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    Person of Interest Ep. 3.18: “Allegiance” sadly reliant on procedural format

    Person of Interest falls into many of the same traps that shows of its ilk often do. Their week-to-week mysteries, full of twists and turns that are meant to surprise and trick viewers before resolving at each episode’s end, inevitably become a weakness, taking away from the series’ many other elements, those that they do so very well. The difference between Person of Interest and other procedurals is that this show is going for who-gonna-do-it instead of the tired whodunit. Perhaps the formula would be more successful if the mystery were whether the weekly number is going to kill someone or be killed, but more often than not, it’s straightforward, with little more for our leads to determine than who the wants to kill the number. More

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    Person of Interest, Ep. 3.17, “/”: Welcome to the Root of Interest

    No one could have predicted in Person of Interest’s freshman season that, beyond the two leads, Reese (Jim Caviezel) and Finch (Michael Emerson), the show would develop truly fascinating and dynamic side characters. It’s odd to even call someone like Root (Amy Acker) a secondary character when she feels so paramount to the show, especially in episodes like “/”, where she is essentially the main focus. Root is so delightfully crazy, however, that the switch in main characters this week is entirely welcomed and nearly makes the audience forget that she isn’t usually the lead. More

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    Person of Interest Ep. 3.14: “Provenance” gets its heist on

    There are times in life when you’re forced to do something not because you want to, but because you have no choice but to do it. Who among us hasn’t taken a crappy job for the sole reason that you won’t rent otherwise? In a perfect world we do the work we want and love with a big salary attached and life is good. The real world is far more cruel that, however, and sometimes you just suffer through that bad job. Hopefully it’s never to the point of this week’s number, Kelli Lin (Elaine Tan), who is extorted into stealing art by criminals that have her daughter. More

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    Person of Interest, Ep. 3.12, “Aletheia” explores the nature of The Machine

    The first half of Person of Interest’s third season was a tremendous group of episodes: laughs were shared, losses were had, feels were felt (in case you’re wondering, all), but good times were had by all, except, perhaps, Taraji P. Henson, but let’s not go there. In any case, it’s been a great season and all indications say that will only continue from here. More

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    Person of Interest, Ep. 3.06, “Mors Praematura” works on its potential season-long villain

    Person of Interest, Season 3, Episode 6, “Mors Praematura” Written by Dan Sietz Directed by Helen Shaver Airs Tuesdays at 10pm ET on CBS The driving force behind Person of Interest is its greatest strength and its biggest potential weakness. Having an all-knowing Machine at the foreground is, in one breath, a fantastic expositional tool that can […] More

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    Person of Interest, Ep. 3.01, “Liberty” is a rocky, procedural premiere

    A brief recap on the first two seasons: there exists a machine made my the government that monitors the activities of everyone in the country (and abroad) for the purpose of predicting and preventing terrorist attacks. As a byproduct, “The Machine” also tracks the more mundane activities, i.e. premeditated murders. “The Machine” gives out a person’s number who will either be murdered or will be murdering someone else. Using “The Machine” to prevent these murders, former CIA operative John Reese (Jim Caviziel) and Harold Finch (Lost’s Harold Finch), creator of “The Machine”, work to prevent these murders with the assistance of New York City Detectives Carter (Tarji P. Henson) and Fusco (Kevin Chapman). More

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    Greatest Series Finales: Angel’s “Not Fade Away” is one of the best, most underappreciated finales ever made

    There is a preconception in parts of Hollywood and America in general that shows one might call “genre”, shows set in a different time period (other than ‘60s, apparently) or featuring actors in billowy coats or, heaven forbid, prostheses are somehow inherently less than their more traditional peers. They can be fun, sure, but they’re not really art and admissions of watching them should be made only in hushed, somewhat embarrassed tones. More

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    Joss Whedon’s modernized ‘Much Ado About Nothing’ a delight

    Spending two hours in the world of Joss Whedon’s Much Ado About Nothing inspires envy in his seemingly palatial abode, as well as delight at his effortless, carefree adaptation of an equally effortless and carefree Shakespearean comedy. There’s mistaken identity, slapstick, swooning romance, and giddy farce, as you would expect from any revival, modern or otherwise. More

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    ‘Much Ado About Nothing’ is an absolute gem of a film

    Much Ado About Nothing Directed by Joss Whedon Written by William Shakespeare (play), Joss Whedon (screenplay) USA, 2012 Upon first realization that Joss Whedon’s adaptation of Shakespeare’s Much Ado About Nothing is set in contemporary Southern California, one most certainly becomes both skeptical and intrigued all at once. How will all this play out? (No […] More

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    Joss Whedon’s adaptation of ‘Much Ado About Nothing’ is a lot of fun

    Much Ado About Nothing Adapted and directed by Joss Whedon USA, 2012 Shot at the director’s home over twelve days amidst post-production for The Avengers, Joss Whedon’s version of Shakespeare’s Much Ado About Nothing was rehearsed and honed during various afternoon reads over the years. It’s a stylish take that cleverly transposes the text into […] More

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