“Manhunter” is a strong transitional episode that gives interesting character backstory along with promising new development that will be continue the streak of good and fun episodes, as we head closer towards the season finale.
With “Falling” the show presents the dark side of Kara with great performances and promising development that poises Supergirl to make amends for her actions that resulted in significant penalties to her image and relationships with her allies in another solid well-crafted episode.
“Solitude” broadens the mythology and the world of the series by introducing a new character, visiting a place of note, and closing an arc of secrecy that had been tearing Team Supergirl apart with an emotional confession of truth that in the end mended fences.
“Truth, Justice, and the American Way” is an episode that focuses on the themes of truth and justice and handles them well while still progressing the season with steady precision.
“For the Girl Who Has Everything” could have easily been a season finale as it served as a smart reminder of the series progress, reinforced the reoccurring themes of family and what makes a hero, had a significant death, and reset the status quo to some key relationships.
“Strange Visitor from Another Planet” keeps it simple with streamlined storytelling, attention to character, and strong setpieces.
A mostly-strong episode hones in on relationships and character development.
The presence of several storylines causes some to be handled poorly and not given the time they warrant, but the character motivations of two of Supergirl’s key antagonists are further fleshed out, leading to potentially exciting developments.
Supergirl finally seems to be settling into its general week-to-week plan after three uneven installments of table setting and character background for Kara, Alex, and the whole superhero situation. Whether the episode is actually good at executing what will be the show’s long term plan as a procedural is an entirely different discussion.
Holy exposition, Batman! Or, as is more appropriate here, that exclamation should end with Supergirl. After all, that is the hero whose past most of the episode spends time unfurling.
The Kings make one last attempt to salvage something of worth from a mess of a season.
The final few episodes leading up to the season finale have been very episodically written and above all entertaining. The cast remains strong and the standalone crisis are interwoven well with the ongoing narrative. The series as a whole has been one of the finest and consistently compelling new shows of the year. Madam Secretary maintains its ground by having clear and relatable characters in situations that are compelling and diverse and with a strong perspective. The political procedural drama has really grown into a really impressive and worthy television staple and earns its much deserved second season.
Fresh off its Supergirl pickup on Wednesday and ahead of its upfronts presentation next week, CBS announced orders for six new series, some of which have familiar titles. On the drama front, CBS greenlit TV adaptations of the films Limitless and Rush Hour and picked up the Criminal Minds spinoff Criminal Minds: Beyond Borders. …
The last half of Person of Interest’s fourth season delves into how Samaritan is trying to gain power and control, and how The Machine is trying to fight back, resulting in a finale that takes out some major players and leaves the team once again on the run.
Another underwhelming hour handles an inevitable exit with a remarkable lack of fanfare.
In a move that may both thrill and horrify classic TV fans, CBS announced today it will air two more colorized episodes of I Love Lucy in a one-hour special in May. The network said the episodes will retain “a vintage look” and contain material not seen since the programs originally aired in the 1950s. …
A fast-paced, pitch-black episode of The Good Wife remembers that it’s ultimately a series about corruption.
In another middling episode, reminders that the season’s chosen stories just don’t hum the way they’re supposed to.
Madam Secretary’s first season has been built on the backbone of the mysterious murder of the former Secretary of State and the question of what he was involved in that would cause him to be murdered. The answers have been coming in slowly throughout the season, as Elizabeth McCord’s list of suspects are cut shorter and shorter. One of the main suspects that McCord had under investigation in the first half of the season was White House Chief of Staff Russell Jackson, whom she confronted with her suspicions in the mid season finale “Game On”, concluding that arc in away that fell in line with the tone of the series.
As the State’s Attorney race finally comes to a close, “Red Meat” finds The Good Wife feeling generous towards its supporting cast.
A rare courtroom-heavy outing brings back a host of familiar faces, but exposes the season’s consistent flaws.
In an attempt to rebound after “The Debate,” The Good Wife overcorrects with an overfamiliar outing.
The Good Wife, Season 6, Episode 12: “The Debate” Written by Robert King and Michelle King Directed by Brooke Kennedy Airs Sundays at 9pm ET on CBS The Good Wife’s innate whiteness has never been in question. Its creators are white, the vast majority of its unusually large principal cast is white, and its storylines …