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by Abel Trevino

27 Oct 2010


In the United States, it’s only fitting that the premiere of The Walking Dead, a television series based off the comic book by Robert Kirkman and Tony Moore, will occur on Halloween. If the name doesn’t say it already, it’s about zombies.

I’m just going to get to the point, the pilot was a pretty bad ass setup for a TV series. However, it was a little slow and if the series doesn’t blend the perfect combination of pace, character development and post-apocalyptic fright and gore, it’s not going to draw the mainstream audience and it will lose the target audience. Although, AMC has already placed an order for the first season, which will be composed of six episodes, and there are rumors that, before the show has even premiered, discussions for a 16-episode second season are underway. AMC is putting a lot of faith in this and, quite frankly, they have a good reason.

by Melissa Crawley

21 Oct 2010


A limo ride in The Real Housewives of D.C

At the end of a recent episode of The Event, the mysterious leader of an otherworldly group of visitors tells the American president that her people have been waiting “66 years” and their patience is running out. On the other hand, I’ve only been waiting a few hours to find out what the ‘event’ is and my patience ran out around episode two.

The Event is part Lost and part FlashForward. The group of mystery people alludes to Heroes, but without the charm of a villainous Sylar and the conspiracy aspect places it in the category of 24 but without the fierceness of a Jack Bauer. I might have more patience for this identity crisis if it wasn’t for the show’s reliance on back story flashbacks.

by Melissa Crawley

20 Oct 2010


It might be dangerous for ratings to divide the first season of a serialized drama in half but if Caprica’s part-two season opener, Unvanquished, is anything to go by, it’s even more dangerous to combine virtual technology and religious fundamentalism. While part one established the series’ conflict between science and faith, part two complicates the fight by exploring the far more frightening idea of what happens when technology and faith start to work together.

We rejoin the action with Soldiers of the One (STO) member Sister Clarice (Polly Walker) who designs an explosive plan to bring the masses “apotheosis” through a virtual heaven filled with avatars of the One God martyrs. Her plan to bolster the faith through an artificial afterlife finds a counterpart in Daniel Graystone’s (Eric Stoltz) equally disturbing scheme to conquer grief by creating digital avatars of the deceased with whom the living can interact. Graystone however, cannot implement his plan alone and his Faustian deal with the Tauron criminal underworld suggests that his troubles are only beginning.

by Sean Murphy

19 Oct 2010


I don’t know about calling her “America’s mom”, as I’m sure many obituaries will claim, but she was inarguably the “sitcom mom”.

It’s funny. My peers and I (born around 1970) were, obviously, not alive in the ‘50s, but that earlier era loomed large for us. Let me explain: the people who raised us did live in that time, and they were invariably informed by the mores and cultural imperatives of that era. As such, many of our parents were either inculcating or reacting against the buttoned-down (repressed?), black-and-white (i.e., ‘white’) reality as shows like Leave It to Beaver portrayed. Hence, the hippie sensibility that at least had a fighting chance for a few years before the door slammed shut in the back-to-the-future adventure of the Reagan years.

by Jacob Adams

15 Oct 2010


““America this is the impression I get from looking at my television set.
America is this correct?”
—Allen Ginsberg, “America” (1956)

AMC’s critical darling Mad Men depicts, with obsessive attention to visual and verbal detail, the early-‘60s, a precarious time in American history. On one hand, echoes of the purported suburban paradise of the late-‘50s, found more in the monochromatic world of Leave it to Beaver than in real life, resounded well into the ‘60s. On the other hand, hints of future tensions and radical change found their way into the “innocent” early part of the decade. 

Mad Men depicts the darker underbelly of America’s supposed age of innocence. In the show’s early episodes, it seems that Don Draper represents the ideal urban man of the epoch. He has an exciting, creative job in Midtown and returns each evening via commuter train to his attractive Westchester family.

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