The closing moments of Manhattan’s second season finale, “Jupiter,” are simply terrifying. A blinding white light obliterates the screen and then dissipates to reveal a crackling, howling mushroom cloud licking at the sky, the bone-chilling birth announcement of an evil genie forever burst from its bottle.
From all indications, Manhattan has upped its game from very good to excellent. Whether or not this will translate into more viewers remains to be seen.
Although this week’s episode of The Americans, “Dimebag,” is more of a connector hour than a climactic thrill ride, it provides some fascinating development of plots which had only been implied until now. One of the show’s strongest elements is the way in which it deals with issues prone to sensationalism with an unusual subtlety, and it demonstrates that strength notably this week through its exploration of previously under explored arcs.
The West Wing “Pilot” Written by Aaron Sorkin Directed by …
Greatest TV Pilots: The West Wing Gets A Strong, Confident Start Read More »
For one blissful pilot we were allowed to believe that Studio 60 on the Sunset Strip was going to be the return to television that Matthew Perry, Bradley Whitford and Aaron Sorkin deserved. It was funny, wry, and features pretty much everything that’s ever been great about Sorkin.
