Sherlock and missed expectations

Sherlock - The blind banker

Benedict Cumberbatch: Sherlock Once again demonstrates his enormous potential intellectuals, despite not having his mark as in the first episode.

Watson: With respect to the first episode is in the hands of our Sherlock, risks his life and that of his new knowledge, which probably will take an important role in the life of Sherlock and Watson and maybe reinventing the triad detective hired in the last twenty minutes of the episode.

On the soundtrack:
Purely English. Good music accompaniment.

On the plot:
Less beauty than the first episode, dull for the first hour and then recover when Sherlock begins to understand the code. A bad episode without involvement, poor plot and the police inspector even more subdued as the same figure of the previous episode.

#3 The ten best scenes of Dexter

The fifth season of the series is perhaps the last with superior quality and the storyline between Dexter and Lumen played by Julia Stiles is the latest that has really added something to the show and to the dynamics of its protagonist. This season we choose two key moments: the first contact between Dexter and Lumen, in the final episode of the third "Santa Muerte", the moment when our serial killer realizes the girl who saw him commit one of his murders; the second is the very tense sequence "The darkness beyond the light" in which Debra almost discovers the activities of his brother ... with two seasons ahead of what eventually happened.

#2 The ten best scenes of Dexter

Let's go back to season 2, one of the best of Dexter, and the face-off between the protagonist and Doakes that lasts for the duration of the annuity and that compares the serial killer with the limits of the Code of the father, that would prevent to kill the man who is on his trail and suspected of being the Bay Harbour Butcher.

 Two moments that have affected: in the first place in that the cylinder head that night happened around Dex trims to Sergeant, cold and reasoned, that causes the violent reaction of Doakes in the central and the resulting suspension by Laguerta; second killing the character of Erik King in The British invasion and the way in which the authors are able to get rid of him and his fondatissimi suspects without breaking the code of Harry.

#1 The ten best scenes of Dexter

Remember the moments that we feel best in eight seasons just concluded, none of which, unfortunately, extracted from the latest episodes. A Top Ten of the best times in eight seasons of the series Dexter.

 "The death of Rita" from season 4
In retracing Dexter as a whole, there were few doubts about what was the most strong, intense, dramatic and narrative critical of the eight seasons of the Showtime series: the bloody end of the fourth season,
History repeats itself, the discovery of Rita in the bath and the small Harrison in a pool of blood that resembled so closely the same where Dexter baby was found by her adoptive father Harry.

Hannibal vs Dexter : Interpretation actor

Hannibal and Dexter are two characters who base their existence on camouflage and concealment of instincts which are their primary impulse.
Mikkelsen, compared to disruptive Hopkins, Dr. Lecter gives a calmness almost mystical; its elegant movements and changes of expression can create a real subtext in which a simple smile can change the perspective of the sense of every speech just given, opening up new metaphorical greatly enrich the narrative. Hannibal, despite the title of the series pass as protagonist, draws its strength from the presence of a double dramatic relief as the character of Will Graham; this leads Mikkelsen to give his interpretation of an imprint Lecter actor.



Dexter instead stands alone in the undisputed protagonist: even the strength of the likes of Trinity or Brian Moser managed to steal the scene entirely. The strength of the interpretation of Michael C. Hall is in alternating expertly two registers interpretation in opposition to each other. As C. Hall has created a portfolio of expression in which the gap between good and evil is creating net, reaching both in front of the property and in the identification of the ultimate evil.


 Both types of interpretation tend to amplify the characteristics of the series which includes becoming essential elements; therefore, even in the face of the skill of the individual actors, we can not conclude that this comparison with a draw.

The following 1x02 - Trivial and obvious

The FBI is engaged on two fronts: on the one hand, the search for Joey, son of Joe Carroll and Claire Matthews, who was kidnapped by three of the followers of the former literature professor. On the other, catching Jordy, the prison guard who converted to the sect, fresh baptism of blood. Three students are added to the mass grave that Carroll has dug, and that his disciples has delegated the task of filling. Jordy

For me in this episode did not work at all.

The murderess / disciple of the week I was bored to death to be good, to be honest unwell. Moving beyond the stereotype idiot fat, ugly, sweaty and influenced who is swept beyond their capacity, ability and awareness, the part of this episode focused oozes mediocrity: we seriously believe that a man, who is wanted by ' FBI as a murderess and a follower of the serial-killer most talked of the moment, it can slip into the house of the ex-wife of that serial killer, ex-wife, whose son has just been kidnapped by the Faithful of that serial-killer, no one noticing? Here, there are two possible answers:

The FBI had not left anyone to guard the house of Claire. And then they are morons.
The FBI had left someone to guard the house of Claire, and that someone has run Jordy let pass under the nose. And then they are morons.
The let out from the mouth of a

character of the same criticisms that come from our own, of mouths (Weston harshly scolding the local police for the mistake), does not remedy the error.

 It seems a gimmick, clever or dishonest according to the opinion, to suggest a realism and self-awareness that the series can not boast of possessing.

The fact that the flaws of the show are indicated by the characters of the show within the show does not delete them mica, defects. As well as the monologue of Carroll in the final of the pilot did not erase the clichés generously bestowed by the same.
 Some people consider it a tribute to the classic genre, who considers him metatext (Carroll is making happen in reality what happens in the books!); for me, a stuff over and over again is a stuff over and over again. That Williamson is aware of what he writes, and write it well, does not eliminate the what.

The comparison between Hardy and Carroll, at the close of episode, has not only worsened my already bad impression: why Carroll, this man who is anxious to paint as educated, brilliant, charismatic and intelligent, to assume that Hardy killed her man? Why Carroll is so surprised, so upset?

 Jacob, Emma and Paul

There is also the fact that the villain do not work. And 'appreciable want to build and deepen the personal background of these characters, but the point is that Emma, Jacob and Paul, in this episode spread boredom with both hands.
 Any segment dedicated to them was flat and predictable, replete with bickering between her and him that contend the other of which he could not care less.

Emma, ​​in particular, adds another notch on the stick of clichés: the girl shy and tender, crushed by the mother-eating men, fans of the writer Carroll, Carroll fans murderess, steps and turns into matricide, another step and becomes the leader of this cell of fanatics and murder, complete with a cold eye, a steady hand and expressions from hard .I find it hard to consider credible antagonist behind a character with a story like that, so splashed and hasty.

The following 1x01 - Poe, note of color or statement of intent ?

Nothing good can come from a show that starts off with the opening chords of Marilyn Manson's grim and gothed remake of "Sweet Dreams".
The anthem of teenage Hot Topic shoppers everywhere and a soundtrack staple for torture-porn movies.
 But that's the tone that was set by the debut of Fox's new drama The Following, network television's witless answer to gritty cable dramas that do it a lot better.
I confess. I was about to begin my review with this extract from a story by Edgar Allan Poe, "The Black Cat", the best known and the most cited in the course of the pilot .. But then I realized that the horror and psychological asphyxiating Poe's work has to do very little with bloody thriller, sometimes naive but always fascinating that turned out to be the Following, that the name of Poe is more a note of color that a true statement of intent. But that's okay, just be aware of what you want to be and where we want to go, and this is especially true for a TV series.




The pilot works, especially in terms of charm and atmosphere. And it is especially the final to rescue many of the flaws highlighted so far, for a couple of reasons: the first concerns the resolution of the main event, which ends in a manner not at all obvious and very powerful. Is then really punchy and resonant confrontation between Hardy and Carroll (James Purefoy a fascinating and disturbing, yes him perfectly in part) during which the element of "literary" and almost metatextual actions of the ruthless killer you said (the ratio of the horror imaginary and the real, where the cruelty of the narrator towards the narrated world is actualized in the cruelty of serial killer against the real world, or even overturning continuous between object narrated and narrating subject that occurs between Carroll and Hardy), by nature more evocative self (the Scream, for example close to the author) and the endless possibilities of development.



I'm quite curious to understand that the form will take the series in its weekly format, since, stealing in Carroll, this pilot it was only the prelude. Whereas Williamson is a writer who can write and manage very well the suspense in the story television especially in the long run (and the second season of The Vampire Diaries proves it), The Following, and has what it takes to become a product challenging and fun that leaves the depth and complexity of the one part to focus on entertainment more simple but not for this easier. The call then is to fasten your seat belts and enjoy the ride. I'm in. And you?

Relive The mentalist : First Season

1. Simply put: it was the television event of the year, the series that has practically devoured the competition, the only - or at least one of the few - to achieve and overcome the obstacle of the 20 million viewers.

The Mentalist, CBS flagship along with - just think '- NCIS and winner of People's Choice Award for best drama series, created by that Bruno Heller, who wrote and produced a gem raw and foul-mouthed like Rome, is not only the surprise of the year promptly confirmed for a second season, but has re-launched explosively the figure of the detective and investigation pure. Why? How Is It? He deserves it? After the cut we'll find out.

It 's true, in terms of plot and premise similarities there, especially Psych, but is the show of USA Network's Monk as Maigret: here, no frills dramatic or pathetic, the tone is ironic, witty, light, but never grotesque, farcical or merely ridanciano and often the thickness of the story is more interesting than the show itself would imply.

The scripts are written with care, especially in the game with the cliché of the classic yellow (significant episode 1 × 16, Bloodshot, where Jane is temporarily without a view) and the royal exaggerate not ever limiting - clear - to follow the star.

Hannibal vs Dexter (Part 3) : Construction character

 
This level of comparison, perhaps the most interesting, is closely related to two ways, so different as to seem almost antithetical, to tell the bad.
 Hannibal is part of that trend that has evil through a mask so attractive to the point of dropping the viewer into the abyss. The charm of the evil protagonist is so strong that it can almost hide the destructive role he's playing. The feeling you have in front of a character like Hannibal Lecter is to be ahead of the other part of the reality, the bad part of the world that, as we try to avoid, and there is in our midst; the dark side of the moon before which often we tend to close our eyes to exclude its presence, but of which we can not help but feel its weight.



With Dexter's speech takes a completely different twist .. Dexter creates an intense empathic connection with the viewer, who unwittingly finds himself to root for a serial killer who, instinctively, he can not see the creepy side.
Having put on the table covered with plastic only criminals and showing us the careful investigation that led him to choose the victims, has meant that the public has focused more on the criminal, which he knows in detail the monstrosity of the crimes, which the protagonist, who in perspective becomes instinctual one who frees the world from the bad.




 A rational level changes the perception point of view, but it is precisely in the coexistence of these conflicting impulses (which Dexter creates in the viewer) that is the greatest strength of this twisted character. The identification, which takes place with the main character, creates a point of constant demand of what is right and what is wrong, and often these questions you can not provide any definitive answer; a feeling perhaps disorienting, but definitely alive. And it is for this strong feeling that the victory goes to Dexter that despite the slips of the last years, will remain one of the best characters created in recent years in the world of television.

Hannibal vs Dexter (part 2): History of the characters outside of the show

Hannibal Lecter, than Dexter, draws its strength from a decade past of memorable films and books, as well as the masterful performance by Hopkins in a state of grace.
The series starring Mads Mikkelsen, moving the action prior to the capture of the famous cannibal (before and after Red Dragon The origins of evil), we showed a novel Hannibal: a respected psychiatrist, the protagonist of a seemingly normal life which, among the meanderings of a fully equipped kitchen, hiding a horrible secret.
However, as would Dexter, "there are no secrets, only hidden truths," and it is at this level, where the reality of things is completely camouflaged in an appearance not only ordinary but exemplary, which lights up the red thread unites the two serial killers.