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Showing posts with label The Sarah Connor Chronicles. Show all posts
Showing posts with label The Sarah Connor Chronicles. Show all posts
The Sarah Connor Chronicles season two episode reviews
Season 2, Episode 1. "Samson & Delilah" It took a while to get going (and I'm not sure, yet, about Shirley Manson) but this was a great episode. Largely because of the final scenes where Cameron started to plead for her 'life' and the part where John stood up to his mother and opted to trust the terminator with a second chance at life. That was a cool scene. It felt like John Connor manning up. I really love that guy. And all of these characters. And this journey that they are on.
Season 2, Episode 2. "Automatic For The People" Not the best episode, but still head and shoulders above most shows on tv.
It's hard to know where to begin when it comes to the things that I love about this show.
Thomas Dekker is John Connor, the saviour of mankind. I watch this kid and I believe in him. I honestly accept him and I'm fascinated to see him growing into greatness. It's a thrill to watch it happen and I'm loving all the scenes of him pushing away from his mother.
Summer Glau's performance. Is this woman really an android? How does she do what she does? The lack of expression for the fight scenes, and many of the dialogue scenes. Then, when it counts, she brings something amazing to the table. Last week, it was the stuff with her pleading for her life. This week it was her reaction to John's new girlfriend.
I love this new character, by the way. The casting (Leven Rambin) and the fact that she is being used by John. As a means of putting distance between himself and his mother, and as a means of putting distance between himself and Cameron.
I love Ellison, the FBI on their trail who now believes in everything Sarah Connor used to say. I've always loved these 'outsider' characters and the split narrative they give us. Cordelia on first season Buffy and Will on first season Alias. Some of my favourite ever times on both those shows. Waiting for them to learn 'the truth' and join 'the team'. Alias mucked it up, but I'm sure Sarah Connor Chronicles will find a way to add Ellison to the team.
While this was not the best episode, the good parts are so good that I still love the show and am excited about it.
Season 2, Episode 3. "The Mousetrap" One of the best episodes. Unlike last week's case-of-the-week type story this one is completely driven by how the characters react with one another. Cromartie kidnaps Michelle which sends Charley to Sarah for help. She and Derek respond but all is not what it seems. Meanwhile John tries to find distance from Sarah and Cameron, which means more time with Riley and - unfortunately - leaves him wide open for an attack from Cromartie. Ellison, meanwhile, finds himself face-to-face with Catherine Weaver for the first time.
So... here's a show where all the conflict/drama comes from within. The character's relationships are enough to drive the show at the moment and that is a fantastic strength in any television series.
John continues to be my favourite character. Watching him grow into manhood continues to be great television. I love having Busy Philipps on the show. I've adored her ever since her awesome Love, Inc. sit-com and she seems to be a great addition to the mix on this show. Her baby, I assume, will have some sort of impact on Cameron's continuing growth. Gonna be cool to see that. It's cool watching Cameron here, too. What is really going on in her head, now, with regard to John?
This episode, however, is devoted to Charley, Michelle and Sarah. Cromartie's plan is very, very clever (except for the last part, of course. Why did he choose the pier?) and there is some great drama to be had from watching Charley, Michelle and Sarah deal with the trap and it's horrible aftermath. Rarely has a show managed to impact on me so much with the death of a minor recurring character. There is no dialogue from any of the regulars in any of the final scenes, you'll notice. Images tell the story. It's a sad story. And this is a supremely skillful television series.
Season 2, Episode 4. "Allison From Palmdale" A killer episode and the best one so far this season. Once again the subtext of resurrection is on hand, and this time Cameron is suffering from what can be best described as the arrival of a second personality. For most of the episode I assumed that this was a software glitch of some kind, and we were watching a constructed personality. But, in a nice twist, we learn at the mid-way point that this was a very real person, someone who meant a lot to John in the future, who was killed by Cameron and replaced by her. Handling two roles (three, really) Summer Glau has never been better. She blows me away. As does the show.
Brilliant!
Why is nobody watching?
Season 2, Episode 5. "Goodbye To All That" Funny how things change. When this show started my main interest was in the women: Sarah and Cameron. Because they were both so cool. And, let's face it, so bloody hot!! Lately my interest has switched to young John Connor, and his progression into manhood. And independence. He's cool. And so - of course - is Brian Austin Green. And Derek the guy he plays. This episode pushes both of the guys to the forefront and it's a fantastic outing. Derek is a writer's dream, really. A time-traveller back here from a horrible future that is only years away from us. He's haunted and driven. And it's great.
This is the episode where Derek and John go undercover at the military school (as tutor and pupil, respectively). It was good. So good I wished it was a two-parter. They meet Martin Beddell for the first time. In the future he becomes one of John's best friends, and Thomas Dekker and Will Rothhaar did a great job on selling the friendship. They were pitch perfect, really. Every time they were on screen together you felt the bond growing and believed that they could/would reach a stage where one would willingly die for the other in battle.
The show revisited the Nuclear power plant (from the season's 'weakest' episode) and manages to redeem that earlier stand-alone episode by making what happened there more relevant to the ongoing plot. It helps that Ellison is there now. I like that character and the journey he is on.
But the episode belonged to Derek and the ghosts (from his past/future).
Season 2, Episode 6. "The Tower is Tall But the Fall is Short" Another stunning episode. Flawless. Every scene in this has a double layer. It's an incredible script. No matter what is happening on screen, no matter how much it means for it's own sake, there is extra meaning because of what we know about the characters. We know that Catherine Weaver is not what she appears to be, we know that Derek has a reason to enjoy sitting in the park soaking up life around him, we know (before the script even tells us) that the AI project over at ZeiraCorp is acting like a child, we know lots of stuff.
We don't know, of course, what happened inside that room when Sarah and John were held hostage...
I had hoped, during that episode, that it would turn out to John who rescued his mother and saved the day. I thought (before anything happened and before Cameron showed up to kill John) that it would be a bad-ass cool way to tell the audience about his 'growing up' and all. But the narrative jumped across the incident and left us in the dark. And did it in a low-key way, also. So much so that I wasn't suspicious, merely annoyed that we didn't get to see what happened.
Now, of course, it comes back to haunt everyone. The script for this episode makes us think (again skillfully) that John saw Sarah kill their captor. Not so. In fact, we learn in the final shocking moments that John really did save the day back in the first episode but there are pains to go with the transition from kid to warrior.
Suddenly a lot of little comments from other episodes make more sense: Derek saying to John that he could tell that Sarah had never killed, etc. Clever.
This show's scripts are all about knowledge. The viewer often has knowledge that the character on-screen does not and it adds to our enjoyment. We get to see scenes and appreciate the added layer that our perspective gives us. But there is more to it. Sometimes the writer's withhold knowledge and unveil it after the fact. They are very good at knowing when to do this. Part of me was surprised that they told us from the get-go what Catherine's secret was but now, having seen where they have taken it (with her being a parent, for instance), I can see that it was absolutely the right choice. I trust them. And admit they were wise to tell us.
But they are keeping other secrets: Does Ellison suspect? What is Jesse's mission? Did Cameron destroy the other Terminator's chip? Was it android 'suicide'? Like Derek's suicide attempt? And - maybe even - John's?
I'm pretty sure I know the answers to some of these. But who knows? This is a clever and profound show. The scripts are clever and deep and worthy of much re-watching. And the second season is much better than the (fantastic) first. Isn't it about time they renamed this The John Connor Chronicles?
Season 2, Episode 7. "Brothers of Nablus" Another winner. No big events in this one, but a solid advancement of several running themes. Cameron gets to be bad-add cool (again) and kill some kids who picked the wrong house to rob. Sarah gets to make a very bad decision (from the heart) and give Cromartie a solid lead towards finding them. Derek gets to hold some secrets from the others and voice his dissatisfaction about how John is growing up, and how Sarah is handling things. Ellison gets attacked, but saved.
Season 2, Episode 8. "Mr. Ferguson is Ill Today" If this isn't the best single episode of the show to date, it is certainly the cleverest. Terminator goes Boomtown on us as it shows the events of the day from the perspective of each of the regular characters. It doesn't add anything much to the story, but it sure as heck is a cool way to tell a story.
The effect is stunning. Gripping. Wonderful. We see early on that Sarah is captured by Cromartie, then the narrative follows John and Riley on the sojourn to Mexico. To the considerable credit of the show, the writers and the actors every single second of this is absorbing and superb. Even though we know that Cromartie is on his way, we are never for one second bored by anything that happens between John and Riley. Their conversation (as she tries to peel back the layers of who he is) is relentlessly fascinating. I love this character. Love her because of the way she impacts on John and I love the way he sticks by his decision to bring her into his life. This show is extremely well-written and planned out. It has a very strong overall arc. John is making the wrong decision here, but I want to see how long he sticks to his guns.
The (later) scenes with Sarah locked in the truck are wonderful. We see nothing. We hear much gunfire and carnage. The show is promising a fantastic climax. So - by doing that - it is running the risk of failing to deliver and disappointing us.
Some hope! The climax is superb. Some of the best action this show has thus-far delivered. Unable to provide Terminator-style carnage on a weekly basis, the show instead concentrates on solid drama week-in week-out with an occasional all-out action episode to keep the blood pumping. This is one of those.
Cromartie bites the dust. I'll miss Garret Dillahunt. I warmed to him slowly, but once I did embrace him I loved what he did with the role. His removal shocks me, but I suppose it makes sense and represents a logical step-forward for the show. Cromartie is gone and Ellison and Sarah are united (?).
I wonder was this originally supposed to be the Season One finale? Had they had 13 or 16 episodes last year, instead of 9. We'll probably never know, but it feels like the ending of one chapter and the start of another.
Season 2, Episode 9. "Complications" Another flawless episode. Ellison makes a horrible mistake that has me shouting at the screen in despair. But, given all that has been happening to him this season, it makes sense that he would trust Catherine Weaver. Idiot!
Cameron gets some amazing scenes this week, as her nature continues to evolve. The scenes with John and the moment where she turned Ellison over (from lying on his back) are among the best that the show has ever done with this character.
But the absolute how-frakkin-cool-is-this highlight of the episode was the Derek storyline as he and Jesse capture/torture/execute a man from the future for crimes he committed in a timeline that Derek does not remember anymore. Awesome.
Awesome because we have tangible proof that the heroes are getting some good work done and awesome that a TV show delivers a low-key time conundrum that makes sense. Ideas like the decision to torture the younger version of the prisoner really make this the most exciting show on TV right now.
Brian Austin Green does some of his best work in his scenes with Richard Schiff. The whole thing is a delight.
Season 2, Episode 10. "Strange Things Happen At The One Two Point" It puzzles me that TSSC never became a big ratings hit. Maybe the show is too cerebral? Despite the fact that most episodes (including this one) feature a strong action element, this is still show driven by concepts and ideas. It's a clever show. Maybe too clever for it's own good.
The show is not driven by easy-to-define ideas, while the other best shows on TV are. "Find Earth", "Get off the island", "Steal Scylla" are the engines drive other TV shows and you can see - every week - how the heroes are progressing towards that goal. On TSCC it may not be possible, for the average viewer, to see how the story onscreen fits into the stated aim of the heroes: "Stop Skynet."
This is not a criticism. Just an observation. I love this show and every element of it. And the show's fans love it. I just don't think that the average viewer (who flicks across channels and finds the show) is going to see anything that will grab them. It's a pity. It's a remarkable show. And this is yet another very strong episode. One packed with some surprises.
Sarah becomes involved with a company called Dakara Systems because she believes that they will lead her to the Turk (from Season One) and - once again - the show introduces us to apparently decent people whose actions will inadvertently lead to the rise of Skynet. It's one of my favourite elements of the show: Sarah and the gang having to stop good people.
Things are not as they appear, however, and by the end of the story Sarah is kicking ass in a major way. She throws the Dakara guy around the room in much the same manner that Cameron flings people around and reminds me that she is still the central hero in the show. Lena Headey does a great job in the role. She not only makes Sarah believable as an action hero but she conveys all the confusion/doubt that the character has been experiencing in recent episodes.
This is the episode that tells us that Riley is all all she appears to be. I love the character of Riley. Not because of the character herself. It's not like liking Emerson Cod on Pushing Daisies, which means I love the character and if they spun him off into his own show I would want to watch it. No, this affection for Riley is based on how she fits into this show and how she affects John. His mother and the rest of the gang have told him to stay away from Riley and he has disregarded them every step of the way. I find that fascinating, as an example of his growth into manhood.
Tonight we learn that there is much more to Riley. She's an agent for Jesse and she is deliberately trying to get John away from Cameron. Wonderful. The show has made us think in the past about John's influence on Cameron, and we've seen her changing (or appearing to change). Now, for the first time, the show makes me think about Cameron's influence on John. Jesse says it. In the future, he has spent decades with this woman/android. She is his only confident. And that is fascinating.
It also draws attention to the idea of John and Cameron spending all this time together. A friendship/love that spans the years. And nobody outside the two of them quite understanding what it is that they have. What a tragic 'love affair'.
Tragic is the word to describe the death of Dr. Sherman. Killed by the AI (now called "John Henry") who doesn't understand the idea of death. This incident (which was a twist I did not see coming) allows Ellison - and us - take a fascinating journey into the mind of the AI. What a great creative decision it was to avoid using a corny computer voice and instead allow John Henry to communicate through pictures. Genius.
As Ellison went head to head with John Henry to talk about morals/ethics and The Ten Commandments I was riveted to the screen. These concepts are at the core of what the Terminator Universe should be about. But, again, I wonder what the average viewer makes of all this stuff?
On a sidebar, I notice that the show started off with two strong heroic females and has added three deceptive/duplicitous females to it's ranks in Season Two. And, when you think about it, the jury is still out on Cameron.
Season 2, Episode 11. "Self Made Man" Another winner. A slice-of-life tale, taking into the activities of the characters between battles in the war. Derek, Jesse, Ellison, Catherine and Sarah are left out this week, but there are still many things to watch and savour:
Cameron. This episodes reveals what she does when the others are asleep: She sneaks off to a nearby college library and does research. She also appears to have bonded and formed a friendship (of sorts) with the night watchman! And it is fascinating to watch. Cameron is obviously using the guy, but she appears to have genuine 'concern' for him and his well-being. Yet, I don't trust her. At the end of the episode I half-expected her to put a bullet in him. It is this kind of complex characterization that makes TSCC such a joy to watch.
The story. The story is cool. But it takes a real leap of faith to make it work. It's awesome to think of Cameron being able to track the activities of this Terminator almost 100 years earlier, but you have to accept that he was photographed at just the right moment to capture what he was doing and you have to accept that she stumbled upon this picture and was able to figure out what it meant and track him down. It's way, way out there. But if you can take the leap and go along for the ride: it's a great tale.
The action. The battle at the end is great. Not just the action on-screen, but the whole setting and reasons for the battle are cool, too. As Cameron stalks the empty building looking for her prey, the camera angle's capitalise very nicely on Summer Glau's appealing... physique. Nice.
John and Riley. Again, I have to say that I love the character of Riley and her impact on John. She drags John to a party in this one. And we get see him as a bit of social misfit. This plots paints a dark and lonely picture of life for these two characters.
Season 2, Episode 12. "Alpine Fields" Another flawless outing. And another example of this show's fantastic storytelling.
Derek is the main character this time out (with Sarah having a very strong b-plot). The story unfolds on three fronts: one in the far future, and two of them in the present day, but six months apart. It's the story of a family that (first) Sarah and (then) Derek are trying to protect from a determined Terminator.
Samantha Krutzfeldt almost steals the episode out from under Brian Austin Green, but not quite. Nevertheless, she makes quite an impression as two versions of the same young woman separated in time by six months of experience. The story leaves no opening for the character to return, which is a great pity, but given that Krutzfeldt is exceptionally beautiful she will undoubtedly appear on Supernatural before too long!
Season 2, Episode 13. "Earthlings Welcome Here" The weakest episode of the season so far. Sarah is off on her own, obsessed with her vision of the three dots and unsupported by the rest of her team. She winds up in the middle of a group of UFO abductees, befriends one of them and ends up getting shot at some secret facility. It lacks the tension and coherence of most episodes of this great show. In general, I'm not enjoying this Sarah-is-obsessed-and-nobody-believes-her storyline.
The sub-plot, meanwhile, tells us Riley's backstory. It is much as we suspected. It's not great, but it is much better than all the Sarah stuff.
Season 2, Episode 14. "The Good Wound" Sarah kidnaps a doctor for medical attention, while John waits by Riley's bedside.
They painted themselves into a corner with the previous (weak) episode and there was nowhere for them to go with this one. We went into this knowing that Sarah was shot/injured so that had to be dealt with, and we knew that John would be reacting to Riley's suicide attempt. Consequently there is little or nothing here that surprises or entertains. The John scenes are bland and pointless, while the Sarah scenes veer towards genuinely awful (she has a delusion that John's father has come back and is talking to her, and giving her strength). If everything concerning Sarah veers towards awful, it can safely be said that everything concerning the doctor is actually awful. The 'big twist' in the story is that she's being battered by her cop boyfriend and, in the episode's climax, she turns a gun on him and shoots him (after her decides to verbally abuse her). Right.
In the middle of this mess are a couple of thought-provoking scenes involving Ellison and 'John Henry'. That's about it for this episode.
Season 2, Episode 15. "Desert Cantos" The gang attend the funerals for those that worked in the factory.
Must better than the previous two episodes, but still a long way from the brilliance of... every other episode. I'm not sure what has happened to the mojo, but it seems to be gone.
On the plus side, this is a rare episode that features all four regulars on-camera together. At once. Working like a unit again.
As usual, the story (such as it is) is told with style and flair. There's nothing here that's particular bad or weak, it's just that the while episode is very unremarkable and bland.
Season 2, Episode 16. "Some Must Watch, While Some Must Sleep" Sarah is having dreams/nightmares.
Once again, while the story being told is nothing special, one must admire the way that the story is being told. You spend a lot of time trying to figure out which parts are real, here, and which parts are fantasy. I made my guess, and I guessed wrong.
However, while I can hold my hands up and say I was fooled, and the storytelling was impressive, it does not make me forget that the story itself was kinda lame. I mean, what was all that about? Why do I care about Sarah and that guy? Isn't there a better way to spend an hour? Why is the show spending so much time inside Sarah's head? And why do they harp on about the fact that she appears unstable to her team and they don't really support her anymore.
It's a wonderful show that has become very frustrating to watch.
Season 2, Episode 17. "Ourselves Alone" Riley dies.
The first absolutely superb episode since #12. #'s 13 and 14 were awful, while #'s 15 and 16 were lacklustre. This, however, is every bit as good as the best episodes that the show has delivered. And when this show is good, it's bloody great.
The behaviour of Cameron is a large part of the appeal of this episode. Whether alone, with Riley or with John, every thing she says and does is fascinating. Can we trust her?
Riley's (tragic) story comes to a very satisfying conclusion in this episode. Leven Rambin has been a great addition to the cast and I'll miss her. Having a fight to the death between two recurring characters is very exciting, very clever writing. There's no way to predict which one will get killed.
Jesse is proving to be quite the baddie. I presume she'll be found out, and dealt with, before the end of this season leaving Catherine Weaver for any potential third season. Which, of course, won't happen due to dire ratings.
Finally, I liked this episode because there's nothing here about Sarah being obsessed or nuts and there's nothing to suggest that her team/squad don't trust her and won't follow her anywhere. That ongoing subplot/idea has been my least favourite aspect of the series, and I prefer episodes like this that don't touch upon it.
Season 2, Episode 18. "Today is the Day" The team react to Riley's murder while, in 2027, we see Jesse on a submarine.
Except for the scene where Sarah found about about Riley's death (which was too silly to be believed) this was another truly fantastic episode. Every conversation (every scene) was layered with tension and highlighted what a fantastic ensemble the show truly has. Take any of them, pair that person with anyone else in the group and watch them talk about Riley and who murdered her... Terrific television.
Best bit? John (the smartest one of the bunch) notices the bruises on Riley's hands...
Season 2, Episode 19. "Last Voyage of the Jimmy Carter" John confronts Jesse.
Wow. Another stunning episode in a truly superb series. Never have I been more sure that this is 'John Connor' the saviour of all mankind. This series has accomplished an amazing feat: it has shown us a boy growing into a man. An exceptional man. And has chosen to define that growth in terms of the women in his life: away from his mother (Sarah), into the arms of his lover (Riley) and standing side-by-side with his friend (Cameron).
But, aside from the fact that the subject matter is superb, it must be said - again - that the storytelling is simply wonderful. They have shown, time and time again on this show, that they really know how to tell a story and make it enjoyable. In this episode they reveal that John has been aware of Riley's secret for a while and it blew me away. Not only because it firmly establishes John as clever and heroic, but because it's an example of great storytelling.
Season 2, Episode 20. "To the Lighthouse" Sarah and John stay with Charley, while Cameron and Derek work together and John Henry faces a very surprising attack.
Wow. A lot of powerful surprises in this very strong episode. Yet, despite all the developments, this is still a completely character driven installment. Many of the scenes are just the characters sharing small private moments, or not speaking at all. And when they do speak, much of it appears inane. It's not, of course. The show is so bloody subtle in it's characterisations that you only appreciate the significance of what is happening when you've watched all the episodes.
I watched this with someone who has never seen the show before. Indeed he had never heard of it. A die-hard fan of shows like Heroes and Smallville, he wasn't at all impressed with Sarah Connor because nothing much happened. Yet, to a loyal viewer, this was significant episode from start to finish (watching Sarah turn to Derek, watching Cameron talk with Derek, etc.)
The ending was action-packed and brutal. Charley's death hit me hard. For many reasons. His place in Sarah's heart was clearly established. And John loved him, too. First Riley, now Charley. John Connor is headed for some very dark places.
And then there was all the stuff with John Henry. That was a total shock to me. I thought the story was headed in a very different direction. Now, I'm confused. And eager to see more...
Season 2, Episode 21. "Adam Raised a Cain" A regular dies a quick, cold death, while John Henry tries to save Savannah, even going so far as to tell lies to Catherine Weaver.
An amazing episode. There is no clear place to begin heaping praise.
The Death of Derek happens fast and without fanfare at the very start of the episode. He is shot down in battle, so fast that you barely have time to register it. And the battle continues around his his dead body. Back in Season One I was terrified that they would kill off this character, but - despite the fact that I am sorry to see Derek/Brian Austin Green go - this was a great resolution to the character's story arc. In fact, it felt like the natural ending to everything that the character has done since he arrived from the future, and another component in make-up of the man that John Connor will become.
The Pre-Titles Sequence was mesmerising, as we realised that the child Savannah was under attack and that AI John Henry was concerned and trying to help save her life. That sequence highlighted a stunning development in the evolution of this great character.
The final scene (after Sarah's brutal arrest) was haunting and wonderful and a perfect example of the style of storytelling that is unique to this show. You watch this scene, you cannot mistake it for a scene from any other show. TSCC has it's own voice and style and makes bold choices. "Donald, Where's Yer Troosers?" sung by a child and an Artificial Intelligence in the body of a killer robot is one of the most haunting things I have ever seen...
Season 2, Episode 22. "Born To Run" Sarah's in prison, John's in hiding with Cameron, and Catherine Weaver sends a message. A very important message.
Yowsa! Now, that's how to end a season. Some shows deliver a final episode that leaves you feeling that every detail of the season, you've just watched, was planned in detail in advance. Damages did at the end of Season One. Veronica Mars did it twice! The better seasons of 24 have managed it (including this current one).
And Sarah Connor Chronicles ended it's second/final season by laying down a multitude of cards, face up, on the table and allowing us to marvel at how everything fell into place.
The episode stands on it's own, too. There are major character moments for John and Cameron and lots of cool stuff with Sarah in prison. Then it all ends with lots of action, violence and chaos. A first-time viewer would get a lot from this.
But a long-time viewer will get a lot more. Finally knowing where Catherine and John Henry fit into the picture is a real kick. Watching the chemistry between John and Cameron reach boiling point is another rush. How amazing were Thomas Dekker and Summer Glau in that scene on the bed? It was a haunting and beautiful scene.
Garret Dillahunt might be the single best cast member on the show.
And I feel like such a fool now for being hesitant to accept Shirley Manson when she first appeared. She's amazing in the role.
I like the ending. It's a cool ending. It works in two ways. It serves as an ending to the entire series, and it could serve as the opening moments in a new chapter, a new season. As a final ending, which I suspect it must sadly be, it is somewhat ingenious. John Connor is thrust forward in time into the middle of his own destiny. His experiences over the past 31 episodes have shaped him into the Saviour he was always destined to be and now he will take his rightful place in that destiny, with many loved ones and powerful allies beside him.
As a cliff-hanger to a new season, it serves up an interesting new story arc. Some regulars are in the future and some regulars are cast as different versions of themselves and there's the mystery of wondering what has led John Henry to this point in time.
Which makes me wonder if this final few minutes (as wonderful and all as they are) were tacked onto the ending of the season when it was clear that the show wasn't coming back.
With the jump forward in time, the show already had a great set-up for next season. Catherine was about to join the team, Skynet had attacked and Cameron was face-to-face with John Henry with a knife in her hand.
I'm not complaining.
I like this ending.
But I wonder what prompted it. That's all...
Not that it matters. This is how they ended it. And, barring a miracle, the show will not return. So, this is the end of the story. And, as such, I can be satisfied with it. As satisfied as it is possible to be when a show you love is cancelled too soon.
one last thing from josh friedman
Normally, I don't post links to other stuff on the internet because, let's face it, you all know how to use the internet and can find interesting stuff without my help.
However...
Josh Friedman's comments on the demise of The Sarah Connor Chronicles are worth sharing.
Click here.
If that link goes dead, as I'm sure FOX will delete the blog pretty soon, you can read the text below:
By now most of you have heard the news that T:SCC is cancelled. I received a call earlier today from Peter Roth at Warner Bros. and I appreciate both his personal and professional support throughout this show’s life. I know a lot of you are angry about the cancellation and want to find a place to direct your anger and to that I say do yourself a favor and find a way to move past it. Every network wants a big fat hit, especially one with a brand name behind it, and Fox was/is no different. They supported the show, they supported my vision of the show, and they gave it plenty of time to find an audience.
And what an audience we found: passionate, intelligent, kind of nuts in a good way. My only complaint about the T:SCC fans is that there aren’t ten million of them. But I prefer to be happy for the ones we had instead of lamenting the ones we didn’t.
Good shows are cancelled every year; smart shows, worthy shows, shows which move their viewers to write blogs and have viewing parties and create action figures and bury executives’ email accounts under thousands of messages. I miss Deadwood and The Wire and Arrested Development but thank God that I still have Rescue Me and The Office and a recently renewed Party Down written by ex-T:SCC writer John Enbom.
Bad shows are cancelled, too. And certainly there are those who did not like what we did and had their own vision for what a Terminator TV show should be. It’s easy to look at low ratings or cancellation as “failure” and for those who believe we’ve gone about this all wrong I’m sure today’s news will only serve to confirm a world view that I would never try to change. We’ve written the show as best we can, executed it to the best of our abilities, and sent it out in the world knowing that we worked out asses off to do something that wouldn’t be a waste of anybody’s forty-three minutes.
Thanks to a brave and talented cast, a feature crew working on a TV schedule, and everyone else who I could list but won’t because they know who they are. Mostly I’d like to thank those of you who’ve supported us and fought for us and given up hours of your life to watch our show. At the end of the day, that’s what it’s about. The watching.
Hope we do it again soon.
Josh Friedman
yaTVRp_s04e27
Damages, Castle, The Sarah Connor Chronicles, The Cleaner, The Beast, Party Down
MP3 File
yaTVRp_s04e10
My Secret Identity, Big Wolf On Campus, Supernatural, Dexter, The Sarah Connor Chronicles
MP3 File
The Sarah Connor Chronicles season one episode reviews
Pilot. Great premise, great cast, great action sequences, the promise of interesting sub-plots. Summer Glau owns the show, she's great from start to finish. There's something cool about an apparently slight, and very hot, young woman beating the living crap out of killer robots twice her size. I was very impressed by the ending, too, firstly because it hinted that a couple of dangling sub-plots will be followed up on. And secondly for what actually happened. It was a cool ending to the pilot. Not 100% sure it made sense, really, but it was still cool.
Not much to add. It's good, I want to see more.
Episode 1. I hate the dream sequence at the start. I know that you need it, to clue new viewers in to what this franchise is all about, but I really hate dream sequences. Never mind. This pilot is the second best of the 2007. It never stops moving, and it never puts a foot wrong. Dean Winters is a superb addition to the cast and bring an edge to the role that wasn't there before.
Episode 2. "Gnothi Seauton" Building a sci-fi action series around a mother's fierce love for her son is a stroke of genius. It means you can tell any story from such a solid foundation. And the series is off to a stunning start with this outing. Lena Headey and Summer Glau are two of most beautiful women now appearing on television and each of them brings phenomenal depth and strength to her role. This episode sidelines John somewhat (but - hopefully - the fantastic Thomas Dekker will get a chance to shine in later episodes) and the focus is very much on Sarah and Cameron (I love the "Tin Man" nickname, I hope is sticks) as they set about creating a cover for the trio in 2007. The show has some exciting actions scenes, great character work, a couple of nice twists in the story and - most of all - some reminders that the engine driving this series is a mother's fierce love for her son. It's primal. It's beautiful. This is a great new series.
There are many, many touches I love. The fact that John goes to visit Sarah's ex. ( Perhaps seeking out a father-figure?) The fact that the FBI agent on their tail seems suddenly open to Sarah's odd story. The fact that the the Terminator from 1999 finds a way to come after them. The fact that Cameron has free will. But, most of all, I love the cancer storyline for Sarah. Headey is exceptional with this material. She brings strength and vulnerabilty to the role and it's such a pleasure to watch her work.
I'm so in love with this series that it's not even funny.
Episode 3. "The Turk" Thomas Dekker steps up and gives a great performance in this one. Likewise Richard T. Jones, but the episode (and indeed the series) belongs to Lena Headey. She really is mesmerising in the central role. Great performances aside, this episode has three very strong storylines with one in particular having have very shocking, downbeat conclusion. It's also an episode without action sequences of any kind, yet it is probably the most dramatic and satisfying.
Episode 4. "Heavy Metal" One of this show's (many) strengths is the character of John Connor. He must walk the line between pampered "boy" in need of his mother's protection, and "gutsy hero" who will lead the resistance. If he falls too far into either camp, then the whole premise of this (superb) series is cast in doubt. It could be a case of "How could a wimp like him ever lead the humans?" vs. "Why does he need his Mum to protect/save him?" The casting of Thomas Dekker has really saved the series. He brings everything needed to the role, to make the series work. Particularly in this John-centric episode, where he takes on a solo mission and comes face to face with a Terminator. Even though he needs back-up at the end, the writers are careful to show us that this kid is capable of excellence under pressure.
Episode 5. "Queen's Gambit" When I first read, years back, that this series was in development I had an idea in my mind of what it would be like. And it certainly wasn't anything like this. For one thing, I didn't believe for one second that it would/could be this good. And for another, I didn't expect it to be so slow and thoughful most of the time. Sarah and John spend a lot of time watching a chess game in this one, for instance. It's a great episode, yes, but who would have expected a show with this premise to be so... realistic. Sarah really seems to be trying to lay low and gather intel all the time. Just like you really would do, if you were in her position. It's great.
Episode 6. "Dungeons & Dragons" So I'm watching the latest episode of Sarah Connor Chronicles and I'm thinking various things as the first scenes unfold. The big fear with this show before it started was that it would turn out to be another Bionic Woman, but I'm watching the prolonged opening scenes of Kyle and Derek running around with the resistance in the future and I realise that it's actually shaping up to be Battlestar Galactica. Holy frak! This is the next Battlestar Galactica!
Then the focus shifts to a short moment between Sarah and Dean Winters. She has no dialogue. He talks about what it was like for him when she left/died. It's a powerful dramatic scene. Winters nails it (of course). And I'm thinking: these are great characters. Holy frak! I love these characters!
Then the scene shifts to John and Cameron. Another short scene. Two characters on completely different pages. Dekker is playing the weight and enormity of the moment as he comes to terms with who is lying on the table inside. His uncle. Glau is playing it for comedy, as Cameron misunderstands his words. It's a pitch perfect scene. Both actors nail it to perfection. And I'm thinking: Holy Frak! Summer Glau is hot.
After that, the episode just gets better and better. More flashforwards/flashbacks than a typical episode of Lost, lots of foreshadowing with regard to Cameron and a truly heartbreaking scene between Sarah and Charley. Sarah Connor is magnificent. Majestic in her strength and dedication to thwarting her son's fate. Yet, as briefly shown by Lena Headey in this scene, she is vulernable, too. It's not a new idea. Strong woman, soft heart. What is new is the way Headey plays it. It's not the fact that she embraces Charley before he leaves her, it's more to do with her stance during the embrace and that split-second thing in her eyes. Lena Headey is fairly magnficent, too.
And the show? Well, it's the next Battlestar Galactica.
Episode 7. "The Demon Hand" The scene were Cameron walks away while the girl she has just befriended and her brother are murdered is chilling to watch. But it proves beyond any doubt that the producers/writers are doing it right. They know how to extend/expand this franchise. This is the world of Terminator and it is awesome. Character-driven drama at it's best, with almost no action, but plenty of excitement. There are many high points in this episode. Many. To the show's considerable credit, once again, all of the characters get to partake in the highpoints. The regular cast are fantastic, and the script gives all a chance to shine.
Episode 8. "Vick's Chip" At some stage, perhaps late in the second season, I will be able to watch this show and not marvel at the fact that they are doing it right. And have got it so right. This episode has no action sequences at all and - instead - offers up some of the best character drama the series has thus far delivered. Derek doesn't trust Cameron. A revelation during the episode means that the others have a reason not to trust Derek. Cameron tells John that she sometimes lies to him. Meanwhile, John lies to Sarah about how close Cromartie. And on and on. It's only four people, alone in a small grey house, yet this strong episode puts each of them in conflict with one (or more) of the others in splendid fashion.
The actual storyline is brilliant, too. The heroes use the brainchip from a destroyed Terminator to learn more about it and it's plans. They get a window into the life that "he" led. The wife he used, deceived and (in the final chilling scene) killed. Deceptions and conflicts at every turn. A great show.
Episode 9. "What He Beheld" brings this (short) first season to an end. And what an ending. The best episode? Maybe. After the pilot. I loved this episode because it was framed around the journey of Agent Ellison. He started this series as a skeptic and, by the time the battle at the end is over, he is a believer. He's a good character, I like him, and I've enjoyed this journey. It was predictable, but not any less worthwhile.
I loved this episode because Derek is cool. Possibly the coolest character on the show at this stage. He backstory makes him very interesting. But he gets two of his best scenes in this episode. First, the bit where he takes the child hostage and blows the bad guy away to save John. That was amazing stuff. Jack Bauer amazing. I loved it.
But, of course, his best scene was where he took John to the park. They sat, talked, ate Ice Cream. They watched two kids playing baseball and John realised one of them would grow up to be his father. Such a low key and powerful scene. So so good. Thomas Dekker was great in this scene (and, yes, it did bring a tear to the eye.) but Brian Austin Green was even better. His delivery of the revelation (that he knows who John is) was simply perfect.
My one fear going into this final episode was that the writers would kill Derek in some great moment of sacrifice to save John. I'm glad that didn't happen and I hope it doesn't.
I loved this episode because of the bad guy and the effortless way the show generates it's storylines. This was a kick-ass baddie and it was very satisfying to see our team take him down in fine style. But, again, aside from the visceral pleasures of this show there is a lot to think about to.
Finally, I loved this episode because they showed us the big gun battle from underneath the swimming pool. Seriously? How cool was that?
And they brought Dean Winters back! I loved that.
And Cameron didn't kill the girl in the car at the end. What was up with that? Man, there was a lot to love in this episode.
yaTVRp_s03e18
MP3 File
yaTVRp_s03e17
The Sarah Connor Chronicles, Supernatural, Baywatch, Doctor Who, Prison Break.
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yaTVRp_s02e19
The Sarah Connor Chronicles, Burn Notice, Pushing Daisies, Aliens In America, Reaper, The Incredible Hulk.
The Sarah Connor Chronicles pilot review
Terminator: The Sarah Connor Chronicles
a woman fights to keep her son alive when killer robots come from the future to prevent him from fulfiling his destiny
Type of Pilot: action/adventure; sci-fi
Similar Shows: Well, it has actions scenes like 24, and it's got strong kick-ass women as the leads, like Alias, Buffy or Painkiller Jane, but it's really not anything like any of those. Hmm. Guess, it's a bit of an original beast. Nice.
The Inner Light: No one is ever safe.
Strengths: Great premise, great cast, great action sequences, the promise of interesting sub-plots.
Weaknesses: None that I can think of.
Impressive Characters: Cameron, the good Terminator
Impressive Actors: Summer Glau owns this show, she's great from start to finish.
Continuity: Looks like the show will have a few running sub-plots.
Rewatchability: Very rewatchable. Since I saw this pilot I've been waiting for a chance to watch it again.
Three Things I Really Like About This Pilot:
Summer Glau as the heroic Cameron. There's something cool about an apparently slight, and very hot, young woman beating the living crap out of killer robots twice her size.
I was very impressed by the pilot's ending, firstly because it hinted that a couple of dangling sub-plots will be followed up on.
And secondly for what actually happened. It was a cool ending to the pilot. Not 100% sure it made sense, really, but it was still cool.
Three Two Things I Really Don't Like About This Pilot:
The opening scene is a long dream sequence. I hate that!
The baddie didn't have much on-screen menace or charisma.
Miscellaneous Comments:
Not much to add. It's good, I want to see more.
GRADE: A+
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