'Ties That Bind' - Revolution, Season One

Revolution

Season One

Episode Eight

'Ties That Bind' - 1.5

This is a group of people who all need to die slow, painful deaths. 

No. Just fucking no. I'm tired of giving the stupidity of this horrid attempt at storytelling a pass. Revolution is just every type of idiotic, using every single cliché and over-used trope to give itself a sense of adventure and action, but in the end it is just sad.

Take the shoot-outs we see during 'Ties that Bind'. First, Miles realises he and his friends are heading towards an ambush, and rather than run straight away opts to continue moving closer to the trap, pushing themselves onto a bridge, preventing them from scattering. I swear you used to be a fucking strategist, and now you decide that you'd rather force your crew to run from gunfire in a straight line than let the enemy know they've been made too early. COME ON!!! General Strauss kind of sucks too, because they could have tried to AIM. This is one of those overused tropes I mentioned: action film bad guys can never, ever aim, despite supposedly being trained to do so. It's maybe a bit more passable in a story where guns are hard to come by, but they had machine guns and their targets were fleeing as a group in a straight-fucking-line. FUCKINGLY FUCKING FUCK.

The second and final shoot-out had pretty similar issues. Namely, why not aim? They had clearly been behind Miles and the crew for a while, but they decided that they'd rather fire a few warning shots, instead of taking out someone who could fight back. Yes, I know they wanted Miles alive, but not Charlie or Aaron. Aren't they supposed evil? Isn't that the terribly written idea here, that the militia is immoral and totalitarian and actually needs to be defeated, instead of just being like the police. That's right, according to the laws of the Monroe Republic, Charlie and the gang are criminals! I am yet to actually feel bad for anyone.

The total fail is exemplified when Nora shows up, knifes some guy in the back, takes his gun and TAKES OUT THREE MEN WITH THREE BULLETS. Screw you, show. That's not how real life works, at least one good guy needs to die. Kill Aaron, no one gives a shit about him.

I've said that sometimes watching a show with your brain deactivated can be a relaxing experience, but I have issues when the show's brain is deactivated. If apparent experts don't know how to hold themselves in a fire fight then I'm likely to pull a hissy-fit. It certainly isn't helping that I find Miles to be insufferable, both in the way he's written and the way he's played. Despite his experience, I feel like he should be dead, along with his moralistic niece. Nora, oddly enough, is possibly my favourite character.

Note that that doesn't mean I like her.

With the whole introduction of her sister, I did think that they might kill her off, and I came to the quick conclusion that either she was going to die, Mia was going to die and finally cause some character development, or the two of them were going to ride off into the sunset together. It's probably a good thing that none of this happened, instead Mia turned out to be a fraud who was working for Sergeant Strauss in order to save her sister's life. Fair enough, and I didn't predict it. For once, I did understand why Nora leapt back to go help her friends, ditching her desperate sister standing alone. The realisation that Mia had never actually been to Texas and found their father was probably more affecting though, and I'm practically begging the writers to play on this somehow, and build some of Nora's character up. Finally. 

This show seems to underestimate the intelligence of its viewers, and I've come to the conclusion that it is like an IQ test. If you don't notice the logical failures then you have below average intelligence, i.e less than 100 IQ points. If you do, then congrats you have at least 100 IQ points, like half the world. Anyway, it's patronising, infuriating and nonsensical at times, to the point that I can no longer ignore the stupidity of its writers. They don't even make it cheesy! If it was like Xena or Buffy-type ridiculous I'd probably really enjoy it, but they play it STRAIGHT.

I'VE JUST REALISED: 'Revolution' isn't a failed epic adventure, it's a failed comedic farce! That makes me feel better.

'The Children's Crusade' - Revolution, Season One

Revolution

Season One

Episode Seven

'The Children's Crusade' - 2.0

It's not a good sign when I end up feeling sorry for the good actors caught up in this mess. 

Ok, so perhaps last episode's enjoyable experience was a one-off event. 'The Children's Crusade' returned to the predictable, politically correct, horribly written shit that perpetuated the first five episodes of the season. 

To be simple and - hopefully - concise, there are kids who have no parents and they are cute and no one dies. The kids’ leader is taken by the Militia and a guilty Miles decides to let his idealistic niece infiltrate some recruitment ship and rescue the leader. I'm sure I've said it before but these idiots deserve to die horribly, even though they won't. Hell, even Grace isn't dead after being kidnapped by 'Randall'.

On that note, the bright light of this episode came from Elizabeth Mitchell getting some more screen time. Mitchell has always been fantastic, and Rachel's pregnancy woes gave her plenty of room to stretch her muscles of actingness. Her reaction to her unborn baby's malady was realistic and touching, and I believed the performances of both her and of Ben Matheson. I also appreciated her initial collapse, as Rachel falls to the sidewalk with her hand to her belly begging desperately for assistance, and it just goes to show how great the actress is at portraying a woman dealing with her own or someone else's pregnancy. It's a very bizarre typecast, but it definitely works for her.

In the modern time, we also get to see Mitchell portray a morally ambiguous character once again, as she tries to trick a former friend into giving her the location of the pendants. It was a very well filmed sequence, as was the reveal of the prisoner's daughter later on, which establishes this poor guy as a less fortunate parallel to Rachel. Her break down as she realised what she'd brought about was pretty damn depressing, and a testament to one of the two strong actors on the show. The other is Giancarlo Esposito, by the way.

A weak actor is Billy Boyd, or whatever, who continues to fail his deliver and conviction in playing a troubled anti-hero. I don't believe that he has the sort of fury and determination that allows someone to be that good at fighting and swordplay. There's just no fire, nothing that makes me accept that this guy got a job without sleeping with somebody or paying someone a whole chunk of money. I can see that Tracy Spiridakos is able, if not always willing, to play the role of Charlie, I just wonder if she relates better to the more badass side to the character, as when she's being moral and typically heroic she can't sell it well. For the good of the show they clearly need to make Charlie an anti-hero like her uncle, and then they can get rid of Miles and get on with the story in style.

Putting children in the middle of the action is ultimately an easy way to evoke an emotional connection, similarly, Rachel's pregnancy troubles. At least the latter was well executed, because the actual 'Children's Crusade' was horribly acted and presented. I just didn't care, I could see that it wasn't real and I knew that the children would succeed. They're fucking children in Revolution, they aren't like sweet little girls in The Walking Dead. They are in absolutely no danger whatsoever. I don't think I can stand this predictability! 

And that's pretty much how I feel about Revolution. Shit. I don't like it anymore, the episode wasn't any fun, the characters suck ass, the plot is uninteresting and a promising premise is wasted by worthless writers and directors. Why don't you do something? 

'Sex and Drugs' - Revolution, Season One

Revolution

Season One

Episode Six

'Sex and Drugs' - 7.5

Star prediction: Should Tracy Spiridakos' career take off, it will likely be filled with her boobies, ala Anna Paquin

And so, after five horrid episodes that came disconcertingly close to shredding my patience and trust in television, JJ Abrams' newest epic serial Revolution delivers an episode that didn't make me want to kill myself. In fact, it was a down-right - dare I say it - fun instalment. Not just 'fun' in the dumb sense, but actually respectable and enjoyable. I'm serious!

The aspect of 'Sex and Drugs' that differentiates it from past outings was all in Charlie, who was mere inches away from breaking the boundaries of the average television protagonist to become a tough, capable girl who is able to do the hard things when they are required of her. Sure, Miles fucking swoops in and saves the day at the last minute, preventing her from killing a somewhat likeable and honourable man, but the intention was there. She even started the final descent, bringing her knife down towards his eye, only to have her arm caught by her retarded uncle. 

There are always logic holes in this tale: why couldn't they have killed him? Ok, this isn't so much logic, but I don't see why Miles couldn't have come in a few seconds later to discover his niece covered in innocent blood and eye jelly, then whisks her away to safety like he does? Normally I wouldn't call for such life to be lost, but I just think by preventing her from doing the deed the writers have purposely and idiotically outdone the progress the character made during the episode, turning her back into the moralistic whiney bitch she was before.

I do have to say though; Tracy Spiridakos really came into the role tonight. After five episodes coming across as largely non-committal, she seemed to relish being able to play a character with strength and questionable morals, an anti-hero rather than a straight-up good guy. It's the smarter, more relatable protagonist, and though when you watch the scene with the farmer you don't want him to die, you realise afterwards what a great story was squandered just to maintain the status quo. Despite what many previews have claimed, Revolution is not a show that has the balls to do things any differently. It's about war, yet what collateral damage have our heroes caused?

In another surprising twist, I actually enjoyed the flashbacks, which this time featured the largely unexplored Aaron. Zak Orth, who at first played a standard background foil, has come to be the voice of reason for the group, and that has been endlessly irritating. I have always despised the voice of reason, as their reasons are always stupid. 'Don't do this cause it's wrong!' 'Yeah, well what about the people who'll fucking die if I fucking don't do it you fucking ass'. Luckily, he also grew in my eyes, but only because he goes back on his word by killing the episode's antagonist; Drexel. Anyway, in the flashbacks we see that Aaron was always a punce, but he was a punce with a beautiful wife who - despite my initial judgements - loved him, and didn't just want him for the money. However after a group of bandits raid their post-blackout camp, he realises how utterly useless he is to everybody and leaves his poor wife alone, venturing off on some suicidal solo journey. We don't learn the wife's name, but she wasn't a bad actress, so something tells me we will see more of her.

It was only an episode or so ago that I actually realised that the flashbacks were here to stay. I thought that JJ Abrams wouldn't have the audacity to pull two flashback-heavy shows - A successful and boundless gimmick in Lost's case, a tired and limited trope in Revolution's - under his own name. I honestly think it was a stupid decision, and he could have had the gonads to try and pull a few spoken expository moments, rather than inundate us with generally boring footage of unimportant events. Characterisation is a yay, definitely, but only when the character is worth building upon. Yes, Aaron's flashbacks were successful, but he isn't particularly enthralling. 

The dramatic gun play between Nora and Aaron at the end was the best part of course, as I definitely didn't expect Aaron to shoot himself, let alone shoot Drexel. Good show, and good shot. I did think that he was going to die, and for a moment there I was so proud of this show, but then he had a fucking whiskey bottle in his pocket. It all turned out for the best, and we did get an awkward 'you did, but she didn't?' scene between Aaron and Charlie at the end there. 

I actually really, really liked Drexel. He was a fun, sadistic drug lord with a harlem of whores, heroin and adrenaline - God knows where he got the later - and he was played with complete abandon by Todd Stashwick. I was a bit put off by his death, but probably more so by the complete indifference of his guards. That one dude was pretty much just 'yeah, whatever man. My drugs now!' before letting Nora and Aaron go. Rightio.

Drexel, a better Charlie, a well aimed quick shot and some adequate flashbacks made for a fun experience which for the first time brought me whiffs of The Walking Dead or any other superior apocalypse dramas. Hopefully the edgy villains and the questionable heroes are going to come a bit thicker and faster - and no, Miles' quasi-mercenary style doesn't count as a 'questionable hero' - and we can really see this show emerge from its already withered bud to reveal a brilliant and unique flower. Look at that, metaphor. It was shit, yeah, but riskier than anything this show has done. Kill Miles! 

'Soul Train' - Revolution, Season One

Revolution

Season One

Episode Five

'Soul Train' - 5.5

This isn't an exact screenshot from the show, but it was by far the most interesting part.

What interests me most about Revolution tonight was the map we see Monroe strategising over in a very brief scene. This is probably because when you watch a show called 'Revolution' you kind of expect to see references to government and power and all that stuff, instead of getting some bullshit about saving an annoying brat. No, I don't care about Danny or his sister, I don't care about Miles and I felt nothing when Nora was stabbed. I don't care for any of these characters because they are so poorly written that I think those that do care don't know any real people. 

It's almost disturbing how easy it is to watch a likeable enough character get stabbed in this show. Nora doesn't die or anything, but she's so boring that I really couldn't care less if she did. This is a show about a dystopia, it is ripe for a character drama and yet the writers have pretty much shat out some stock garbage and tacked it onto their epic story, that so far has had so little to do with revolutions it isn't funny. There were points in this episode that I was eager to see what would happen next, but it was never because I wanted to know what would befall our heroes, rather I wanted to see something worthwhile. A violent death, a unique effect, something that distinguishes this seriously awful offering. And that refers to the entire series, not just this episode, which was honestly not that bad. 

The only intriguing character would be Neville, who I was disturbed to realise was the focus of tonight's episode. I was highly against this manoeuvre, largely because I worried they would humanise a fantastic villain and turn their last respectable creation into another television trope that has been done a million times. While I don't think what they did was particularly original, I was pleasantly surprised at how much I didn't hate his former life. Of course he used to be weak, that was a give in for a show as unimaginative as this, but he also has a wife and son who depend on him. Once again, the shock twist here is that Nate, that annoying stud following Charlie around, is in fact Jason, Neville's son. We don't get this stated until the very end, but I'm not gonna beat around the bush; I think you may be clinically retarded if you didn't already guess it. Seriously. 

Anyway, when the blackout occurs, Neville was a quiet, beaten down family man, but when his loud neighbour breaks into his home one night, our antagonist is forced to punch the guy so hard he dies to death, right in front of Jason and his wife, Julia. That's all we get of his transformation, other than the establishing scenes which depicted him as the push-over he once was, but I hope we get to see him gradually get used to his cold yet passionate stance with violence and control. Giancarlo Esposito is really very good in the role, managing to no longer feel conflicted or remorseful for any of his actions, and hopefully the writers are able to maintain that sense of amorality, without turning him into a 'likeable' villain by giving him human feelings. 

As the title suggests, there is actually a train, which would be a terrific location for some fantastic action but no, they spend all of about five minutes there before cutting to the very end of the journey. There's some scuffles and Charlie finally sees her brother again, but nothing much really mattered. 

Before they get to the actual journey they meet a new rebel, Hutch, who is played by Lost's Jeff Fahey, and he and Nora devise a plan to blow up the said train, despite it being used to transport Danny to Philadelphia. This is done without consulting with Charlie or Miles of course, as the two of them are out being stupid and getting into fights with Neville himself. Charlie even reveals herself to the captain, albeit unintentionally, when she decides to tail him only to get caught. Luckily her uncle gets her out of the situation.

Nora does eventually realise that Danny is on the train, but before she can rush off and remove the bomb - which is inside a log on the steam train, for your information, which means the soldiers will essentially blow themselves up when they put it in the engine - a desperate Hutch stabs her. It's not that serious a stab wound though, as she's able to warn Charlie and Miles about Danny, and the two of them rush off on some horses to board the train.

Hooray, action sequences! Charlie tracks down her brother in one of the carriages, and he jumps Captain Neville when he sees her. Unfortunately, the door isn't opening for her so she can't get in and help Danny. Meanwhile Miles goes to remove the bomb, having to knock out the guy in the front carriage to do it. Isn't that the slightest bit counter-intuitive? Now someone else is going to have to take over or the train will just stop. Anyway, the log had been put in the engine, so he ends up having to reach in and fish it out, throwing it to the side of the tracks just as it explodes. I swear that the inside of a steam engine is like five hundred degrees, which is the kind of heat that will often turn your hand to ashes in all of about five seconds, but whatever. You do that Miles. 

Back in Danny's carriage, Neville gains the upper hand and is able to pin Charlie to the wall, holding a knife to her throat (do it Neville!), only to have Danny knock him out with a bang to the back of the head. It's not over yet though, as back-up comes in and is able to nab them both just as Neville wakes up and seizes Danny. Charlie is being held by none other than Nate, who escaped from the rebels earlier this episode, but when Neville demands she be brought to him, Nate refuses and instead throws her from the moving train. Miles sees his young niece rolling down the hill from the engine, so he strangely decides to jump off the train as well. You're supposed to be like a cunning strategist, Miles. What the fuck was that?

And that was pretty much it. There were desperate glances down the train tracks as it chugged away, as well as the revelation that Nate is really Neville's son Jason once they arrive at Philly, but that was it for the two main groups. Up in her cell, Rachel - possibly my other favourite, if only because it is Elizabeth Mitchell and she hasn't done anything awful yet - sees Danny being dragged away and pretty much instantly gives Monroe the information he desires; a diagram of the special pendant device and the knowledge that turning the power on starts with the twelve of them, meaning that instead of a revolution we are probably about to see a scavenger hunt for ugly necklaces. Greeeeeat.

On the topic of revolution, I was intrigued by the map of the United States, not only because somehow in all this anarchy they kept the American land borders intact. Seems that the US is now divided into six areas; the Monroe Republic, which encompasses the North-Eastern states; the Georgia Federation, which would probably contain Georgia, but is simply south of  Monroe; the Plains Nation is to the west. It is noted that these two nations have allied against Monroe, but the character is so clearly the antagonist that he is unphased and remarks that he'll gut them all. Cheery. Anyway, the other known areas include the California Commonwealth, which is the western coast of the country; Texas, which is slightly bigger than it was before the blackout and finally Wasteland, the most evocatively named of the six kingdoms of the United States. It sounds Game of Thrones-esque, and yet they give it the most passing mention. Ug, please just give me politics. Please. 

I'm getting weary of this show and its awful characters, its meandering plot and its failure to lift itself out of the sci-fi-for-idiots basket. I think it's trying so hard to maintain a the easy-going feel that it's lost any sense of what makes a revolution fun; it isn't easy, it's hard going, it's tough and violent. You are overthrowing a government, you thought it would be simple? God, grow the fuck up show, because in reality all your main cast should be dead, in fact I want them dead. Have Monroe follow his word and gut the assholes, do it in the town square in Philadelphia for everyone to see. That would please me. Show the viewers why it is that there will be a revolution and give us someone to lead it - and not Charlie. Just, just, no. 

'The Plague Dogs' - Revolution, Season One

Revolution

Season One

Episode Four

'The Plague Dogs' - 5.5

Some how, the blonde woman in front is kidnapped before they get to the diner just ahead, without anyone noticing. Sense?

And so Revolution claims its first real victim. No, it wasn't really anyone important, rather it was a character who had most likely been destined to die in order to increase the drama and up the ante, as it were. Nonetheless, I was a little surprised.

I'd have to say that 'The Plague Dogs' was another improvement for the show, and I admit that I'm actually enjoying the ability to turn my brain off for a short period of time and just absorb the cheesy awful of Revolution. Yeah, the dialogue is perhaps the worst that I've ever seen in a show of this scope, and on the whole I find it entirely devoid of personality or style, but yeah, I'm not minding it. I still wouldn't worry too much if it was cancelled, but I'm still planning to get through it. 

I wonder if my sudden lack of derision stems from my slow acceptance of Charlie as a protagonist. At the moment I still think Miles is depressing in his horrible conception and portrayal, but Tracy Spiridakos proved herself worthy tonight, depicting her character's grief and desperation, as well as kindness and fear all with realism and ability. Sure, it was standard TV emotions, i.e. over-the-mountain-top, incapacitating outpourings, but she did them well. 

The group learns early on that they are approaching Danny's captors, garnering information from a militant at a way station that his convoy passed through only the day before. This gives them incentive to move just a bit faster, as while they are catching up, they are also nearing his apparent destination. First though, the two halves of the pack convene in Lowell, having spent two weeks apart since their division in 'Chained Heat'. Once darkness falls, the group is attacked by a pack of hungry and wild dogs, who chase them through the city ruins and nearly tear Aaron's leg off. In order to save his life, Maggie kills the offending canine with a crossbow.

Aaron's absolutely fine though, despite clearly needing medical attention. He's well enough to walk the next morning at least. Ug, this show. Anyway, as they stroll through an abandoned amusement park, who should they confront but fucking Nate, who Miles is able to disarm. Charlie convinces him not to kill the dickwad for some reason, apparently for information. Whatever Charlie, I bet you're just going to sodomise the prisoner when no one's looking. Whore.

The dogs attack again, sending them all scampering into a diner for safety, only they lose Maggie in the process. No, she isn't killed by wild dogs, God, this is primetime, general masses-style television. No one's getting torn apart. Maggie is instead seized by their owner, who, rather than have his animals do his business, he'd rather do it himself, trying his hardest to jam his knife into her eye socket. She's too strong though, and she manages to deflect him long enough for him to settle on a simple leg stab instead, before running off when Miles turns up. 

Of course Maggie dies, but not before a long period of time is wasted trying to save her. Miles and Nora go off to try and track down the crazed dog man while Charlie and Aaron work their hardest to save the woman. Unfortunately, Charlie is grabbed while gathering supplies and dragged off into his creepy bad-guy lair, where he gives an insane monologue to his new prisoner. Not insane in a good way, insane in a clichéd, 'you remind me of my dead daughter' way. I didn't even cringe or shudder. It wasn't very interesting. 

I did cringe briefly as he set up a crossbow to fire right between Charlie's eyes when the door is opened though, clearly anticipating her rescue party to arrive shortly. Miles brings Nate with him this time, leaving Nora to help conduct the surgery on Maggie's leg, who is suffering from a severed artery. That's a good prognosis right here...

Crazy man is easily killed by Nate and Miles, but they come within centimetres of taking Charlie out as well, but lucky for them she's managed to loosen the chair she's sitting on and rock it out of the arrow's path. I admit though, I kind of wanted to see her get it in the brain. It would have been a gutsy move... Alas...

They return her to the diner where Nora and Aaron complete the surgery on Maggie, but sadly she's lost too much blood and dies after informing Charlie that she saved her. There's a whole long story here that was told through flashbacks - Maggie got stuck in the US, tried getting home for years, gave up and tried to kill herself, saved by Ben - but it is rendered so utterly pointless by her death I can't be bothered going into details. Regardless, I was depressed by the loss of this character, if only because of Charlie's desperate pleas as she died. I was a little put off that she died like so many other TV characters die; quickly. I'm not saying torture her, but they always just imply that the death of someone from blood loss just happens. No, you lose consciousness first, often a few minutes or more before you actually die. Did they even check her pulse? 

I'm angry now. 

The world's worst character - Danny - continues his really bizarre run of expert skills, this time predicting the arrival of a tornado. He convinces the convoy to pull into a shed while the storm passes, but is able to distract them with a wayward horse while he makes a run for it, only to be apprehended by Captain Neville and dragged into the basement. The two get to talking down there, with Neville likening himself to Ben Matheson, much to Danny's chagrin. He gets his small victory though, as Neville ends up trapped under a collapsed ceiling, a heavy range top only inches away from crashing down and crushing the captain. Danny's an idiot though, and he saves him only to get handcuffed and led away again. God you people suck. Giancarlo Esposito gives a heck of a performance, easily delivering the awful dialogue with thrilling and chilling mastery. I don't think I've really heaped praise on this guy enough yet, but I'm young and can't quite place him in anything before this. Nonetheless he's fantastic, and you people need to inform me of where I can find more of him. It was like torture though, watching him act circles around Graham Rogers, who I think needs to be axed. Seriously.

My other favourite actor on this show? Elizabeth Mitchell. The mum if you were wondering. No, not the dead one, the dead one that isn't dead, the one that Monroe is holding prisoner. It probably just stems from my Lost love (ha!), but I know for a fact that she can really bring it to the table performance-wise, and she definitely hinted at her underlying abilities at moments tonight. Notably, when Monroe came in to her beautiful prison to tell her that despite her strong will in torture - yeah she was tortured, wanna fight about it? - she would be a horrible mother if she could withstand Danny's torture. Rachel Matheson was absolutely shattered, but she couldn't show weakness to her captor, choosing to act with a cold, passive-aggressive stance that is highly reminiscent of Juliet Burke. 

Through flashbacks, we see Rachel leaving her children for the apparent last time and turning herself into the hands of the militia, this time led by none other than Miles himself. And I'm supposed to be surprised?

I find the flashbacks a tad tiresome. They aren't adding anything to the story really, we are just watching events we already knew happened. Hell, watch Lost for some great flashbacks, or even freaking 'The Walking Dead'. You need to know when and where to place them, you can't just chuck them about and expect people to care. I sure don't, not now that I know I can still see Elizabeth Mitchell in the normal timeline. 

I don't know if I can like this show while Miles is here and while the dialogue is this heartless. There are just so many little things wrong, I can't believe that this is produced by JJ Abrams. Often when I watch television shows, I think to myself how could I write something like this, but I'm almost viewing this show as a lesson in how NOT to write television. Yeah, it's beginning to intrigue me, but that fact is making me sadder than Maggie's death every could have. You could have introduced me to some of these people before you start killing them. DID MAGGIE EVEN HAVE A SURNAME? 

'No Quarter' - Revolution, Season One

Revolution

Season One

Episode Three

‘No Quarter’ – 5.5

The majority of these men die pointlessly because Mark Pellegrino can't spell 'tactic'

I don’t actually know what ‘No Quarter’ refers to, other than it being the title of tonight’s instalment, all I know is that this show has yet to dig itself out of its disturbing rut of predictability and absolutely god-awful characterisation. Miles, I still hate you. I do not understand why the general consensus is that you’re cool, you’re just kind of pathetic.

Actually, while it still hasn’t fixed any of its major issues, something about ‘No Quarter’ brought a higher level of quality to the nearly failing drama. Perhaps it was because the cringe-worthy performances were overshadowed by the amount of action, even if the action involved some very dodgy CGI smoke. Seriously, the acting is deplorable: Charlie and Miles (Tracy Spiridakos and Billy Burke, respectively) are the apparent protagonists, and yet neither would ever receive a call back from me – assuming this were some extended audition tape or something. I’d look at it, shake my head then move on. If I were a producer, I probably wouldn’t get rid of Miles (he’s too damn popular) – not yet anyway – but Charlie would certainly be on the chopping block.

For this niece/uncle pair, most of their storyline takes place in the base of Nora’s rebel alliance. Am I getting too Star Wars-y? God I hope not, because I honestly didn’t enjoy at least half of those movies. Though now that I think of it, there really are a lot of similarities between these two universes, with their weird mix of the modern and the archaic, as well as the anti-establishment ideology and oppressive enforcement of unjust rules and such. All they need is a Darth Vader and they are cool. Anyway, some of the rebels are wounded after attempting a raid on a militia group which resulted in a dozen fatalities and one of them captured. If anyone on this show was remotely intelligent or prepared for war, they would know that you run now. Yeah, Miles makes that point, but Nora, who is supposed to be some powerful revolutionary, decides to stay. I hope you die, Nora. Not because I don’t like you, but because realistically, you would. War is not idealistic, you can’t hope that carrying a puppy will save you a bullet to the brain, you have to work your hardest to ensure your group’s survival, and remaining exactly where they know you are (to help the injured soldiers, no less) is largely counter-intuitive. Sorry Nora, but realism just issued a death warrant with your name on it.

I don’t think realism has much to do with this show at all though, as sure enough a whole swarm of Monroe’s militia turn up at the base, guns blazing and taking out a boy that Charlie had shown an interest in. Mark Pellegrino plays the commanding officer of this little brigade, and I was happy to see a pretty good performance amongst this mess, even if the character himself isn’t much more than a bad guy. Anyway, the rebels are outnumbered, but they have the sniper rifle, sending a guy up onto the roof to take out any of the soldiers that get too close. The militia’s tactic was bizarre; sacrifice soldiers until the bullets run out. You’re kidding right? You aren’t even going to try and shoot the sniper? Every time he fires he gives away his position, and he’s not even ducking or anything. I like your character, Pellegrino, but he isn’t much of a battle strategist. Sure, your guns kind of suck, and need to have the gun powder patted down before they work, but that doesn’t mean you can’t at least TRY and hit the guy who’s taking you down. And they send one at a time as well, despite the fact there are like fifty of them! The tree line is like ten metres from the base, no sniper can take out that many soldiers before they run ten metres. THINK, PELLEGRINO. God.

Eventually the rebels do run out of ammo, and the militia quickly storms the base, but somehow (I don’t understand exactly how) Miles is able to disable Pellegrino’s character and restrain him, while the rest of the soldiers... stand around? I have no idea what they were doing. I don’t think that they wanted to see their commanding officer’s throat sliced, but he honestly seemed to care less. You were so willing to sacrifice one another to the pointless sniper death, yet you won’t let your head honcho die? Whatever.

Miles actually knows Pellegrino, and through a couple running flashbacks we learn that the two had met under unfortunate circumstances. Seems that six months following the blackout, Miles and Monroe had set off on a bonding mission to track down Ben Matheson, only for Miles to become struck by the total anarchy they encountered along the way. In a moment of vigilantism, Miles rescues a man from a daring highway robbery, killing his two attackers. Surprisingly (not), the man he saved was Pellegrino (Ok, I’m sure he had an actual name, but I don’t remember what it was). Back in the now (well, the important time), Pellegrino explains that Miles is actually the cofounder of the Monroe Militia, and had both commanded and trained the soldiers for years before going rogue. In his own words, Miles explains that the soldiers are ‘brutal and smart and vicious because of me’, which totally fits the description of the thirty-or-so men who just died pointlessly outside your door.

Heroically, Miles offers to turn himself into the Militia in return for the freedom of the rebels, a proposition that Pellegrino jumps on, and our annoying protagonist is led off to certain doom while Charlie and Nora and all the rest get to remain behind. It’s not that simple though, since this show refuses to lose a ‘good’ character, having Charlie and the others instigating an ambush of the militia as they transport their prisoner, using powerful (but CGI) explosives to take out a bridge and put some distance between Miles and Pellegrino, rescuing him from a plotline that could have been somewhat interesting. Oh well.

For the other militia prisoner, Danny Matheson, the trapped life is pretty rudimentary. He gets mistreated by his guard, who throws his water at his feet, then later beats him with a sack of potatoes or something. Either way, the soft spoken little shit deserved it, and I was unsatisfied when he regained the upper hand over one of these ‘brutal and smart and vicious’ soldiers. Isn’t he supposed to be a sheltered sixteen year old? Again, realism has a death warrant. Get Ned Stark on this dickwad’s arse!

'Chained Heat' - Revolution, Season One

Revolution

Season One

Episode Two

'Chained Heat' - 3.5

High five to anyone who can spot the guy blatantly looking at the camera

OH FOR THE LOVE OF GOD. The dialogue in this episode is possibly some of the worst stuff I've seen in years. It definitely improved as it went on, but for the first twenty minutes I couldn't ignore the deplorable writing skills that entirely detracted from my experience of this post-apocalyptic drama. 

Early on tonight, our main characters of Miles, Charlie, Aaron and Maggie headed to the Pontiac Market, much to Charlie's annoyance. When she asks her uncle where they are going and he simply answers 'This little place called SHUT UP AND STAY HERE'. Hahahahaha, that's hilarious. So clever I nearly died of pure pride in the standard of modern television. To me it seems like the show is trying to put in a few cocky one-liners here and there - mostly delivered by fucking Miles, who's actor doesn't even deserve to work in filth like the Bold and the Beautiful -   but maintain a horrid sense of seriousness, presenting this bleak and unwelcoming world, yet while filming it in bright primary colours that one would expect on a nice summer's day. I'd like to see them head north as winter comes. It'll be like Game of Thrones, except some people have guns, and everyone's in casual clothes! 

I'm getting ahead of myself here, because Charlie's storyline tonight focuses on her belief that she was responsible for her brother's capture by the Monroe militia. In a flashback we see her late-mother convince her to take care of Danny at all times, never letting his hand go, a memory that Charlie clearly held onto for the fifteen years after that. She explains to Miles in an 'emotional' scene that had she not been gallivanting in the overgrown wilderness he'd never have been taken, and that her father may never have died. Seems Charlie's having a bit of a moral crisis, and I really wish that she wouldn't. Yeah, I know people have issues relating to protagonists that just kill willy-nilly, but do they really have to be such good-natured pushovers? I can see that she wields a bow-and-arrow like fucking Robin Hood, but so do archers at the Olympics, and I don't think the majority of them go off and hunt human game in their spare time. No, despite looking like they lived as peasants in a totalitarian pre-industrial society, she's incredibly idealistic in her desire to preserve life. I don't think that's realistic.

For example, before they reach Pontiac, Miles is attacked by a Bounty Hunter near a train line. I am enjoying the sword fighting sequences on this show, though it is starting to feel a bit like Xena: Warrior Princess out there, but without the brilliant cheesiness. Anyway, Miles of course manages to knock out his opponent, but before he can delve into the man's chest with his sharp instrument of swift death, along comes fucking Charlie who's like 'No, you can't kill innocent lives!'. Innocent? You stupid bitch. He's a fucking bounty hunter, we've seen the movies; he's a fucking bounty hunter, he will track you down and he will kill you all. Because that is his job. Ok, you might not have seen the movies, but Miles would have, and yet he listened to the less-than-two-decades-old brat who has not truly experienced the horrors of this dystopic world, leaving the would-be assassin in a train carriage. I can already see where this is going, and I hope to God it ends with all four of your heads on pikes. 

It was a complete surprise when the bounty hunter turned up again as the foursome looks around the market. I mean, I never would have seen that coming. What's worse, he and Miles have this supposedly tense pre-slap down interchange that just made me cringe with its awfulness. Bad guy tells our resident macho-man that he broke out of the carriage by smashing the wood with his fists, explaining to Miles that he was 'worth it'. Can I get an 'ug'? However, the worst line had to go to Miles himself, who looked bounty-guy straight in the eyes and said 'Give it your best shot'. Please, kill me. 

It was hilarious when the bounty hunter pretty much just shrugged and beckoned his men to come inside, holding knives to the throats of Maggie and Charlie. Go on, kill 'em. I fucking double-dog dare you. 

Of course he doesn't, since Miles relents and drops his weapons and shit down for the militia to seize. Seconds later he's on top of them, stabbing and slashing and choking with freaking handcuffs, and I just didn't care. There's no risk in this show, I know that Charlie and Miles are going to make it out, because so far there has been no single event or development that I would call brave. The blackout doesn't count, because they could have just set this in the Wild West or something. Yeah I guess you couldn't have the solving-the-blackout problem, but that's barely a subplot anyway. 

Before Miles killed the bounty hunter, he manages to get out some information regarding why they came to Pontiac, discovering that the girl they were looking for - Nora - was arrested and put to slave work. That night, Miles ditches the other three, telling them to meet him somewhere specific in two weeks, with naive and stupid Charlie following him in the middle of the night. If this were a just world that you lived in you little bitch, you would have died in the hotel fight scene last episode.

The brother Danny doesn't get too much screen time tonight, which is honestly a blessing because he makes me want to vomit on the Pope. Really, the Pope is apparently the closest to God, and so I have to take my anger at the big guy - for allowing such monstrosities to exist - out on him. Suck it Ignacious, or whatever. I'm not Catholic, so I really don't know. REGARDLESS!!! Danny is once again riding in the back of the wagon, probably having to shit his pants the whole time, though primetime shows like this will never mention that sort of thing - except for weird ones like Fringe. So the militia hears a gunshot ring out through the trees, and they make for the nearest house so they can execute their bogus no-firearms law. When they get to the house, they find a deer strung up from a post, clearly having been killed by buckshot. Oh, we have a smart criminal here, it's just like those people who grow marijuana in their front yards. I love Collingwood... 

It's not big surprise the idiot owns a gun, and he hands it over willingly once he sees who he's up against. However when the menacing Captain Neville orders the house searched for more, the guy freaks and pulls ANOTHER gun, shooting one of the soldiers before being taken out by the Captain himself. When they do get into the house, they find a 'rebel' flag; the American flag. Sure enough, Neville orders it burnt. Yeah, he's definitely evil. Personally, seeing the stars and stripes burnt makes me indifferent, and I find it almost insulting that they assume I would give a fuck. Yeah, I see why American's might, but I also know a hell of a lot of people that are certainly rooting for the away team right now, simply because they don't like Americans, and who can blame them? Hell, I would have been slightly more pissed if it had been Australian, but probably not much more. I'd be confused about what it was doing there though, but the point is that it was a very, very underhanded and pathetic attempt to get us to dislike Neville, and for some reason I now feel sorry for him, almost sympathetic. Burning old glory is gonna lead to some serious hate, and I don't think you deserve it.

The wounded soldier is irreparably shot - cause that's a thing now, trust me - and the Captain has no choice but to offer him a small vial of euthanasia, which he just carries around with him, because why not, right? As they bury the poor guy, damned Danny sniggers. Look, kid, you're gonna laugh at your captives? You will die. You better die. As you yourself said, Captain Neville likes to kill, and you're giving him every reason to want to. Pull a Sansa move and just 'M'Lord' your way out of the situation. Took her a couple books, but she got out eventually. It's smarter and safer, and while you could claim that he's more use alive than dead... is he? How would anyone know he was dead? He'd be less of a flight risk if he was a rotting carcass in the back of the wagon, right? Oh well, they probably aren't going to kill him, because this is network television and he's like sixteen. That's not murderable territory if they want to stay general populace-friendly.

On Charlie's way to Miles, there is a horrid scene between her and that clear attempt at a romantic-interest, Nate, which I won't even bother to go into great detail about. It was shitty, that good enough for you? Kill him. Worthless, she doesn't need love, he'd surely be trained not to fall in love with the targets. Simple as that.

Eventually she makes it to her uncle, just as they come across Nora's group of slaves, which are shown to be laboriously dragging a helicopter through the forest, apparently so that evil Monroe can be prepared when and if the power returns. During the night, Charlie distracts the warden - who carries a pretty fine sniper rifle - while Miles leaps in and frees Nora from her bounds, only to discover that she didn't want to be saved. Nora reveals that she had allowed herself to be captured so that she could get her mitts on the rifle, and refuses to help the pair out until she gets it. 

Nora obviously can't go back in to grab it, and for some reason Miles knows they'll recognise him (from what, a painting?) so Charlie is the one that needs to infiltrate the slave drivers. A small, single-bullet gun is attached to her wrist, which she is told she must use to kill the warden, then the other two will come in and save the day (kill everyone). Charlie agrees, and approaches the militia as they stand around doing jack all, claiming that she got lost hunting. Her bow is taken from her and she is dragged before the warden, while flashbacks are nicely dispersed across the sequence. The flashbacks show the Mathesons waiting for Ben to get something from his and Rachel's work when a man comes and grabs young Charlie, claiming that he'll kill her if he doesn't get all their food. Ben comes out to find this scene, and pulls out a gun just as Rachel makes the trade. Unfortunately Ben is unable to kill the guy, and lowers the gun as he walks away. I didn't actually expect the next bit, as it looks like the food stealer and child snatcher is going to get away, but then he's shot from behind, revealing that the so far little-seen Rachel has committed the deed. Fifteen years later her daughter does a similar act, shooting the warden and initiating a nice little fight scene.

Neither Charlie, Nora or Miles are killed during the fight, though Nora gets a nice slice to the side of her abdomen and an excuse to remove her shirt and reveal the American flag tattoo on her back, showing her to be a rebel. I hope they all die. She tells Miles and Charlie that her real intention for the gun was to take out General Monroe, which is fine I guess.

Since Charlie and Miles have abandoned them, Maggie and Aaron divulged their secrets to each other. Seems that Maggie had travelled to America from England for some reason, leaving her children behind. When the blackout occurred, she lost all contact with them and any chance of being reunited with her family. She keeps her old iPhone with her at all times because it contains the only pictures she has of her kids. Cute. Aaron, on the other hand, simply tells her about the USB thing that Ben gave him last episode, and tells her that they need to visit Grace Beaumont in Illinois. Grace turns out to be the woman who took Danny in before revealing herself to have one of these devices, but unknown to the pair now on their way to her, her home's just been invaded by an intruder named 'Randall', who seemed to have a taser and left the woman with an unknown fate. I hope she dies.

In the final, pleasant twist, Rachel Matheson is revealed to be alive and well, having been living in a luxurious compound ever since her death was faked or whatever, as provided by none other than General Monroe. He comes to visit her to tell her that Ben has been killed and that her son has been captured by his own militia, an admission that provokes her into trying to shove a pen into the guy's face, despite the oddly friendly and cordial conversation they'd had only moments before. Have I ever said how much I love Elizabeth Mitchell? Ever since the Lost days, where she played ruthless and morally-ambiguous Dr. Juliet Burke, I've had a serious thing for this actress. Like, serious thing. It disturbs even me, and it must be what girls feel about themselves around Justin Bieber. I wouldn't rush the stage if I saw her or something, but I'd definitely want to.

Where was I? Oh, well, the end, really, because that's it. As happy as I am to have Elizabeth Mitchell back, I can't help but wonder if the writers realised the talent they would be wasting if they didn't put her in a main role, when in fact she was always supposed to have died between the blackout and the time the show is set in. I honestly hope she was always supposed to live, otherwise they'll surely come up with some horrible excuse for her lack of rotting, and while I am grateful to have her on the screen I don't know how I'd feel about sacrificing the story for her sake. 

If you picked up on that, then yes, I am somewhat enjoying the overall story here. So far I haven't gotten into any of the characters, and the dialogue makes me wish I could watch this show on mute, but the premise is at least intriguing and so far the plot has been quite fast, and now the characters are all split up. Perhaps this is going in a Game of Thrones-y epic adventure type direction, which I am all in favour of. Still, characterisation and the actual script are deplorable, so much so that they make some parts of the show completely unwatchable, so hopefully we meet some new, kinda cool people soon, or else I'm gonna be stuck with Miles; the most blatant attempt to appeal to the viewers who are into the badass, tough guys. I say kill him. I don't even think anyone would notice he wasn't there, in fact it would definitely up the stakes a little for the others. 

'Pilot' - Revolution, Season One

Revolution

Season One

Episode One

'Pilot' - 3.0

I've always loved starting new shows. With most people, it takes a few episodes before they decide whether or not a show is worthwhile, but the pilot gives you that one point in the show when you can make any assumptions about it that you want, without worrying about there being more information in past episodes or any prior notions that you are contradicting. Thus, we have the first episode of the new post-apocalyptic drama series 'Revolution', which I'm determined to see through the first season of, regardless of quality. Hell, bad episodes are more fun to write about.

One issue with pilots is that you have to remember all these names, faces, locations and situations that you'll generally have no chance of knowing prior to watching the show. I wrote down everything I thought was important and I still don't have the names for every important character we met. First things first though; was it any good? Well... it's alright.

To be honest, I was definitely intrigued by the prospect of a modern world where humanity has been stripped of its literal power, preventing cars, computers, phones, fridges, production lines, anything involving electricity from working. Don't think too hard about it, the premise really doesn't make that much sense when you consider it. Like, if power just stopped flowing, we would die. Electrical impulses cross synapses in our bodies which allow us to feel, react, move and think. Not all cars need electricity to run. Is there still lightning? I'm aware that's static electricity (I think, isn't it?), but you get the idea. There isn't much point in obsessing over the science of it all.

Revolution is one of those shows that attempts to get by on only a detailed and potential epic tale, believing that it doesn't need to spend long periods going over characterisation or dialogue. It's a shame, because the executive producer is JJ Abrams, who I know can write an excellent character drama, yet Revolution just... isn’t.

In the first scene we meet the a family living in modern Chicago; Ben is the father, Danny is the youngest and Charlotte the oldest. The mother I can't remember the name of, or maybe it wasn't said out loud, all I know is that she is played by Elizabeth Mitchell, who was one of the best actresses on Lost in her role as morally ambiguous Dr. Juliet Burke. Tonight though, she's only in the few flashbacks we get to see.

Everything is all right for about two minutes, but I have to hand it to the show - they get onto it fast. Ben arrives home and throws his junk onto the table, immediately getting out his phone to call his brother, who is driving down a freeway with a marine colleague or something. Apparently all the power's about to go out - big shock there, considering what we know the show to be about - but before Ben can warn his brother Miles, the blackout hits, severing the connection. The shots of the power disappearing were fairly awe-inspiring, with the darkness sweeping through cities like a wave. Miles and his friend's perspective of the headlights going out along the busy freeway was my favourite, as the camera panned up the length of the road, slowly revealing the horizon and the faint glinting lights of falling airplanes.

Seconds later, we flash forward to fifteen years after the event, with our protagonist seemingly Ben, who has become a worried and protective father of Charlotte or 'Charlie' and Danny, the latter is revealed to have asthma. Elizabeth Mitchell is said to have died, and the new matriarch is a British-accented medical doctor who treats Danny's asthma attack with herbs. Ben is eternally fearful of bandits and the militia which have arisen in the last few years and forbids his kids from venturing to close to the road or too far away.

They live in a makeshift commune with a whole bunch of other unrelated people, only one of whom is revealed to be at all important; Aaron, some fat guy who we later find out was a multimillionaire who worked for Google. I guess he's the Hurley of this show.

A normal day for the farming community is ruined when a local militia arrives, loyal to whatever the hell the 'Monroe Republic' is. This small group is led by some stereotypically macho, badass dude who comes looking for Ben Matheson, as well as his brother Miles who is clearly not at the township. Ben hands a small device – seen to be a flash drive in the initial scene - to Aaron and tells him not to let it fall into the wrong hands. Badass guy threatens Ben with the conscription and re-education of his children, and he agrees to go with them. Unfortunately this is television and it can never be that simple, and idiot teenager (there is always one) Danny pulls out a crossbow and tells the bad guy - let's call him the 'dude' - to leave. Danny obviously failed to realise how well armed this militia is, and his insolence leads to a bullets and arrows crossfire, catching heaps of innocent people as well as members of both sides. In a sudden moment that I admit was a tad shocking, Ben is shot and Danny is taken away by the men.

Charlie had heard all of the commotion and comes running back to the farm, finding her father dying and her brother apprehended by a rogue military. Ben tells her to find his brother in Chicago and save Danny, and thus begins what I assume to be the main plot of the show.

Charlie, blond girlfriend and Aaron, the only living and named people from the commune all leave together, dooming the town to a series of little to no future appearances. Young adult Charlie seems alright as a protagonist, though there doesn't seem to be much going on under the surface. I don't mind her, but she's kind of dull and overt in her nuances, and I can see the contradiction there. What I'm saying is people don't just shout out what motivates them and how they feel all the time, but Charlie, and almost all the other characters on this show do.

Along the surprisingly short journey to Chicago, Charlie meets muscle bound, confident archer Nate, an obvious future love interest. They come together at a waterfall where she had come for water, with the two of them officially meeting in the single most clichéd greeting I've ever seen; she hears him and hides behind a pile of rocks. He doesn't appear to notice her, but without turning says something like 'you know most people just say good morning'. I could have turned the show off then.

The three continue on, with Nate having little more to do than playful banter in his one scene so far. Charlie, Aaron and other woman spend the night in an airplane they come across on the outskirts of Chicago, only to awaken with three bandits holding knives to their throats. Doctor chick offers them a bottle of whiskey she keeps in her bag - cause why not - which they happily drink, before Mr. Ring Leader drags Charlie off for some erotic play. As she begins to put up a bit of a struggle, the other two start suffering the effects of some poison the woman had put in the alcohol, with her strangling one of the incapacitated men herself. The one trying to get on top of Charlie gets an arrow through his chest by Nate, who had apparently followed them from the waterfall.

Our now four person strong group heads into the desolate ruins of Chicago, with some well designed but not well shot scenes depicting how the city has decayed. I felt that a moving camera would have been more breathtaking, with most of what we see looking like an OK painting. A fluid tracking shot through the overgrown and/or flooded metropolis would have been epic, something that shows the devastation more significantly than a couple static shots of badly computer generated plants imposed on Chicago streets.

Eventually they arrive at the location Ben gave them, finding Miles acting as a bartender while 'keeping a low profile'. Miles is clearly supposed to be the good-guy badass who is reluctant to help people out because that's not the sort of person he is. He's Sawyer from Lost, Peter from Fringe, Damon from the Vampire Diaries, he's boring and a failure to be interesting or different. It's no surprise he turns Charlie down flat, sending her away despite them being family. When Nate sees her upset, he rushes up and threatens Miles, getting his arm caught by the barkeep who rips his shirt back to reveal a militia tattoo, signifying that Nate is a soldier of the Monroe Republic. Good for him. He runs away of course, bringing back a whole mess of soldiers to take Miles down.

In the most hilariously awful and overly choreographed and unlikely battle, Miles defeats a good fifteen of these sword, gun and arrow wielding men without suffering a single wound. If anything, the only good aspect of this sequence was the set, which obviously was once a lavish grand staircase that has crumbled to ruins and become overgrown. At one point it looks like Miles might get a sword up the wazoo when he's surrounded by four or five of these soldiers, but along comes Charlie who crossbows one and makes a run for it with her uncle.

Eventually, everyone's alright with not a single named character being lost in the shit scuffle. You could have introduced a character to die, you know. It's irritating when you do but it would have made it more interesting. Whatever though, because that turned out to be the finale, which is mightily disappointing. The one extra thing we learn before the end is that the friend that Miles drove to work with is Sebastian Monroe, the General of the Monroe Republic and presumably the bad guy.

In the side plot of the night, Danny breaks free from his captors when he discovers the bar he's handcuffed to is loose. He whams his guard with a quick and hard swipe that gives him time to escape, making his way towards a nearby house, only to suffer an asthma attack and die.

I wish, anyway. I barely know him but he comes across as the boring teenage rebel wuss who's going to fall in love with some chick that he's happy to die for at some point, and I'm going to absolutely despise him. God I hope I'm wrong.

He doesn't die. He actually wakes up in the bedroom of some African-American woman (too old to be the future object of his affection), who hands him her son's inhaler. We don't meet the son, and it looks like she lives alone. That is confirmed when the badass dude arrives looking for him, having seen the tracks leading to her back door. She lets them in and they recapture Danny thus thwarting the most pointless escape attempt ever.

In the actual final scene for Revolution's pilot, we see the black woman open a locked door and creep up into a tall tower where a computer lies in wait. She pulls something small out of her pocket, shown to be a device like the one Ben gave Aaron, which she activates, turning on the light bulb above her and powering the computer up. She then proceeds to communicate with a mystery stranger about the appearance of the militia, explaining that they didn't find 'it'.

Oooh... That was... intriguing. I did not come across a single character I enjoyed, though I don't mind Charlie, Aaron or doctor chick. I hope to see much more of Elizabeth Mitchell, though I doubt the show is going to revive her. It sounds strange but I hope they don't, I'll have more respect for it if they don't go back on their word just cause they have a good actress on their hands.

And yes, the story and inevitable revolution look like it’s going to be a lot of fun, but the show clearly needs to develop its own style and atmosphere before I'm going to take it seriously or really get into it. We'll see, but I felt particularly patronised by the stereotypes and shitty dialogue they threw at me, and I hope that the show can improve as it gets deeper and deeper into its mythology and its story.