(S03E02) "Yeah, sure. That's Tommy. He's a good egg. I helped him, he helped me." - The Homeless Man
The questions kept flying tonight on 'Damages' as details from last week's stunning revelation continued to unfold -- in six months time, Tom Shayes is a dead man and now we have a better idea as to why. The only problem with that? There are still eleven episodes left, and assuming this season plays out like the first two, we're gonna have to wait until the last possible second for answers. Fortunately for us, there's plenty of other plots playing out as well.
(S03E02) "I was sent to get you out of here." - Michael
And so the plot unfolds. I'll tell you, two episodes in and this is already infinitely better than season two of Prison Break. You know why? They're back in jail. The one thing that made the show great in the first place has been given new life. Rather than an entire country at his disposal, Michael now has only a few hundred jail cells surround by iron bars, brick, and concrete. It feels tense and more importantly, the eerie feeling of claustrophobia is back as well. The title of the show is applicable once again too.
(S03E02) Someone want to tell me why they had to call this episode "The Glass Ballerina?" It referred to one tiny thing at the very beginning! I don't know, I guess I just like my episode titles to actually tell me what's going on and not give me some vague reference to something that's ultimately not all that important. Alias used to be notorious for this. But in the end, what did we learn from the glass ballerina? We learned that Sun is a big ol' cheating liar.
(S03E02) I don't get why this episode wasn't called "Spree, Part 2." It was, after all, just the continuation of last week's premiere... right? So why confuse viewers into thinking that this episode may be separate from last week's? I would think you'd want to keep the title in the two-part format so that viewers are more apt to tune in for the conclusion. I think that makes sense.
Whatever, I'm rambling because there wasn't much else to talk about in this episode. It was just so-so regarding the way they wrapped up the Crystal and Buck storyline. Obviously Megan made it out alive following her abduction, but you knew that was going to be the case. There is one thing I did want to talk about though. Is it just me, or is this show using less and less math?
(S03E02) Only Ari Gold could make sex sound so glorious and painful at the same time.
Ari [to his wife, promising sex later that evening]: "We're gonna dent that headboard. No bullshit. I guarantee you! You will not walk right tomorrow."
I'm fairly certain that line is one of the top ten funniest things I've heard in the last year. Of course, that could change fast because we are only on the second episode of the season.
(S03E02) Episodes like this are the reason why people were so ticked at HBO for being stingy with the season four funds. Actually, I really shouldn't put it that way. Any episode of Deadwood is reason enough for the outcry. This one especially, though.
Picking up right where we left off last week, I'm guessing it's probably the following morning. The mental chess match between Hearst and Swearengen is in full throttle as the two continue to jockey for the upper hand in the camp.
(S03E02) This show does not screw around. Everyone, as of right now, needs to get in the habit of recommending Rescue Me the next time they hear someone complain that there's nothing on TV during the summer months. Besides, you can't deny that a show has made it when you have someone like Susan Sarandon making a guest appearance.
All that being said, I think we're seeing a shift in the stories being told. This was the first episode that I can recall that wasn't heavy into the firehouse storylines. Did they even have a fire in this episode? If anything, I think it symbolizes that everyone is moving on and Franco is the prime example after Tommy discovers that he's studying for the Lieutenant's Exam. "Choices" seems to be a prevailing theme right now. But on this show, no one ever makes the right ones.
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