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    Revolution, Ep. 2.22, “Declaration of Independence” sets the show free

    So much for our heroes getting stranded miles away from the scene of a genocide then. Despite our belief that Miles and the gang were far away from the room where Truman is about to pour mustard gas onto unwitting Willoughby residents and the Texas president, the crew uses its cunning (and a steam train, presumably) to make it back and derail Truman’s plan. This gives us one of the best one-two punches of the finale: Miles throwing down the very last spit of swordplay we’ll get from this series, and one more classic, resigned Milesism: “Run, you idiots,” he implores to the masses gathered to hear from the Texas and U.S. presidents, while firing a rifle in the air. More

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    Revolution, Ep. 2.14: “Fear and Loathing” in the glorious New Vegas

    Can we all just take a moment to consider New Vegas as the absolute finest location in Revolution? The meta pop culture jokes are fantastic. The tiny little seeds of David Schwimmer reduced to performing as a cabaret act or Justin Timberlake squaring off against Joey Fatone in a deathmatch are exactly what the show needs more of to really establish its place in a greater context and carve out some glorious black humour at the same time. More

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    Revolution, Ep. 2.01: “Born in The U.S.A.” hits the reset button

    Revolution begins its second season in far more promising fashion than it ended its first. As the power ticked back on, the show’s central conceit seemed to evaporate. Thankfully, if we can take Aaron’s word for it, the power is now off for good, and the show is all the stronger for it. This was a completely necessary reset for the show: the Monroe Republic is no more, there’s no grand desire among the core group to restore power, and everyone’s getting back to pre-Surge reality without helicopters and armored cars causing carnage. Monroe’s a bare-knuckle boxer, Charlie seems to be finding herself, the Nevilles are searching for Julia, and everyone else is camped up in a remote Texas stronghold. It’s almost as if the first season never happened, other than the relationships forged between the cast. We hear nothing of the late Danny, for instance. More

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    Greatest Series Finales: Homicide’s “Forgive Us Our Trespasses” exemplifies the devastating impact of speaking for the dead

    Homicide: Life on the Street was created as a show about “thinking cops” with actors who didn’t fit the typical mold for network TV. They were overweight, balding, and dressed like real cops. The landmark television series was highly influential and set the stage for captivating shows like The Wire and The Shield. By the time it reached its seventh season, Homicide had changed dramatically from its original format. The basic model of investigating murders remained, but the cast was younger and prettier. Even so, original cast members Clark Johnson (Lewis), Kyle Secor (Bayliss), Yaphet Kotto (Giardello), and Richard Belzer (Munch) kept it from feeling too much like a departure. The final season was its most inconsistent and had low points that you wouldn’t expect. The killings were more sensational, and action scenes became more commonplace. More

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    The Groundbreaking Brilliance of Homicide: Life on the Street

    When Homicide: Life on the Street premiered in January 1993 after the Super Bowl, it leaped into a different world than the standard hour-long dramas. There were a few exceptions like Hill Street Blues that provided an inspiration, but Creators Barry Levinson and Tom Fontana were entering uncharted territory. The cast lacks the typical pretty […] More

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