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Talk about a sophomore slump. The first season of The Flash was light, fun fluff. It wasn’t game changing, but it was enjoyable with enough character beats to keep me invested. The second season took a crap on all of it making it such a trying experience by the end.
Where to begin? The season starts out okay with an interesting premise introducing the concept parallel worlds (allowing for a creative way to keep Tom Cavanagh on the show), the classic comic book character Jay Garrick (Teddy Sears), a terrifying new villain known as Zoom, and a new love interest for Barry (Grant Gustin). All good stuff that made for a promising season of ideas.
But the show’s writing slowly began going downhill at a steady pace. First, they ditch Barry’s girlfriend in the most awkward and unconvincing way ever. Then the team of supposed scientists continue to make awful decision after awful decision. They are supposed to be smart, but they cannot concoct a scheme to take down this season’s villain when they have him directly at their mercy. These people are stupid. More on that later.
The biggest sin is in this season’s villain, Zoom. We are never given a clear idea what exactly he wants. Does he just want Barry’s speed because he wants to go faster? Or because he’s dying? Don’t know. It is later revealed that he wants to destroy the multiverse. Why? What does he gain from this? Nothing. Absolutely nothing. He kidnaps Caitlin (Danielle Panbaker) for “reasons” and then later lets her go for “reasons”. His motivations and desires are all over the place.
Even more maddening is that the basic idea behind Zoom is exactly the same as the villain from last year. A mentor figure to the team is really the villain who is helping Barry to get faster in order for him to ultimately steal his speed. Did the writers and/or producers not see that they were already repeating themselves?
As mentioned above, these characters are stupid. And Barry is incredibly selfish. The season ended with Barry, feeling bad about himself because his father just died, goes back in time to save his mother from being killed. For starters, this plotline was resolved a year ago. Second, how dumb is Barry?! He knows that if he saves his mom, he is destroying the future. And, on top of that, he should know that changing the past like that has the potential to wipe out existence as it almost did at the end of last season (which subsequently set-up this season’s problems). And even further, it goes completely against the lesson he learned a few episodes prior that Barry needs to work through and accept the tragedies in his life. And finally, did he conveniently forget the time wraiths who go after speedsters for messing with time – the very thing that defeated Zoom?
And don’t get me started on the nonsense “time remnant” plot point or the over-the-top narrative gymnastics/fan service with the John Wesley Shipp reveal.
This show had turned into garbage. There are some bright spots still with some fun interaction between the characters and some good additions to the case. But, overall this show has fallen. People love to give the Batman prequel Gotham a lot of crap, but at least that show is consistent. The Flash’s producers really need to reconsider what they are wanting to do with this series. I’m not going to give up on it yet. I think it is recoverable. Hopefully the third season will give the writers to iron out whatever issues they are having.
(Although, if you are a Sherlock fan, you’ve probably already saw it.)
A month after it aired, I was finally able to sit down and watch the hotly anticipated Sherlock special, The Abominable Bride. Originally pitched as a one-off to tide viewer over until the show properly returns in 2017, the special proved to be anything but that. And it’s completely jarring turn mid-way through utterly derails what could have been a fun diversion in the show’s history.
The premise as promoted by the BBC and the show’s producers had the cast recreate the adventures of Sherlock in his original, literary setting of the 1880s. This sounded like a great approach for a one-off episode. Put the contemporary-setting Sherlock and “revert” it back to its novel-origins. A nice hook for the fans of the show.
But it doesn’t even do that. About mid-way through, it is revealed that the entire 1880s segment is a drug-induced dream that Sherlock is having immediately after the events of “His Last Vow” (much of the present-day stuff takes place on the plane Sherlock was in). He is attempting to solve a 100 year-old case in his “mind palace” in order for him to figure out how Moriarty is alive. Let’s first ignore that Sherlock shouldn’t have known that Moriarty was apparently alive yet (he was still on the plane with no television access). More importantly, how does a 100 year-old case of a dead woman coming back from the grave and killing others help Sherlock figure out Moriarty’s resurrection?
Complicating this further is that the dream is sprinkled with several character bits and squabbling that Sherlock would never have dreamt. Nor does it make any sense that the dream had an underlying theme of women’s rights which Sherlock would not have really cared about given the crime to be solved.
Sherlock is smart, obviously, but his dream acted more like a story that he was telling to himself since the investigation culminated in him discovering a secret group of women trying to take down the corrupt high-society men. Furthermore, the fact that his dream had sequences in which Sherlock wasn’t present for completely derails how he could have figured out the crime.
It was a nifty enough idea, but it just didn’t work and falls apart under scrutiny. I know I am being nitpicky, but here is the thing I’ve always believed. If a movie/TV show has plot holes, but you don’t really notice them until the story is over, then it did it’s by engaging the viewer and the plot holes can be easily forgiven. If you can notice them while watching the movie/TV show, then that becomes a problem. The Abominable Bride is the latter.
They should not have had any present-day stuff and let the special be in the 1880s. It would have much stronger. I’m not sure why they didn’t commit to it. Adding the present-day sequences just muddled up the story, and made it convoluted (and even more convoluted when some of the present-day sequences turned out to be part of the dream). This was such a disappointing return to what is usually a fun show to watch. Hopefully, when the show returns (possibly in 2017 – but who knows for sure since Benedict Cumberbatch and Martin Freeman are too busy being movie stars), they’ll right the ship after this bump in the road.
Big news came out yesterday that a new Star Trek television is in production for a January 2017 launch date. While that seems like it is a long time from now, considering the series is just now entering into development (no writer or showrunners are currently attached), about a year is a standard from announcement to start. It is being produced by Alex Kurtzman, and the press release claims that the upcoming show will “[explore] the dramatic contemporary themes that have been a signature of the franchise since its inception”.
This can be very exciting as it has been over ten years since Enterprise was canceled. There have been rumors for a long time that a new series was in development since the current rebooted movie franchise has been a critical and financial success. The previous thought was that CBS (who holds the Trek TV rights) and Paramount (who hold the movie rights) had a gentleman’s agreement that CBS wouldn’t move on a new Trek series until the movies finished its run. Whether or not that is true, apparently the two companies were able to work something out since CBS is moving on a new series.
I am sure helping matters is that Kurtzman has a foot in both worlds. Having produced and written the previous two films for Paramount and produced several TV series for CBS, Kurtzman was in the perfect place to be the guy to make this happen. Oddly, Roberto Orci isn’t anywhere to be seen on this since he is pretty much in the same position that Kurtzman is. Then again, Orci and Kurtzman have ended their creative partnerships and there seemed to be some falling out with Orci and Paramount. That may have been a factor.
The real downside to this prospective series is that it will be released exclusively in the US on CBS All Access, CBS’s online streaming service. This is a bit of a bummer for me as I don’t subscribe to this and have zero desire to. I’m already have Hulu and Netflix, and I barely scratch the surface of what they offer. Plunking down $6 a month for another service for one show is not likely something I am keen on doing Maybe if the season drops all at once (like Netflix does for their original programming), I’ll get a subscription for a month before cancelling. But this is all academic. The show is over a year away. Who knows what will happen between now and then?
That said, I do think it was wise of CBS to do something like this. The likelihood of a Star Trek series to be successful on a mainstream network in today’s market is very low. A streaming service is a smart move. I can’t blame CBS for positioning a Star Trek show to launch their original content on their service.
But, who cares about any of that. A new series is coming, and a true Star Trek fan needs to be doing one thing right now: wild speculation. I remember when Enterprise was in the early developmental stage and rumors were running rampant on what it could be. I look forward to that experience again, so let me throw my two cents in!
Warning: Pure Nerd Speculation!!
If I were to guess, the show will likely take place in the new continuity started in 2009’s Star Trek. With Kurtzman involved, why wouldn’t it not be? I suppose it could be its own thing, but the only real reason to do that would to have Kirk and Spock. That would be redundant (especially since a 4th film in the series is already being planned). Would it have a new cast of characters? I guess that could happen, but Hollywood, more so today than ever before, wants name recognition. Probably even more so since the series is supposed to make CBS All Access competitive. Having a show just be Star Trek may not be enough of a hook to make people take notice.
As I was thinking about this last night, a thought suddenly occurred to me. The show is launching in 2017. Star Trek: The Next Generation began in 1987 – 30 years earlier. Could the new series be a reboot of TNG in the universe established in the JJ Abrams films as a way to celebrate its anniversary?
I’d argue that the show is entrenched in pop-culture enough to bring that name recognition, and it would be able to be separate enough from the film series as to not step on its toes. I don’t know. I am just speculating. But that would be wild.
I’m interested to see where this will go. I’m sure I’ll be talking more and more about it as more information is released. What an exciting time to be a Star Trek fan.
The first and second seasons of the CW superhero show Arrow were wildly entertaining with the second improving on the first. Going into a third season, anticipation was high, but hopes were dashed as this last year was a real let down and a bit of a narrative mess.
There were a lot of good, little things sprinkled throughout Arrow’s third year, Brandon Routh being a prime example. His addition to the cast really livened up what could really have been a dreary show (seriously, why does this guy not get more work – he’s great in almost everything he is in!). There were some nice character moments for most of the main cast with Laurel, Roy, and Thea coming into their own. And the show continued its push of not holding anything back or trying to stick to the status quo. I liked it for that.
However, the real problem with the season was the overall story arc. I can’t tell if it was too ambitious or if the showrunners just didn’t know what to do with the season and winged it as they went along. Let’s recap: Malcom uses an unknowing Thea to kill Sara (a death that I didn’t mind in the least as, I think, I am the only one who disliked Sara in season 2). Since Sara was a member of the League of Assassins, their mysterious leader, Ra’s al Ghul, descends upon Starling City to avenge her death, but Oliver challenges this so Thea won’t be killed in retaliation. After a duel, Ra’s is impressed with Oliver and wants him to become the next Ra’s (it’s a title, you see). Oliver rejects this, so Ra’s destroys Oliver’s reputation as Arrow and exposes him, prompting a switch-a-roo to clear Oliver. But Oliver decides to pretend join the League only to discover that Ra’s plans to launch a biological weapon against Starling City. Oliver and his crew stop him.
Just typing that made my head hurt. Of course there were a lot of subplots weaving in and out, but the main arc was all over the place. By the time we get to the “real plot” of the season, we were about 2/3 through it. And when we got to the bioweapon element in the last handful of episodes, it really felt like the showrunners didn’t know how to end the season, so they dipped into the “destroy Starling City” well again.
Now, I don’t think I would have had a problem with the year’s story arc if it didn’t involve characters acting completely out of character or turn into complete idiots in order to facilitate it. Even more irritatingly, there were times when the characters would become total hypocrites. Namely, Diggle, Roy, and Felicity fake Roy’s death, but keep it from Oliver so they can “sell it” to the public at large. The following few episodes, Oliver joins the League of Assassins as a ruse, but keeps it from Diggle and the rest so he can “sell it” to Ra’s. When learning the truth, his team (especially Diggle) is unforgivingly upset with him. I wanted to yell at the screen, “You did the same thing!”
And then there is the romance between Felicity and Oliver. The online fandom loves this while I think it’s obnoxious. I have no problems with characters finding romance, but outside of working together and both being attractive, there is no reason why these two should have developed feelings for one another. I can maybe buy Felicity falling for Oliver given his selfless actions over the course of the series, but Oliver has never shown any interest in her whatsoever other than he values her as a member of Team Arrow. It also doesn’t help that the actors don’t really have romantic chemistry. I know the show is going forward with it, so I’ll just have to deal. To me, though, it didn’t work.
I still liked Arrow’s third season. I just wasn’t as into it as I was the previous years. The story was a bit of a mess and frustrating at times. There was some good stuff there just around the corner, but they just couldn’t tap into it. The new season, which started yesterday, promises a new beginning. Here is hoping the showrunners have learned lessons from season three and return the show to greatness.
Tonight was the premiere of The Flash’s second season, and the CW was really promoting it like no other. And I cannot blame them. The Flash was a runaway hit for the CW with critics and audiences last year. No wonder they are giving it all the pomp and circumstance they can muster.
But why was this show so popular? Obviously, I watched it (I’m a fan of the Flash), and the leading reason why The Flash has caught on is that it is a lot of fun. It is a show with relatable characters that you actually like. It has the hook of a superhero (which, like it or not, are really popular nowadays), but it adds in healthy doses of humor, romance, adventure, and heart. The show is light and breezy making it good for families, but with just enough edge. It makes for a pleasurable viewing experience.
And, on a personal note, last season had an underlying them of father/son relationships. Seriously! Barry had three father figures on the show, and each brought something different to the table. While I have always appreciated of a father/son dynamic in storytelling, having lost my father just before the show premiered last October, this element of The Flash spoke to me.
Because all of the above worked within the show, The Flash was really able to embrace its comic book origins. The Flash and the extended elements of that character’s world are incredibly goofy, but the show managed to incorporate it onto the show. The writers and producers didn’t shy away from it at all. They were even able to pull off a giant, telepathic gorilla. While I find that other comic book based shows and movies tend to downplay the more fantastic elements so it can better connect to viewers easily, The Flash says “Pfft….more gorilla” to that.
The writers are smart. They knew they had to have characters that worked and storylines that resonated with viewers. They did. That’s how they can get away with the fantastical.
I know it sounds like I am fawning over it (and I suppose I am), but don’t mistake my tone. The show is good and a lot of fun, but it is far from perfect. Some of the plot points are suspect (illegally imprisoning the villains without any due process and none of our heroes care) and a couple of characters here and there can be trying at times or perplexing added at times (tell me, what was the point of character-actor Chase Masterson’s guest spot), but everything else really worked with the show, so that stuff really didn’t bother me.
The Flash isn’t going to win any non-technical awards. This isn’t Game of Thrones or Mad Men. But, it isn’t trying to be. And, unlike those shows which can be dour and depressing, The Flash is a ton of fun and a breath of fresh air. I am looking forward to the second season. Here’s hoping it maintains its momentum!
It has been a while. Trek Tuesday never meant to go away, but life happened, and it just wasn’t in me to write new entries. But, things change, and I cannot promise a new entry every Tuesday. I’m ready to go again, and there is much to do.
And, what a time to come back to it! Star Trek: Voyager premiered twenty years ago this month (January 16th to be exact). I distinctly remember when the show came on. I was off of school for Martin Luther King Day. The United Paramount Network (UPN) was being heavily hyped on Chicago WPWR (Power 50!) and Voyager specifically. It was to become the flagship show of the new network. A week or so before the premiere of “Caretaker”, my family got package of popcorn in the mail in some sort of promotion for the show. Nothing was special about the popcorn other than it had a very large Star Trek: Voyager logo on the packaging. My parents and I decided to eat it during the show.
Ah…memories. And I can’t believe that was 20 years ago!
Despite a really solid pilot episode, Voyager was a mixed bag of a series (especially after the second or third season). To celebrate its anniversary, I do not want to focus on the negatives. Instead, I want to celebrate Voyager and all the good it did as a television series.
One of Voyager’s strongest attributes was its cast, specifically Kate Mulgrew. While her character might have been dubiously written over the course of seven years, Mulgrew committed to the role. Captain Janeway was very much a mother to her crew, and Mulgrew really conveyed her concern and loving nature a mother would have. Perhaps she drew on her own experiences as a mother, but she completely sold it. But she wasn’t a pushover either. Mulgrew had a commanding presence, and you knew Janeway meant business.
Much was hyped about having the first woman captain in a Star Trek series, but the fact that she was a woman was never a focal point of the show or her character. In the ’90s, the movie/TV business was trying to really diversify their casts, but many times, despite good intentions, it was clumsily handled and not written all that well. Gay and lesbian characters were especially dogged by this. Voyager did it right in that regard by not making her character having to overcome others’ issues with her because she is a woman (a popular trope then and now). I really think this was one of the aspects that really pushed Janeway to become a culture icon at the time. Her character was tough, intelligent, and was portrayed by an impressive actress. Janeway had flaws, but was never a damsel (at least no more than any of the other characters).
Voyager was also very action-oriented, much more than other Star Trek series. That isn’t meant as a slam. Voyager did its action very, very well. It was always interesting and exciting. The show started to make use of CGI in its later years, which opened up what the showrunners could do during the space battle sequences. As I noted in my “Endgame” review, Voyager knew how to put on a spectacle
Additionally, Voyager was just completely crazy at times. Many episodes really pushed the boundaries when it came to incredible high-concepts. Some of the crazier episodes involved an evil clown, the ship all twisted around, space dinosaurs, 1930s B-movies, and the ship being split into multiple timelines. Not all of these ended up working, but I can’t help but be impressed with the risks and the ambitious nature of what they were trying to do. Considering that the show was spearheaded for much of its run by Brannon Braga, who likes to play with high-concepts, it isn’t a surprise that that became one of the staples of Voyager.
Star Trek: Voyager is twenty years old. Its reputation isn’t the greatest, but you cannot deny that the show definitely carved out its own identity. I’d argue that the show was middling at best. However when it was good, it was good. Unlike the more popular Deep Space Nine series or the more recent Enterprise series, pop culture enthusiasts seem to remember Voyager. Its imprint has been made, and twenty years later, it remains.
What about another twenty more?
I never did a write up at the end of Arrow’s second season. I wanted to, but I never got around to it. So, since the third season is starting up today, I figured now would be as good of a time as any to look back at the show’s sophomore year.
I really enjoyed the first year of Arrow which was something I really didn’t expect. I wasn’t much of a Green Arrow comic book fan (I had zero investment in the character), but the show just grabbed me and I became a regular viewer. I thoroughly enjoyed how the episodes didn’t hold back on the narrative the way its spiritual predecessor Smallville did. The show kept moving forward with exciting twists and turns along the way.
Sometimes shows in their second year lose some steam. I was so happy that this wasn’t the case with Arrow. If anything, the writers/producers took the momentum of the first year and pushed it to new heights. More and more things were happening in Arrow which gave the show a much more epic feeling to it.
The main narrative of the second year had Starling City recovering from the undertaking in which a good portion of the city was destroyed. During this, a new villain arises for Ollie to tangle with in Sabastian Blood, a mayoral candidate who is secretly delivering a strength-enhancing serum to a growing cult of criminals. What I liked about this season’s storyline was that you think the main conflict is largely a good versus bad tale without much character depth, but then mid-way through, the show pulls the rug out under you and completely redefines the arc by tying it back in to Ollie’s time on the island and the discovery that Slade is behind it all.
Though I am not a fan of the “you-killed-my-love-interest motivation” cliché that Arrow used, I did like Slade as a villain. He’s cunning and ruthless while also being evil for the sake of being evil. In short, it worked. The revelation also worked as it was completely unexpected, but it makes total sense.
I also liked Ollie’s journey this season from going to a somewhat reckless outlaw to a true hero. In that journey, he makes some surprising sacrifices that have completely redefined the show. I am looking forward to the ramifications in Arrow’s third year.
Not everything was great, however. I really don’t like the whole Felicity/Ollie thing the show is forcing. It doesn’t work for me. Though, I do have to admit, I love how they used that to play against the audience in the season finale (then again, I am a fan of when show gives viewers the finger).
Also, I wasn’t a fan of Isabel. She added very, very little to the show. I personally don’t think the writers knew what to do with her as her eventual connection to Slade makes absolutely no sense compared to when we first meet her. I almost wonder if they changed directions on what they were going to do with her mid-year (especially after she disappeared for the middle half of the season).
Finally, we have Caity Lotz as Sara. Sigh. I know the online community likes her, and I like the idea of her character, but Lotz just doesn’t work for me. I really feel she is a weak link among the cast. Nothing about her is convincing and she has too much of a “cutesy” voice for me to buy into her being an assassin.
The rest of the cast continues to shine in their respective roles. I do hope Arrow does more with Diggle next season. Right now, I feel that they are underutilizing him, especially given his background. I also hope they develop Thea much more. I like how they made her a more confident a character, but I am concerned on the direction they decided to take her in the season ender, especially considering her very weak motivation.
In some ways, the concluding episodes of season two really felt like a series finale. It brought so many plotlines to a close that if the show did end, I would have been satisfied. But, we are getting a third season (and likely more after that). I am excited to see what Arrow goes from here. I think season two really opened up the Arrow universe and now it can really grow and expand.
This last two parts of this review of the TV series From Dusk Till Dawn is being condensed. The Gorehound is getting no pleasure or entertainment from these episodes and wants to get away as fast possible. They are horrendous, pitiful, and altogether disappointing. That’s not to say there is nothing worth reviewing. The Gorehound’s ghouls must avoid each of these 44 minutes of so-called “horror” or “TV entertainment”. These awful scenes bring the original movie into even greater light. It was episode 6 that the Gorehound jumped from a point of neutrality and open mindedness to the soapbox to preach the awful news. In addition, it was the sixth episode that awoke the realization that all of the previous episodes have been nothing but Ritchie Gecko and his insanity. Post-episode 6, most of the episodes had some pretty decent character interaction. It was here where the story was focusing on all the other characters. Though the focus on the ranger was confusing. Why were they torturing him?
Episode 7 finally got gory, like awesome sauce gore. If there is any episode worth watching throughout all of these, it’s episode 7. Progressing in to episode 9 things get confusing. Labyrinth? Mind games and facing fear? This is a mess. The last episode made a good conclusion of it all. It was a pleasing conclusion despite the rest of the of the awful episodes.
The replacement for Cheech Marin was pitiful. This sub-par character should go dig graves for the rest of his cinematic career. Wilmer Valderama was plain annoying the entire time though he has certainly moved past That 70’s Show. He’s not intimidating, almost comical, and distracting from the rest of the piss poor episodes. D. J. is a pitiful fighter. His attacks have no power at all and did nothing to progress the story. Though the viewers never saw Clooney as a bad ass, we assumed he was and that is enough. No reason to substantiate it. At least Clooney’s tattoos were vibrant. We don’t need an explanation for the tattoos.
The biggest turn off of these last episodes was the portrayal of sex machine. Tom Savini is a god to splatter fiends like myself and to piss on this character with the son of Gary Busey? That’s heresy for which this is the last straw. Including his line “”This place is a giant people juicer”. Really? In the end, these characters are ugly, their personalities, their looks, their interactions, are all shallow. It would be better to watch the original on repeat, rather than site through these 10 episodes. 2/5 for all episodes combined.
Episode 3, 4, and 5 all felt like a sham. It pretty much consisted of redoing every scene from the original while adding some additional scenes which don’t change the story at all. We have some additional characters such as the cop who seems to be making an appearance in every episode. Every scene the cop is in brightens the Gorehounds day. Perhaps it’s because he is the only recurring and new character and every other character is simply a pitiful blur from the classic in 1996. The argument against remakes is boring and ultimately pointless but it appears that every scene and prop from this movie is taken straight from the set in 1996.
Ritchie Gecko is indeed more horrific than Tarantino. He frightens the Gorehound and not in the way the Pet Cemetary or ghosts from Paranormal Activity frightens. I want to change the channel when Ritchie is on the screen. No more gigantic chin or foot fetish, just constant creepiness.
The drunken father, Robert Patrick, is just disappointing. His drunkenness isn’t comedic, or violent… it just makes you turn your head and sigh. Remember the T-1000 from T2? Now that was an entertaining antagonist. He preaches traditional familial values all the while being a stupid drunk.
The last shootout in Episode 5 was a sham. If they were going to blast everyone, why’d they take up 10 minutes of the episode trying to keep them sneaky? It’s good that they finally made it to Titty Twisters because Episode 5 was a turning point. This show is no longer fun. These last 3 episodes were a drag. Let’s hope Savini or Trejo comes in to kick everyone’s ass and teach them how to retell a story. Unless heads start rolling and the blood starts splattering, this last 5 episodes are going to be long.
Well, well.. the remake of the one of the best horror movies around: the story of the Gecko brothers, one messed up and one sound of mind, trying to escape the law all the while getting held up in bar till morning with a bunch of vampires. The story of the remake came out last year and the Gorehound, not having cable, didn’t think much of it but then this month it debuts on Netflix. So let’s break this series down into 4 parts as the Gorehound delves into the gore and violence.
The first 15 minutes were actually quite frustrating. I felt like The Geckos were just posers: trying to live up to Clooney and Tarantino who were such cool characters. For someone to try to replace them in pretty much the same scene? It’s damning. The premise of the show is clearly a remake though it is much more elaborate. The original was the typical hour and thirty but these episodes alone are 44 minutes. They allow for more elaborating, explaining, and talking and mind games. It’s not a bad thing because the Gorehound was glued for these 2 episodes and actually pried himself away.
The first fault of the show is lack of known characters. Besides Robert Patrick, I’ve never seen any of these randos. Albeit, there aint no way of getting as many stars from the original into this TV series: Clooney, Tarantino, Keitel, Juliet Lewis, Salma Hayak, Cheech Marin, Danny Trejo, and Tom Savini. Many of these characters weren’t popular at the time but this may have jump started them.
There is violence, yelling, and some blood already. That’s a definite good thing. I’m really looking forward to the rest of the series. It’s entertaining. The Gorehound steers clear of TV shows because they’re simply not long enough… but the questions remain “How does Richie have these abilities? Will there be a reference to the sex machine (aka the Godfather of Gore)?” Mostly, I want them to get to the bar to see the excitement.
To the films credit, Tarantino and Rodriguez are heavily involved with all 10 episodes. It’s clearly not a 100% Tarantino or 100% Rodriguez production but there influence makes the story and script solid. The Gorehound sat around Hemlock Grove for the entire season waiting for something good. Seeing some gore, mind games, and pretty girls within the first episode of this Netflix series is a good start. First two episodes: 3/5