left by Ben Urich's season one death. And, it's nice to see her transformation continue from damsel in distress to no nonsense gumshoe.

Source: Marvel/Disney/Netflix

The character development falls a bit flat; however, when it comes to the interactions between Matt and Foggy. Foggy's concerns about his friend's dangerous hobby carry over from season one, though it's hard to imagine that in the time since the first season’s finale, he's yet to come to terms with Matt's Daredevil alter ego. What hurts this dynamic even further is the writers' and Henson's insistence on making this dissension come across as whiny as possible, undermining the character's likability with the audience. Yes, Foggy's reaction is probably realistic, but he comes across as just a tad bit hypocritical when he puts himself in relatively equal danger by visiting the Dogs of Hell bar, and confronting a rabid, armed gang member during his visit to Metro-General Hospital.

Source: Marvel/Disney/Netflix

Luckily, the show does a better job with exploring the relationship between Matt and Karen. This romance angle was actually hinted at early on in season one, but was dropped almost immediately in favor of a Matt-Claire pairing. (Which, for the record is the ship I’m going down with). While Kare-Devil doesn't necessarily feel forced, there is a degree of abruptness to its introduction and execution that feels a bit weak narratively. However, their chemistry and our emotional investment in the characters is there, making this development both watchable, and at times even charming. It's clear by the end of episode four, however, where the writers intend on taking this arc. How they get there exactly remains to be seen.


Written by A Play On Nerds Contributor, Garrett Yoshitomi. You can find his tweets @garrettweets

In television, article, review Tags daredevil, netflix, marvel, marvel cinematic universe, mcu, punisher, electra, foggy, karen paige, karen
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The Walking Dead - "Twice As Far" - Season 6 Episode 14 Review

March 23, 2016

Alexandria, when not being overrun by walkers or filthy bushwhackers, is an idyllic little town.  Food is inventoried, Father Gabriel seems happy to patrol with a rifle, Eugene and Sasha watch the wall, and even Morgan gets outside to do a little practice of his semi-useless self defense forms.  Carol is still having a tough go of things ever since the slaughterhouse, clinging to her rosary and cigarettes.  We saw in an earlier episode that Morgan was working on a little project, and in this episode we see that he’s finished.  It’s a prison cell, to give Rick some choices next time around.  Of all the foreshadowing this season, this little moment strikes me as the most important.

The next day begins very much the same as the last, but we see that Carol and Tobin are still a thing, and Rosita has invited Spencer into her life to help the sting of Abraham’s departure.  Carol and Daryl have a moment where he asks what the Saviors did to her and Maggie.

Source: AMC

“To us?  They didn’t do anything…” she replies.  What’s left unsaid is both tragic and chilling.

Thus begins our next step towards the season finale, and the inevitable debut of Negan.  Denise points to a possibly overlooked drug store that could hold valuable supplies and wants Daryl and Rosita to help her find it.  Denise has zero experience as a survivor but insists that her knowledge of medicine makes her a valuable addition to the team.  Having someone as inexperienced as Denise in a group usually means that group dies horribly and stupidly, but next thing we know, the trio are on the road with little arm twisting.  The three have to go on foot before long because of a downed tree in the road (that had pinned a walker with a backpack full of booze...priorities!).

Source: AMC

We check in with Eugene and Abraham on their excursion.  We find out that Eugene has plans to manufacture ammo, so the two find themselves at a foundry.  It’s a wonder they hadn’t run out of bullets sooner, but plot points being what they are, this was a necessary turn to take and will be a big part of next season.  However a bit of childish arguing breaks out between alpha and beta males and Eugene is left alone to fend for himself.

Daryl, Denise and Rosita hit the mother lode at the pharmacy: an untouched cache of medication.  It’s a fairly uneventful raid, even though Denise discovers a grisly scene.  One thing I really do love about this show is the set pieces they put together.  It’s not all just gore and wreckage.  Certain scenes give us glimpses into the past and how each walker has its own terrifying, sad story.  Denise’s discovery only highlights the fact that she’s not battle hardened like the rest of the group, and they tell her so.  Later down the road when she tries to prove herself again, Rosita and Daryl dig into her for being stupid. 

Source: AMC

There’s been a lot of tough guy/girl posturing in this episode, and this show in general.  There are weak people who need protection all the time, and there are the grizzled heroes who always have to get their hands dirty for little in return.  But Denise flips the narrative on them and calls them on their bullshit.  Daryl, Rosita and the rest of our heroes are still just people with needs and emotions, and are in denial of them, perhaps putting up an act of impervious guardians.  She quite literally doesn’t get to finish her thought, however.

Source: AMC

Proving that Daryl isn’t the only one good with a crossbow, an unseen Savior snipes Denise in the head and yet another sudden, sad death befalls our heroes.  A formidable group of Saviors reveals themselves, and with Eugene as a hostage.  They are led by someone familiar to Daryl: someone he spared in the forest earlier in the season, the scar-faced Dwight, who will, forgive the pun, be someone to keep your eye on next season.  After a lecture on the morality of sneak attacks, Dwight explains that the Saviors want supplies, and they want people.  I don’t think they’re talking about free labor either, unfortunately. 

Source: AMC

Eugene spots Abraham in hiding, and while they do have a contentious relationship, Abraham still does his duty in protecting his people.  Eugene makes a play by giving away Eugene’s position and sends someone to investigate.  As Dwight looks on, Eugene bits him in the dick.  Not the most sportsman or pleasant opening gambits, but effective.  Abraham had already moved from his hiding spot and gets the drop on the Saviors guarding Daryl and Rosita.  They join the fight and yet another comeback from impossible odds takes place.  It’s a shame they’re all so far away from Vegas, and that Vegas is probably rubble.  Dwight and the Saviors retreat, and it’s important to note that given the proper motivation, a man can run even with a grievous dick injury.  

Source: AMC

Daryl wants to give chase with his newly recovered crossbow, but more important things need to be seen to.  Again, forgive the sight pun.  Eugene took a bullet in the firefight and needs to be carried back.  This means that Denise must be left there on the tracks, a painful reminder of what dead weight truly means.  It’s also important to point out that with her gone, those backpacks full of medicine are useless in Alexandria.  Hence, Eugene wakes up in Hilltop.  The antibiotics recovered from the drug store played a big part in his survival; Denise’s final gift.  He and Abraham kiss and make up, and Abraham finally confesses his feelings to Sasha.

Source: AMC

Daryl and Carol bury Denise’s recovered body in the Alexandria graveyard.  We see Daryl hitting the tiny bourbon bottle (found earlier on the alcoholic walker) and Carol comments on their earlier conversation.  Later she leaves Tobin a Dear John note and we see it’s more than just “I’m leaving you.” Carol is gone altogether.  The thought of having to kill to save the people she loves has become too much to bear and she has washed her hands of it.  Rick sent her away for necessary killing, and now she is in self-exile to avoid having to kill again.  Morgan is the only one to notice she’s not on her porch swing, interestingly.  While zen and the art of broom handle maintenance worked for him, Carol is a beast not so easily soothed.

Up until this point, it seems like killing was an option, that to retain their humanity people had to be spared until no other choice was left.  But after the prison, Terminus and now Alexandria, the room for mercy is rapidly disappearing.  In order to protect what they have, now that they have something to lose, our heroes must shoot first and ask no questions later, or ever.  The Saviors are in a way the result of their past clemency, come back not to repay the favor, but to say “you should have killed me.”  So it seems that in order to find peace in the zombie apocalypse, you don’t find a cure, you don’t kill all the walkers, you don’t create a new society.  You take care of your people, and destroy everyone else.  Harsh, huh?

Source: Image Comics

Also, fun fact: Abraham was the one that was supposed to get an arrow in the eye.  Yet another deviation from the comic that skews the odds ever so slightly for Negan’s first victim.


Written by A Play On Nerds contributor, Jerry Herrera - Lover of horror, sci fi, and fantasy in that order.  Semi-permanent Disneyland resident.  I'm at least one of the droids you're looking for. Twitter: @FrankenJerry - Instagram: @GeraldoPedro

In television, review, article Tags twd, the walking dead, amc, zombies, horror
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