Back Across THE BRIDGE

Article first published as THE BRIDGE Review Season 2 on Seat42F.

It’s a little weird to talk about this week’s episode of FX’s THE BRIDGE, entitled “Yankee,” as a season premiere. The major arc of the first year ends a bit early, and Detectives Sonya Cross (Diane Kruger) and Marco Ruiz (Demian Bichir) are already on to a new case hours before the season concludes. Thus, “Yankee” is a continuation of the story already in progress, rather than a fresh batch of subplots.

I like that, though. Life is not so segmented as most television shows seem to portray it, and the approach THE BRIDGE takes, keeping the narrative going without tying up all the threads at once, is more realistic. There are a lot of bad things happening near the U.S. / Mexico border, and Sonya and Marco are likely to investigate several of them, sometimes overlapping, as the show continues.

“Yankee” is a pretty typical hour of THE BRIDGE. Sonya is still having trouble understanding Marco (among other people), though she tries. Daniel Frye (Matthew Lillard) is still struggling with his alcoholism. Adriana’s (Emily Rios) sister is still missing. Hank (Ted Levine) still has sage wisdom to share. Charlotte (Annabeth Gish) is still working to come into her own as a criminal queenpin. There are still many missing girls. And something really brutal and bloody happens that viewers may not quite be expecting, not an uncommon occurrence. Basically, it is consistent in quality, tone, and structure with the other installments that have come before it.

Which is not to say that “Yankee” is without any season premiere hallmarks. While maintaining the ensemble from last year, this fresh episode brings a slew of new faces into the mix, each comfortably slipping in within the established framework. There’s: the chilling Eleanor Nacht (Franka Potente, Copper), who doles out harsh punishment for even the smallest slip up; Gary (Brian Baumgartner, The Office), the skeptical sponsor of Daniel Frye; Jack Dobbs (Nathan Phillips, The Saddle Club), the brother of the man who killed Sonya’s sister; DEA Agent Joe McKenzie (Abraham Benrubi, ER); and Sebastian Cerisola (Bruno Bichir, Demian’s brother), to name a few. Other episodes have introduced a new character or two, but it’s the number of arrivals here that make “Yankee” stand out just a bit.

The best part of THE BRIDGE is the gritty authenticity it uses to portray a certain area of the country. This is a place that many viewers will never have been, and there are quite a few differences in culture and action from elsewhere in the U.S. Heck, there are many variations whenever a character crosses from the United States to Mexico or back, two settings for the price of one. What’s most interesting, though, is the way the people who routinely slip back and forth interact with one another and their environment. It more than a culture clash, it’s a complete melding that is anything but consistent in makeup, leading to some personalities that must be quite versatile to cope.

THE BRIDGE can be a little boring from time to time. It’s not my favorite show on FX, and the pacing will often drag when jumping over to some of the less engaging side stories. This hurts the enjoyment factor, even though the inclusion of all of the different aspects are what fill out the world presented and make it seem so complex and layered.

However, it also has an excellent production and style, and is full of terrific performances. Kruger and Bichir stand out, of course, as the leads, but there is nary a weak link among those that surround them. Studying any one of the roles and how it is handled is sure to impress. In this, THE BRIDGE succeeds quite well.

THE BRIDGE airs Wednesdays at 10 p.m. ET on FX.

BREAKING BAD's Empire Falls in "Ozymandias"

Article first published as BREAKING BAD's Empire Falls in "Ozymandias" on TheTVKing.

"Ozymandias" isn't just a character in Watchmen; it's also a Greek poem about the fall of an empire. How fitting, then, that AMC's Breaking Bad's ante-penultimate episode, which depicts Walter White's (Bryan Cranston) crumbling drug empire completely self-destructing, bears that title.

"Ozymandias" begins with a flashback to Walt and Jesse's (Aaron Paul) first cook in the desert, at the same location where the shoot out in the previous episode takes place. Jesse acts an idiot as Walt calls home to pregnant Skyler (Anna Gunn) to lie about his whereabouts and discuss what to name their daughter. It's a touching throwback to how it all began, as well as showing the bookends of the main plot arc. I can't imagine a better way to tie everything together.

Then, we're back to the current timeline of the story. It was hard to accept last week that neither Hank (Dean Norris) nor Gomez (Steven Michael Quezada) was shot in the hail of gunfire brought about by Uncle Jack (Michael Bowen) and company. Turns out, Breaking Bad just chooses not to show us their wounds until this week, perhaps allowing viewers to hold out hope, as Walt does, that there is a way his brother-in-law can survive this showdown.

In fact, Walt pleads with Uncle Jack, as Gomez lays dead and Hank shot in the leg, willing to give up his entire eighty million dollar fortune to save Hank. Walt's hubris has been laughable before, but it's been a long time since he's been this pathetic, groveling with absolutely no power. It's a bit of a surprise that Walt will give up his money for Hank, but I guess family still matters to him somehow, or at least the idea of it does, as his actions during this hour show him scrambling to hang onto something he has already lost.

Hank is completely the opposite in this situation, defiant and bad-ass 'til the end. He knows he's dead, and he's not about to whine about it. Whereas Walt would never accept death with dignity, Hank is wise and brave enough to understand the scenario and hold his head high anyway. Hank doesn't want to die, but he sure fools everyone, biting out some great bits of dialogue before Jack inevitably puts a bullet in his brain.

It's hard to lose Hank, especially now. With Walt so close to being taken down, the one man who has spent so much effort working towards that goal doesn't get to see it happen. And Hank has kind of become the hero of the show. He will definitely be missed.

That said, at least the way this plays out fixes the hesitations about the end of last week's episode, unfolding the way it realistically should.

Walt does get to leave the desert, but not before angrily selling out Jesse, whom he definitely blames for Hank's death, leaving Jesse with the bitter truth behind Jane's (Krysten Ritter) death. There isn't any logical reason to cause Jesse this last bit of pain; it's delivered purely from a place of anger. Heisenberg is gone, and petty Walter White comes out, a despicable, weak man, the father-son relationship they once had completely gone now, both feeling betrayed.

Jack is willing to dissolve his deal to make Walt cook one more time in exchange for most of the money, and Walt departs with a single barrel, still having plenty of cash to live the rest of his life on, but  getting the more valuable outcome of being completely done with Jack. Walt is separating himself from the drug life, and in this moment, we witness the end of the character's professional journey.

It's not a problem for Jack to lose Walt's expertise because he has Jesse. Sure, Jack will likely eventually fulfill the bargain and kill Jesse. But until then, Todd (Jesse Plemons) gets to use Jesse to help make meth the way it's supposed to be made. Jesse cooperates because he still cares about Andrea (Emily Rios) and Brock (Ian Posada) and Todd knows this, using them as leverage.

This is the worst end for Jesse imaginable. His dignity and humanity are stripped from him, making him a disposable slave with a very finite time limit left on his life. Fans may hope a miracle happens and Jesse survives this, but it doesn't look likely at this point, and even if he does, it will come at great cost. With all of the dark stuff unfolding in "Ozymandias," it's not hard to imagine that the final two hours will be just as depressing.

Meanwhile, we see Marie (Betsy Brandt) in a position of triumph. Surprisingly, Marie is gracious in victory, still offering to help Skyler out. True, she makes Skyler spill everything to Junior (RJ Mitte), who doesn't believe the story at first. But she's determined to make sure her sister comes through this OK, which shows their bond isn't completely destroyed. This is good because the women will definitely be needing one another to lean on with both of their husbands removed from the picture.

This is really the first time we get to see Marie so strong. She doesn't possess the evidence to further Hank's mission alone, so this is all very short-lived. But it's a great pay off for a sometimes annoying character, stepping up and getting some good material.

After running out of gas (serves him right!), Walt finally makes it home and tries to flee with his family, who are less than cooperative when they quickly realize Hank is dead. It doesn't matter that Walt denies he did it, and in Walt's own twisted brain he probably thinks he isn't responsible; they blame him anyway. Hank's death is what finally wakes up Skyler to turn on Walt, and she has Junior's support.

There is a very tense scuffle with a knife, when viewers can be forgiven for thinking a member of the White family may be grievously injured. However, the scene is more emotional than physical confrontation. This is where the line in the sand is drawn and sides are taken, and it's probably also the final time we will see all four together. Walt's family's collapse is right on the heels of his business's demise, and so he snaps.

Snapping is the only way to explain the way in which Walt flees, smashing Skyler's car, taking all the money, and abducting baby Holly. Walt has never much taken care of his infant daughter, more in love with the idea of being a dad than determined to be a good one, and he likely takes Holly more to punish Skyler than because he wants to raise her himself. It's a very low blow.

I have to hand it to Vince Gilligan and the writers, though. Just when you think there is absolutely zero humanity left in Walt, he shows a smidgen of it, returning Holly via the fire department and calling Skyler to give her an out. Yes, the angry words Walt says to Skyler probably have a lot of honesty in them. They also serve, though, to absolve her of legal liability, making the cops think he bullied and forced her to participate, and his tears show he knows this, sacrificing himself for her.

It is a sacrifice, too, because what Walt says can be used as evidence to prove him guilty. Up to this point, with Hank and Gomez dead, there is still a chance Walt can get away with things, even if it would probably be temporary. In doing this, he focuses the blame now so that it won't continue to plague his family or eventually take them down, even though such events would likely come after Walt's death from cancer so it doesn't personally benefit him to do so. Though he doesn't leave his family the money, at least not yet, so his selfishness shows, too, even if one may argue he's "keeping it safe" for them until they can actually use it.

Then Walt gets into Saul's (Bob Odenkirk) guy's van and heads away for his new life. This is probably where we'll get the time job and reach the moments shown briefly in the season premiere, with Walt returning home well after what we've just seen. This is really the end, with those others hours serving as an epilogue. Or is it?

"Ozymandias" will stand as one of the best episodes in one of the best shows on television. The drama is heavy, the feelings are flowing, and the stakes are high. Beloved characters go down, and relationships are dissolved forever. Yet, it all feels completely natural to the story, and with the stunningly brilliant acting of this cast, it's as moving as anything I've ever seen on the small screen. Extremely well done.

Breaking Bad has two episodes left, airing Sundays at 9 p.m. ET on AMC.

BREAKING BAD Showdown at "To'hajiilee"

Article first published as BREAKING BAD Showdown at "To'hajiilee" on TheTVKing.

I figured out what the super secret twist is for the series finale of Breaking Bad while watching last night's episode - the show will give us all coronaries so we won't be around to see the last hour. Brilliant!

Seriously, with only three hours left now, last night's "To'hajiilee" started to feel like a series finale, and made the tension and surprises of the first four hours seem tame. Jesse (Aaron Paul) tells Hank (Dean Norris) that if they want to catch Walt (Bryan Cranston) red-handed, they have to go after his money. Between them, they come up with a tricky scheme that does the job, getting Walt to panic, and having him lead them straight to where he buried the cash, where they finally arrest Walter White.

Walt thinks he's smart, and he is. But when two other intelligent people team up, namely Jesse and Hank, Walt falls apart. He is used to second guessing one person, but not two that know him so well and are so intent on taking him down. As much as Walt may be the protagonist of the series, it is definitely satisfying to see him outwitted in this manner.

Jesse has every right to hate Walt. No matter what small signs Walt shows that he cares for Jesse, such as when Walt asks Uncle Jack (Michael Bowen) to kill Jesse in a quick and painless manner, Walt also screws Jesse over, like when he visits Andrea (Emily Rios) and her son in "To'hajiilee" as a threat. Jesse may not know about either of these two things, but they illustrated patterns that Jesse has experienced at the hands of the kingpin.

The utter look of relief and happiness in Jesse's eyes when Walt is captured is great. Jesse has been through a lot, and most of it can be blamed on Walt. With Walt put away, and Jesse not having to sacrifice more of his soul by killing Walt, Jesse finally sees a way to escape this and put it behind him. Jesse isn't concerned about jail time for himself right now; he's just glad to be done with the meth life and everything that comes with it.

Marie (Betsy Brandt) is also excited, as she reveals in a phone call with Hank. She may love her sister, Skyler (Anna Gunn), but Marie hates Walt for everything he has done to their family. Hank proves he is the good husband and excellent officer of the law by taking down Walt for her, and she is grateful.

Sadly, Marie and Hank's phone call, sweet as it is, just foreshadows to viewers paying attention that things will not go down smoothly. Uncle Jack ignores Walt's plea to call off the hit on Jesse and shows up with a full armed posse at the site where Hank, Jesse, and Gomez (Steven Michael Quezada) have captured Walt. Guns go off, and the good guys are pinned down.

I was totally convinced that Gomez, at least, and probably Hank, were going to die at the end of "To'hajiilee." That no one actually went down, the DEA officers ducking behind their SUV, Walt and Jesse shielding themselves in the cars, and Jack, Todd (Jesse Plemons), Kenny (Kevin Rankin), and the others coldly unloading clip after clip at them, unconcerned about return fire, is amazing, and a little bit of a let down, feeling inauthentic.

Let's dissect this for a moment, though. It's unsurprising that no one from Jack's gang dies yet because Hank and Gomez are trying to duck and cover, thus leaving them shooting mostly wildly and blindly. But why can a group of guys, well armed with fast-firing weapons, not hit two men who are out in the open when the shooting begins? Could it be that they don't want to kill a cop if they don't have to, somehow hoping they can shoot Jesse and nab Walt without taking down either DEA agent? Are they just really terrible shots? I don't think Todd is, with that steely gaze. I assume there is a purpose to their missing, or Hank would already be bleeding in the dirt.

Which begs the question, how can this stand-off possibly end? Will Jack give Hank and Gomez the opportunity to leave if they hand over Walt and/or Jesse? Uncle Jack needs Walt to cook. And Uncle Jack doesn't know about the barrels of money, nor does anyone else not at this place, as Hank didn't officially call in the raid or mention the cash to Marie, so that shouldn't be part of the equation. The end of the episode, going black after many shots fired, but with no one bleeding, leaves an optimistic feeling that this isn't quite the Alamo.

However, with only three hours left, there will be some major movement at this place. The days of tip-toeing around Walt are over, and this is full out war between the various players. We don't know how a free, beaten-down Walt eventually makes it back to his ruined house, but that is the only glimpse of the future we've had. Everything else is completely up in the air. It's going to be great!

Other wonderful moments in "To'hajiilee," besides the final scene: Junior (RJ Mitte) starstruck at meeting Saul (Bob Odenkirk), Walt's panic when Saul shows up at A1, the way Hank, Jesse, and Gomez fool Huell (Lavell Crawford), turning him into a blubbering mess, Todd's weird flirtation with Lydia (Laura Frazer), and Uncle Jack's suggestion that blue food coloring will fix Todd's non-blue meth batch.

"To'hajiilee" is a fantastic episode with funny moments, some unintentionally so, great tension building, and one of the most memorable finales ever, letting viewers know that the gloves are fully off and this is it. Buckle up and get ready for the end.

Breaking Bad has three episodes left, airing Sundays at 9 p.m. ET on AMC.

Private Practices shuts its doors

Article first published as Private Practice shuts its doors on TheTVKing

ABC's Private Practice came to an end this week after six seasons on the air. Some of the plot arcs over the years were fantastic, others not so much. But there are some wonderful characters here, and some memorable stories, and thus, it's sad that it's over. Especially since it ran much shorter than the series it spun off from, Grey's Anatomy, still going strong nine seasons in.

The main character of Private Practice has always been Addison Forbes Montgomery (Kate Walsh). Viewers meet her in Grey's Anatomy, the cheater in a bad marriage, and we watch her pull herself together, mostly after moving away to sunny California. Addison searches for love, both romantic and as a parent, and this all finally comes together for her in "In Which We Say Goodbye."

I don't know that the show has really demonstrated that Jake (Benjamin Bratt) is a better match for Addison than anyone else. To keep the drama going up until the end, they have their rocky moments in the final season. Still, it's thrilling to see Addison get her happy wedding day, and as long as she believes that Jake is the man she is meant to be with, who are we to complain?

Besides, we know that Jake is a good man. We've seen how he treats his daughter (Emily Rios), and what he does to make sure that Addison can keep baby Henry, whom she wants more than anything. He is the type of guy that will sacrifice his own desires so that the ones he cares about get what they need. I don't know that Addison deserves someone quite so good, considering all of her faults, but it's gratifying to see her happy.

The big surprise in "In Which We Say Goodbye" comes when Sam (Taye Diggs) and Naomi (Audra McDonald) hook up, and then she gets pregnant. This, alone, would be enough, and yet, Private Practice takes it a step further. Months pass, Sam goes after Naomi, oblivious about the baby, and the episode ends with their second wedding, Naomi having returned to the practice and her friends.

Is this the ending the makes sense for the characters? After all, when last we saw Naomi, she was happily engaged. Sam is in a relationship with a wonderful woman, Stephanie (Justina Machado, Six Feet Under) throughout the past few installments. Why break up these pairings at the last minute?

That's the thing about the Private Practice finale. It gives the perfect resolution for each character, one that will pull the heart strings of the viewer, even if it doesn't quite fit with where the plot was going. The emphasis is placed on giving us the sappy. I don't know if that's the goal of every show as it goes off the air, but because of the way this show has played out, it works here.

Other stories are more mundane, but still sweet. Amelia (Caterina Scorsone) probably has the least to do, but we see things are going well with her and James (Matt Long, Mad Men), and that's enough. Cooper (Paul Adelstein), Charlotte (KaDee Strickland), Mason (Griffin Gluck), and the triplets find their balance as a terrific family. I loved this most of all, Cooper and Charlotte being my favorite people on the show. Sheldon (Brian Benben) gets to be with the woman he loves, even though she is dying.

Sheldon's plot is the only one I complain a bit about in this group. I know that there is no way to avoid his love interest kicking the bucket, and thus, he will be sad, while the others are smiling. But this would have been OK if he had returned to his job, months later, and we could see him laughing with everyone else in that final scene. Instead, he is the sole one missing, and it casts a slight pallor, knowing that where he is cannot be nearly as joyous at the practice.

Is this woman even who Sheldon is meant to be with? He has a tendency to jump into a relationship full force, and it is easily conceivable that she is just the latest in the line. "In Which We Say Goodbye" would have us believe otherwise, that she is Sheldon's soul mate, but like Jake with Addison, we don't really see what sets her apart from the other women Sheldon has loved. Thus, I'm a little bit depressed that he leaves everything else that is good in his world to care for her. He should have kept his job, and with it, the network of support at work.

Finally, we get to Violet (Amy Brenneman). She goes stag to the wedding, a sign that she is moving on from Pete and finding herself, something the character has always struggled with. This is a fitting ending for her, as Violet's plots have always been more about self-discovery and triumph, rather than depending on a love interest, the way other characters have. We get to see her doing well, probably temporarily, until the next tragedy comes along, but at least she'll have this moment in time.

It's a little too on the nose that Violet's second book about "joy" is called Private Practice. Are we supposed to think that everything we've seen over the last six years came from her book? I wouldn't think so, considering the early days were so Addison-driven. I enjoyed the characters debating whether it was a good title or not, but it does take one out of the story a bit in that moment, sacrificing the believable world the characters inhabit for a joke.

Violet also treats a patient (Sarah Ramos, Parenthood) in the finale that doesn't want to leave her. Series creator Shonda Rhimes has stated that the patient's words are her message to the fans. So Shonda doesn't want the show to be canceled, but realizes it's for the best? I'm not sure I quite understand. However, it's her show, so she can say whatever she wants. I just thank her for making it.

That's kind of my overall impression of Private Practice at this moment. I didn't always agree with the direction, and sometimes it frustrated the hell out of me. But it was definitely Shonda's vision, and at the end of the day, she knows how to jerk a tear, or help an actor develop a fully realized person. As I watched the last hour, I couldn't help but thinking, despite my periodic disappointments, it was a pretty darn good show, overall, and I wasn't ready for it to end.

At least it went out with a great last season. Private Practice will be missed.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Breaking Bad defends itself with a "Box Cutter" and a "Thirty-Eight Snub"

     AMC's Breaking Bad finally returned last week after more than a year's absence. Like much of the series, the first two hours flow with connecting arcs, rather than tell stand-alone stories. In the first episode of the fourth season, "Box Cutter," Walt (Bryan Cranston) secures jobs for Jesse (Aaron Paul) and himself, narrowly avoiding death at the hands of Gus (Giancarlo Esposito). But Gus shows his displeasure at Walt's ruse by butchering one of Gus's own henchmen in front of them. In "Thirty-Eight Snub," Walt seeks a more permanent solution to his continued well being, but Mike (Jonathan Banks) is unwilling to form an alliance, and tells Walt he will never see Gus again. Which means Walt and Jesse can continue making meth, but only until Gus finds a replacement and takes them out, and there's nothing they can do about it.

     It is no coincidence that both episode titles are weapons. "Box Cutter" features one of the most graphically violent scenes ever shown on basic cable television. The murder Gus commits is both chilling and fascinating, proving that Esposito is on a tier of his own in terms of acting talent. The frustrating silence and steely eyed glare make the long, drawn out scene one of supreme artistic excellence, as well as keep the suspense taunt. It is no wonder. too, that Walt is now deathly terrified of Gus, and thinks the only way to take him out may be to do a little killing of his own. Obviously, Gus is a very dangerous man, and Walt and Jesse are only alive to keep production flowing.

     Walt and Jesse handle their fear in very different ways. Walt goes for the tough guy routine, something the once meek chemistry teacher steadily grows more and more comfortable with, by buying a "Thirty-Eight Snub" and trying to turn Mike against Gus. Whether Walt has any chance at all of overcoming a powerful, cold-hearted criminal mastermind like Gus remains to be seen. Luckily, Breaking Bad has a masterful way of delivering twists, and the outcomes expected likely won't play out in a predictable way.

     Jesse, by contrast, begins growing reckless. He spends massive amounts of money on a new stereo system, and parties hard. This means Jesse's sobriety is out the window. If Gus doesn't take out Jesse, Walt's assistant will remove himself from the equation soon enough. Interestingly, Jesse shows he has lost faith only in himself, not the world, by giving Andrea (Emily Rios) a large amount of cash and trusting her to buy a better life, rather than spend it on drugs. He is a very complicated character indeed.

     In the meantime, blissfully unaware of the danger, Skyler (Anna Gunn) inserts herself more dominantly into Walt's affairs, attempting to buy the car wash her estranged husband used to work at. Unfortunately, the owner remembers her, and shuts down that idea quickly. But Skyler's concern for Walt is more than about money, as evidenced by the way she frantically searches for him when he is missing. True, she could just be concerned about her family's financial future, but her frenzy seems to indicate that she still has feelings for the man that she now keeps at arm's distance. Any possible reconciliation will be long off, but the door is not yet closed forever.

     Marie (Betsy Brandt) scores a bit more screen time in season four of Breaking Bad as she suffers through husband Hank's (Dean Norris) recovery. Hank is surly towards her, though kind to his physical therapist. He tries to get better, but won't accept the slightest comfort from the woman he is closest to. Who would have thought that Marie has the saintly patience to put up with such a grouchy, uncooperative spouse? Yet, Brandt finds inner strength from somewhere, and swiftly develops Marie from an annoying woman into a near hero. Her strength as Hank undergoes the turmoil that comes with his trauma is impressive, and the subplot is most welcome.

     Breaking Bad airs Sunday nights at 10 p.m. ET on AMC.

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Article first published as TV Review: Breaking Bad - "Box Cutter" and "Thirty-Eight Snub" on Blogcritics.

Friday Night Lights gets a "Gut Check"

     NBC's Friday Night Lights begins counting down the final five episodes with "Gut Check." This is a real turning point in the season, when things get dark and characters go down paths they shouldn't. The Lions lose their first game of the year. Coach Eric Taylor (Kyle Chandler) asks Vince (Michael B. Jordan) to help train Luke (Matt Lauria) to fill in as quarterback. After listening to some bad advice from his father, Ornette (Cress Williams), Vince doesn't show up for his practice session, and is benched. After an accident, Epyck (Emily Rios) is arrested and transferred away from Tami (Connie Britton). Julie's (Aimee Teegarden) stay with Matt (Zach Gilford) sours as he encourages her to face her problems, rather than continue hiding out with him.


     Vince has been having a rough year, and things are only getting worse with Ornette's continued presence. After overcoming all of his personality difficulties last year, with no small thanks to Coach, Vince is backsliding when exposed to someone who is an enabler, immoral, and good at saying what people want to hear. It's apparent Vince knows he's making the wrong decision, but his pride is getting in the way of him admitting it, and is causing a serious obstacle. Hopefully, being benched will be a wake up call for Vince, who is looking so promising until Ornette begins taking over.

     Something else that will help Vince is if he stops pushing people away. He isn't paying attention to Eric, and he gets into a big argument with Jess (Jurnee Smollett), leading to their break up. Jess is a positive influence in Vince's life, helping him make correct decisions and stay away from bad situations. Without her, Vince loses a serious source of support. Luckily, he is still as close as ever with his mother, Regina (Angela Rawna), who, despite her love for Ornette, recommends to Vince that he not always listen to Ornette's advice. It's a sound judgment call, and one Vince needs to take to heart. There's hope, as Vince prevents a potentially volatile confrontation between Ornette and Eric.

     Jess has some real potential as a coach. She is the one that takes Luke aside and helps him learn to play the top position. This dream of hers does seem to come out of left field, but her family's passion for the sport, as well as her spending the summer helping Vince prepare, keeps it from being completely unrealistic. What's more, while she is far from perfect, as evidenced by Luke's rough struggle to win, she has some raw talent. She helps both Vince and Luke become better players this year. Hopefully Eric will pay a little more attention to her as she continues down this path. He's already starting to see her like a daughter. It's a logical progression. Unlikely as it is, how cool would a spinoff, set years in the future, with Jess as a head coach, be?

     Vince's issues are likely the reason the Lions lose. While it is a team sport, having the quarterback more concerned with his ego instead of the team fractures everyone. His bad attitude is contagious. For those hoping to see the team go undefeated in their final season, this is a serious disappointment. But Friday Night Lights is all about overcoming adversity, so a stumble is bound to happen. Considering that this is the final season, it is not likely to happen again, whether Vince pulls things together, or Luke steps up like he did in the game at the end of the episode.

     Luke is slowly becoming a man. A grownup man. Besides the football stuff, the way he is handling his renewed relationship with Becky (Madison Burge) seems very mature. Luke doesn't pick a fight with his mom, but he's not going to keep hiding Beck from his parents, either. Instead, he simply presents her without comment, without rehashing last year's abortion incident. Luke's parents should be proud. Luke and Becky learn a lot from their experience, and will be much smarter the next time around. Plus, their reconciliation demonstrates real affection between them, making last year more than just a fling.

     Becky's new job at the Landing Strip could be a problem for her and the moral Luke, or not. There's not a lot of time left to deal with many issues, and the portrayal of Mindy's (Stacey Oristano) character makes the job seems less wrong and demeaning. Mindy has given a face to the type of girl that works at a strip club, and her sweet story of marriage and having a family humanizes the dancers in a way never seen before in series television. If Becky wants to pursue the relatively easy money to be had, Friday Night Lights won't pass judgement. The question is, will Luke?

     Mindy's hesitance about her pregnancy is natural. Their insurance is lapsed, and she is still caring for an infant. It will keep her from working when the family needs money. Mindy is a realist, but Billy (Derek Phillips) is not. The balance helps them work as a couple. Now it will be Billy's job to get Mindy on board. They have a stable, loving marriage. It will not be easy at this time, but they can handle another child.

     It's too bad Epyck leaves. Tami has really been working hard to reach out to the girl, and after all the kids Tami helps, it's a shame that the one that might be her last of the TV show is removed before the real work can be done. This plot is as much about the counselor as it is about the student, if not more, as Tami struggles to provide support for kids that really need it. Epyck just won't be one of them. Life isn't fair.

     Finally, it's time for Julie to go home. A happy ending between her and Matt would be a welcome development, but it cannot happen in "Gut Check." Not until the eldest Taylor daughter confronts the things she is hiding from. Sure, her first semester at college sucks. But part of being an adult is picking up the pieces and moving on. Instead, Julie is immature, intentionally crashing a car, and now running off to Chicago. Matt is ready to be with her, whenever she is. Let's hope that Julie grows up a lot in the last four episodes.


     Friday Night Lights airs Friday nights at 8 p.m. ET on NBC, or if you can't wait to see how it ends, the Season Five DVD is on sale now.

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Article first published as TV Review: Friday Night Lights - "Gut Check" on Blogcritics.

Friday Night Lights faces more than one "Fracture"

     NBC's Friday Night Lights continues its final season this week with "Fracture." This is an important episode, because a number of arcs that have been brewing threaten to fracture the delicate balance of relationships between characters. Vince (Michael B. Jordan) begins to get too big an ego, after doing an arrogant interview, and visiting a college that courts him for a verbal commitment. Luke (Matt Lauria) and Becky's (Madison Burge) budding romance faces hardship as Becky dwells on what she goes through the last time they have sexual relations. Julie (Aimee Teegarden) decides whether or not to go back to school after a visit from former TA and love Derek (Gil McKinney, ER).


     Julie's plot is a bit dumb, because sleeping with someone with authority over her does not fit her character. However, this can be forgiven, as she is just beginning college, and taking some chances, feeling her way outside of high school. She is going through a lot, and Derek is a good outlet for her to let off some steam. Or so she thinks at first. Derek showing up out of the blue, and facing off with her very hostile parents to get Julie back into his bed may seem romantic to two people in a committed relationship, but is creepy for a guy Julie only spends a bit of time with. She makes the right decision in not going back to that situation.

     What does it mean, now that she goes to visit ex-boyfriend Matt (Zach Gilford) instead? Does this mean she is considering transferring schools, or dropping out all together? Fans of the show are likely more interested in a reconnection between the long time pair, but that seems obvious and certain. More up in the air are Julie's life plans from here. She can't pin everything on a guy, no matter how great that guy is. It's fine that she goes to him, as long as she also does something with her life, too.

     Mindy (Stacey Oristano) is getting some of her best work in Friday Night Lights in being a mentor to Becky. Becky needs a positive female role model in her life, and while Mindy is hesitant at first to be that woman, becoming a mother changes her in ways both small and large. She is more big sister than mom to Becky, especially as Mindy and her friends take Becky to a beauty pageant, and celebrate with alcohol. But as long as Mindy is there for Becky, it doesn't matter in what capacity.

     Becky's abortion plot seems all but forgotten until this week, though bringing it back up certainly informs as to why Becky is resisting sleeping with Luke again. Those are traumatic memories for her, and if it happens once, it can happen again. Will Becky be able to get past those bad feelings? She sort of leans that way when leaving Luke a note at the end, and hopefully, things will only get better for her from here.

     It's hard to know what to make of Epyck (Emily Rios, Men of a Certain Age), the girl with the ridiculous name, and even worse spelling of it. Tami (Connie Britton) always needs a project student to work on, and Epyck is the latest. But she lies to Tami about her home life, while also seeming very appreciative of just being in Tami's company. Is she such an easy nut to crack? She just needs attention? If so, it seems like a wasted subplot, one that could have been much better. Though perhaps, since this is the final season, there is no time for more.

     Also uncertain is Buddy Jr.'s place in the larger stories. The character returns this season, recast to Jeff Rosick, a fairly inexperienced actor, who is doing well enough. It's hard to know if the former boy was available, or if he would be up to the task, given his previous small scenes and long absence. But other than to give Buddy (Brad Leland) one last challenge, is there some big lesson Buddy Jr. has come to teach anyone? While some characters flow in and out of shows without much purpose, it is not a common tactic used on Friday Night Lights.

     Vince's arc following his ever ballooning ego feels like a repeat. It's been done before. Vince's circumstances are slightly different than others because his motives are tied to those of his father, Ornette (Cress Williams, Grey's Anatomy), who he has just gotten back to bonding with after a long stint in prison. As such, Vince is more likely to fall into old patterns while listening to the man who raised him, and who he so desperately wants back in his life. While Vince acts tough, every boy wants their father's pride and respect. Vince has his once more, and now he's allowing it to push him off course.

     Something has got to give. Vince has come too far to just be kicked off the team and have his life ruined. Yet, should he continue valuing Ornette's advice over Coach Eric Taylor's (Kyle Chandler), he will fail. Eric believes in Vince when no one else does, and makes him who he is today. If Ornette didn't return, Vince would still be following Eric towards a bright future. The question is, what will it take for Vince to realize that? And how might that hurt his relationship with his father, who does just want what is best for his son, but is unwilling to allow another man to dictate the terms, even if the other man knows best?

     Eric has a big decision to make himself, and it's hard to predict which way he will go. Being offered a head coaching job at a college is a big deal, and surely it is tempting him. He has done wonders in Dillon, and while his assistant coaching gig at the university level doesn't work out the way he hopes, being the leader of a team of coaches is a whole other opportunity, and one that he deserves. Is he content to stay at the high school level all his life? He has about achieved all he can there, so his career would now consist of doing the same thing over and over again with different kids after Friday Night Lights goes off the air.

     At first, it seems Billy Riggins (Derek Phillips) is really establishing himself as a decent football coach, perhaps even a successor for Eric, should he choose to leave. But now, Billy seems to be going too far into the "showy" side of things, causing conflict with another assistant coach. Billy has always been a wild child, and he is trying to be responsible and mold himself into a great man. Sadly, it appears he is not doing as well as he hopes to. Does Eric have time to try to turn things around for Billy, too, and will there be a place for him on the team once Eric reigns in the ridiculous behavior he has been too lenient about?

     The fifth and final season of Friday Night Lights begins very strong, but is in its middle, meandering section. At the halfway point, things should start to pick up as the action moves towards its conclusion.


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Article first published as TV Review: Friday Night Lights - "Fracture" on Blogcritics.