Iron Man 3, It's Been a Pleasure

5/26/2013

If you haven't seen Iron Man 3, may I ask why? Maybe like me you avoided opening weekend because you'd rather not have to sit on a stranger's lap, the following Saturday and Sunday were completely taken over by Mother's Day, and the rest of your time was spent working. I went on the third weekend and the theater was still nearly full. With good reason. Iron Man (#1) was incredibly enjoyable and surprisingly emotional. With that and The Dark Knight in the same summer, I suddenly started expecting far better of comic book adaptations. The second film has somewhat less impact, but it features more relatable villain, one you could almost root for. And the latest is a superb close to this arc. It's not just a great superhero movie. It's a great movie that should appeal to anyone of any age who knows that fun and depth aren't mutually exclusive. Iron Man 3 has big battles, quiet moments, lively dialogue, and talented actors all mixed together in a pretty package that reminded me why I get excited for summer blockbusters. It should be experienced at least once in a theater with a couple hundred others who's laughter and cries of appreciation are contagious, so don't let this one slip by. 

Before Marvel took control of some of their best properties and created the Marvel Cinematic Universe of related films, I was thoroughly disappointed in superhero movies. Their execution was typically embarrassing, and I learned to avoid them unless I wanted to spend two hours wondering why any person could do such a thing to their fellow man. Batman Begins, Superman, and Hellboy were the only ones I cared for and thought a director should be proud of. I quite liked Raimi's Spider-Man when it came out. It was better than what I had come to expect from comic book-inspired fare, but when I thought about it over the years, what I tended to remember was stilted and awkward. Now I realize that what I liked about it was the potential it had to be amazing, which is exactly what happened to me with Watchmen. Considering the last seven Marvel-produced films, ranging from the good in The Incredible Hulk (not the Bana abomination) to the superb in Iron Man and The Avengers, Spider-Man is still enjoyable, but it's also unrealistically cartoonish. (Haven't seen the remake yet.) The same goes for the subsequent Maguire outings, though I enjoyed Alfred Molina as Doc Ock. Similarly, the saving grace of Burton's Batman was Jack Nicholson. I always found it more creepy and oddly done than anything. ((And I don't acknowledge the existence of the bat men that came after until Nolan's incredible reimagining. If a live action movie is ridiculous and devoid of realism in actions, situations, or dialogue, I won't be invested in the characters. 

It's a special thing when a gifted actor doesn't turn his nose down at a story for its genre. Robert Downey, Jr. sells every wounded look, every pained grunt, every charming smile, every snarky comment, portraying a plausible and flawed human being, not just a surreal version of a person as is so often the case when studios try to make a quick buck. I adore Iron Man because Jon Favreau, Downey, et al had a genuine passion for the material and a desire to make people happy. Now with Shane Black at the helm, the trilogy closes on a very high and unbelievably entertaining note. The fun started off with Eiffel 65's "Blue (Da Ba Dee)"! I was expecting AC/DC or Black Sabbath, both musical cues to Tony's personality that are always welcome. Confession: I loved Eiffel 65 far beyond those two months in '99 when the radio played out their only hit. There were some other wonderfully quirky bits like this, such as the perfectly done comic style retrospective end credits showing clips of all the movies, and the seemingly strange choice of narration, which comes together in the now standard after credits scene. These are moments that served to make IM3 more bubbly and humorous than the somewhat dour previous installment. 

It wouldn't be the Iron Man I know and love without a lot of laughs, but I wasn't expecting to be so richly rewarded. I feel more for and have a greater appreciation of people who can make do a spit take, so it was definitely the right way to go. A perfect example is Happy Hogan (Jon Favreau), who was more integral to the plot this time around and thankfully got more screen time. Favreau is a funny guy with a big heart and a gruff teddy bear look. He's great comic relief in a movie filled to the brim with comedy. Like Agent Coulson, Happy is loyal and takes his job so seriously that he's hilarious. But he can't cooly take down a pair of robbers with a bag of flour. In IM2 he beat up just one guy versus Black Widow's effortless eleven. His interactions with Tony are priceless, the most memorable for me being when he selflessly yet unnecessarily shields Tony with his body by jumping on him. And when Happy's not on the job he's addicted to Downton Abbey. That's one of the little touches that helps ground the movie in reality, like in The Avengers when Coulson was giddy over meeting Captain America or when Tony finished the epic fight that nearly took his life and all he wanted was to try the shawarma place that he'd seen earlier.

But Happy wasn't the only non-Iron human who made a large contribution. Random genius kid Harley (Ty Simpkins) annoyed, helped, and befriended Tony, and tried to manipulate him into staying. They certainly had a connection, even if our resident genius didn't want to admit it. I hope to see Simpkins in other movies. It didn't feel like he was reciting lines. He one of those rare young talents and a perfect casting choice. Another great match up is Tony and Rhodey (Don Cheadle), who have a back-and-forth brotherly bickering and easy chemistry. Cheadle seems to have become very comfortable and has a larger part than before. Pepper (Gwyneth Paltrow) also isn't just sitting around. She has matched Tony barb for barb in every scene the two were ever in, but this time she gets in on the action, the least of which is being Iron Woman for a bit, a nod to Rescue from the comics apparently, which I have not had the chance to read. But I digress. A complete surprise was The Mandarin, and I have to leave it at that. Even the henchmen get in on the hilarity. As Tony is about to teach a lesson about going up against Iron Man, one of them gives up and says, "Honestly, I hate working here. They are so weird." If my theater seat didn't have arms I may just have ended up on the floor. I still have a smile on my face about it. It turned this bad guy into just a guy with a crap job. 

For the audience it may be fun and games, but the characters have more difficulties. There were a lot of dark moments. Even though I had seen the trailer a number of times, the harrowing Air Force One "Barrel of Monkeys" scene gave me chills. The only other times I got chills were Coulson's last moments in The Avengers, the opening sequence of Harry Potter and the Deathly Hallows, Part II, Jim Gordon's closing monologue in The Dark Knight, and when Tony escaped The Ten Rings in Iron Man. It means I was watching something special. Of course Tony would try to save everyone, even though he had a slim chance of doing so. That's who he is now, no longer the substanceless playboy he was before his injury. And in an interesting twist, he has to deal with anxiety attacks on top of everything else, the first one scaring him so that he rushed to his suit and had Jarvis "check the heart." Not "my heart," as if he was disassociating himself with the source of his vulnerability, which later leads him to taunting a terrorist. I love a pissed off and reckless Tony Stark, because I can see myself reacting in the same way, but telling a terrorist where you live may not be the best idea.

From the utter destruction of Tony's home to the serious injury of a beloved character to the appearance of a long lost friend; from an unexpected betrayal to the identity of The Mandarin to the volatility of Extremis; from the intensity to the dozens of suits to the familiar banter; and from Pepper's pivotal part to Rhodey's rebranding to Tony making a friend along the way, Iron Man 3 packs a lot of surprises, jaw-dropping sequences, and hilarious moments into 2 hours and 15 minutes. It is overstuffed in the best way and sometimes frenetic, but it knows when to slow down and show its heart. I got choked up over the fate of the robot that saved Tony's life in the first movie. Thought he always made fun, that sweet but slow bot was special and the movie didn't forget about it. More importantly, Tony finds a freedom in the end in letting go of the crutch and finally becoming whole.

As you may be able to tell, I am in love with Iron Man 3. But if I had to give you one weak point, I would have to say it was the characterization of Aldrich Killian. Guy Pearce is reliable, but Killian was not remotely likeable. I had no feeling for him but hatred. The best villains have a spark of personality and humanity. In the very beginning he could be considered sympathetic. After that I just wanted to personally pulverize him. It's not that big a deal, though. Nothing is perfect. Also, some say The Avengers was bigger, so that somehow equates to better. I loved the interplay of all the characters and the clash of personalities, and it will forever be one of my all-time favorites. Maybe the only movie that will be that epic again will be The Avengers 2. In the mean time, the second wave of Marvel singular superhero movies will be released leading up to it. Are we to be disappointed in them because they're inevitably smaller? No. We should appreciate them if they're great, not wish they were something else. When each character has their own movie, we get to know them more and that's a good thing. I was glad in IM3 for the renewed focus on one hero.

That being said, if there is never another standalone Iron Man, if Tony Stark is only a small part of other Marvel stories from this point forward, then I would have nothing to complain about...unless they continue with a younger model. Downey IS Iron Man. He was the perfect choice. From the first moment he stepped on screen in 2008, he imbued the role with heart, intelligence, bad boy charm, and substance, and played it with a gleam in his eye. I can't say enough good things about this movie and the series as a whole. This was one of my favorite theater experiences ever and I can't wait to see it again. Since I'm going to Star Trek: Into Darkness as soon as I finish this and it's just the start of summer movies, which are always stacked on top of each other, I may have to wait for the Blu-ray release. I hope I don't have to.

If you enjoyed it tremendously, as I did, pre-order Iron Man 3 at Amazon: Iron Man 3 (Two-Disc Blu-ray / DVD + Digital Copy)


6/5/13 - I just had to add something after reading the rants of an angry viewer on IMDb. I don't know why I do. There are not a lot of intelligent comments that start with "You RUINED..." I've finally learned not to feed the trolls, though. This is one of those complete morons that didn't get the humor and then said no one in the theater was laughing, which is only true if he was alone or if half the audience went to wrong movie and the other half doesn't have a sense of humor. There was already a good amount of humor in this series, and Iron Man 3 brought far more. Some people hated the Mandarin reveal. That would be the super fans of the comics, who believe that nothing should ever be different even if the story is better for it. The Mandarin may be a major enemy in the comics, but having powers from magical rings is more hysterical than frightening in a live action setting. In order to buy into the world, it has to be believable, like the much more plausible "gods" of Thor and the Chitauri of The Avengers.

I can't possibly go into everything that was said, and I would never want to, but the comment that really irritated me was that they were there for Iron Man not Tony Stark. Excuse me, but I thought that Tony Stark was the reason Iron Man existed. Iron Man is just a suit. A damn cool suit, but it's not a human being with emotions and problems. I would much rather spend almost all my time watching Downey than an expressionless machine. The name may be Iron Man, but it's about the man inside, something that seems to have slipped past the commenter, who apparently doesn't understand that a movie needs a story and character development in order to be interesting and for the audience to care. Some people need to stop acting as though source material is sacred and judge movies on their own merit.

Why Do I Put Things Off ~ Avenger's Assemble

5/21/2013

I'm finally listening to The Avengers soundtrack, Avengers Assemble. I've had it since I got a download code with my Blu-ray copy but for some reason always chose other music when I started up Spotify. Until today I didn't even remember any of the music, or which of the tracks were actually in the movie, because I've seen it only three times so far. Wish I had more time. If only I could quit work.

Anyway, I heard the lyrics "Show me how a bleeding heart still pounds" from "Unbroken" and I thought of Coulson. I always hoped it was planned that he'd been revived, or Whedon would surrender to fan response for the sequel. And then months later S.H.I.E.L.D. was announced for television. I was so happy even if it was going to be a prequel. Knowing that it's to take place after the events of The Avengers with Coulson being alive, those lyrics really are fitting. Can't wait to see what the story is there. It's amazing to me that #CoulsonLives became a real thing. That's only the second time I've been involved in a Twitter campaign, and it's the second time it has worked. And to think, I used to hate Twitter because I thought it was a useless waste of time. Well, it still is a waste of time, but not so useless.

Agents of S.H.I.E.L.D.
Pilot :: Don't Touch Lola
Season 1, Episode 1 Preview

5/15/2013

Clark Gregg, "Pilot," 1x1 | © ABC Studios and Marvel Studios

"Don't EVER tell me there's no way!"
—Coulson

Updated, June 11, 2020

Besides being a series built around someone we loved and lost, the passion and emotion in Clark Gregg's voice in this moment sold me immediately on Agents of S.H.I.E.L.D. This trailer gets right to the heart of Phil Coulson before we've seen a single episode. He doesn't give up...and he really loves his car. ;)

This is my most anticipated show of the fall. I can't wait for this one because it's live action Marvel on the small screen, which gives more time to tell intricate stories. I can't wait for it because Joss Whedon cares about character, story, and relatability. (And now I know Jed Whedon and Maurissa Tancharoen have the same sensibilities.) I can't wait for it because I need something to fill the aching place that Fringe left. But mostly I can't wait to see how Gregg literally breathes new life into this warmhearted, amusing, and heroic character.

I Was Made to Feel

5/14/2013

For the longest time, Almost Human - formerly InHuman and then Human - was the only new show that seemed interesting or exciting for the 2013-2014 TV season lineup. (Now I'd also like to give Sleepy Hollow a chance.) I was anticipating it since sometime late last year when Joel Wyman mentioned it, long before filming started. I've never been so invested in something at such an early stage. It's a strange feeling that social media can remove a barrier like that between us and the entertainment we love.

A couple days ago, fans of Joel Wyman, JJ Abrams, and Bad Robot were on the edge of their seats hoping for good news and we got it. And yesterday Fox released a trailer AND a behind-the-scenes look! The trailer, edited by super promo guy Bart Montgomery, was even better than I'd hoped. The main characters had great chemistry: Kennex, the human with synthetic parts, being the broken, brooding one and Dorian, the android with human qualities, being the funny, relatable one. I fell in love with these two characters immediately. Knowing Wyman, viewers can expect plenty of backstory, satisfying relationships, humor, heart, and excitement. Maybe there is even room for some overarching mythology that ties everything together into one epic story at some point in the future, moving it beyond a procedural and more into the procedural/serial hybrid area. Or maybe not, but no matter the formula, it will be well worth the time. So here's a first look at your next TV obsession. 

The Almost Human original trailer was deleted from Fox's channel because of a copyright claim on the music. This one is the same with a different song in the last minute.


A couple times now I've seen comments saying Almost Human looks like Continuum. This is apparently someone who just wants to get people to respond, so I won't. I'll tell you, though, that so far all they have in common are cops and sci-fi, because Continuum is about time travel from the future to the present and Almost Human is about a future with androids.

THE WALKING DEAD
La-Bibbida-Bibba-Dum
Bad Lip Reading Video

5/11/2013

Tonight on The Walking Dead, hilarity ensues. Zombies talk, a governor sings, fish have psychic powers, and Andrea is fixated on banjos...

Have you ever seen the Bad Lip Reading videos on YouTube? They're so great that I can watch them dozens of times, like an episode of Friends, except these make no sense at all. The NFL one was the first I saw and the best. But "The Walking and Taking Dead" just surpassed it for what I assume is a little nod to David Morrissey's time in the musical mini series Blackpool, which I still need to see. I've watched a clip here and there over the years because David Tennant was in it. I wish it would come to Netflix streaming, but I guess I'll have to buy it now. Two of my favorite guys are in it, so I can't put it off for too much longer.

I would have mentioned this when it was uploaded earlier in the week, but I was busy writing a post about TWD that I've been putting off for months. I also spent my free time watching the video over and over and making a few clips to use in place of a few Win8 system sounds. I would have saved a couple minutes on one of them and downloaded the official ringtone if I'd noticed the mention in the description. I think I'll buy it anyway, because these people deserve to be compensated for so much laughter.


THE WALKING DEAD
The Governor and the Lost
Season 3 Thoughts

5/11/2013

Is it really May 11 already? It's about damn time I posted some thoughts. It's been too long. Now let's celebrate Mother's Day weekend with some good old-fashioned zombies and horrible humans. Enjoy.

Spoilers ahead. Please catch up to the third season finale before reading.

In the ocean of mostly awful, annoying, or pointless television there are always a few rare gems. Among those, a show has to be exceedingly special for me to write about it. I'm just one person after all, so I have to be selective. I've praised Supernatural and Doctor Who in the past, both wonderfully creative shows with big themes that also understand the importance of character development. Though, my time has been limited and I haven't so much as mentioned them for far too long...unless they're on t-shirts, which they often are. I've written tens of thousands of words and spent hundreds of hours of my time talking about Fringe, my biggest TV obsession. You know that if you've ever been here before. But now that Fringe has been over for more than three months and is no longer a full-time volunteer job, I've been freed somewhat to focus on other series. Lately I can't stop thinking ofThe Walking Dead, one of the few that truly deserves to be remembered. I just haven't had the opportunity to write anything since I marathoned the first season just after it had ended. But the addition of the great David Morrissey as Philip Blake, The Governor, has been nothing short of the best decision that the producers have ever made, and my mind won't stop nagging me to finally say something.

The Walking Dead felt special from the get-go, with a man, Rick Grimes (if you didn't know and are reading anyway despite my spoiler warning), waking up alone in an abandoned hospital, wires and panels ripped from the ceiling, blood on the floors, bullet holes in the walls. We took a journey of discovery with him though death and devastation. It's a feeling I'd never had watching TV before. I was amazed by the sense of epic destruction but soon realized it was going to be so much more. I fell in love with it in the first episode when Morgan, the first living soul Rick came across, tried to shoot his wife, who had fallen victim, but broke down instead. I couldn't keep back the tears when Rick talked to a zombie before shooting, apologizing for what had happened to her. Since then there has been so much to put a lump in my throat or jump out of my seat, and my love for it get deeper each passing week. The third season ended in March, but this is one show that packs an emotional punch in every episode and always sticks with me long (loooong) after most others have faded. I will be thinking about it until the next season starts and provides more harrowing situations and dramatic deaths, and I'll always have a wealth of episodes to refer to when in need of an example of incredible writing and acting.

Two of those episodes that are the very best (ie. most effective at shocking and saddening) are from the end of the third season, just prior to the finale. "This Sorrowful Life" was a perfect send off for Merle, a character that up until then I thought could only work against the group and I just hoped would get zombie chomped, although I did find him to be entertaining in his nastiness. And Philip stalking Andrea through the warehouse in "Prey" while whistling was one of the creepiest and most suspenseful scenes of the series...of any series. It also brought back the theme I associate with him that sounds like a relentless pulsing. A heartbeat in the grip of a diseased madness: threatening and frightening. That's what I thought of immediately when I first heard it in "When the Dead Come Knocking," and that's apparently what Bear McCreary intended, because it's called "The Pulse." It was near the end of the episode, I think, when Philip was holding Andrea. The scene isn't on YouTube, but I did find the music. A second version of "The Pulse" was used in the finale, "Welcome to the Tombs." But the one in "Prey" is actually a bit different and is called "The Governor's Madness." They all have the similar nonstop, ominous, synthesized rhythm, though, and that's what I remembered. Together they set the mood so perfectly - building dread, fear, and tension - that these companion pieces (like "Hello Zepp" and "Zepp Overature" from Saw) are without a doubt some of my favorite tracks ever. 

"The Pulse (A)" from "When the Dead Come Knocking"

"The Pulse (B)" from "Welcome to the Tombs"

"The Governor's Madness" from "Prey"

Bear McCreary talking about "The Pulse"

But it's not just the music I'm enamored with. From the beginning, the story was gripping, tragic, and acted with conviction. I loved the first season for the way they introduced this new world, its terrors and the scope of the destruction. I became invested in the characters after such a short time. I was nervous the entire first half of the second season for the desperate search for Sophia, because each unsuccessful day ended in a little more hope lost. The reveal at the end was one of the most devastating moments in television. Then I was riveted by the second half for Shane's continued descent into the darkness that had taken root in him and where that ultimately led, the sad loss of another beloved character, and the harrowing escape from the farm.

Then there's the third season, my favorite because of the addition of The Governor. I'd read not long after it was revealed in the second season finale that the prison storyline was going to be something to really look forward to. I recently read that the man depicted in the graphic novel had no depth or nuance and was too outwardly evil to be a realistic leader that people trust and gravitate toward. I'll have to see for myself at some point. But the actor, David Morrissey (@davemorrissey64), has been fantastic from his first charming smile, a smile that I'm not sure ever really reached his eyes. There was so much beneath the surface that was only hinted at in the beginning and so much hidden from the characters around him, but that simple gesture put the blind at ease and the wary on edge.

"The Talking Dead," which I finally might start watching, mentioned the smile.

Morrissey has been a perfect choice, because he brilliantly plays broken, unstable, vulnerable, dangerous; in other words, human. He has conveyed insanity, rage, and despair simultaneously and doesn't need to say a word to be chillingly intimidating. Charismatic and manipulative, fascinating and terrifying, and falling apart at the seams, Philip Blake is alternately deeply sympathetic and stunningly brutal. He keeps me on edge, because I never know if he's going to shoot someone or thank them. He has turned out to be one of my favorite villains of all time, equal to Heath Ledger's Joker. Therefore, I think I have another favorite actor...no, not think. When I sacrifice sleep to find interviews, I know.

I am fascinated with the development and escalation of this deeply damaged character. Philip completely unraveled after losing his daughter for a second time, no longer able to desperately cling to the hope he could get her back. In the finale he told Milton that if he'd been like this (ie. sadistic and uncompromising) when Penny was alive then she would have been afraid of him but she would have been safe. So, he blames himself. Damn. This guy really needed a post-apocalyptic therapist.

"When this awful thing happens and she turns into a Walker, he's got to carry on fulfilling those promises. So things like brushing her hair just broke my heart. It's just great."

David Morrissey, BullettMedia Interview

On top of that, he lost his wife, his world, his eye, his sense of control, and trust in his closest allies. Merle lied about killing Michonne, brought the wrath of the prison by kidnapping Maggie and Glenn, chose Daryl over him, and then tried to kill him. Andrea, the woman he seemingly started to care for, betrayed him and went to tell the prison group his plan. And Milton helped Andrea escape and then gave up the chance to redeem himself in The Governor's eye(s). In the end he had nothing left save for revenge, and here were all of his able-bodied people retreating against orders. In a jaw-dropping moment that I saw coming in Morrissey's thousand-yard stare only seconds before it happened, The Governor slaughtered his militia. It was a terrible thing and sadly puts the character beyond redemption, but he was never strong enough mentally to really survive. Though he had become a leader, the man he was died with his daughter, the only thing he had in the world, the one thing he was supposed to protect. So he forged on, transforming into someone that would do anything to keep his town safe and his people dependent upon him. When they failed him, he snapped, completely letting go of any last spark of descency or sanity. It was a terrible thing, but it saved the prison group for now. Unfortunately, Rick took in the remaining citizens of Woobury, so there will be more hungry mouths to feed, more people to get attached to, and more new friends to rip away. Fortunately, and contrary to the original story, Philip survived instead of Andrea. I love this change, because he is a far better character on the show and so terrific to watch.

In fact, the only thing about this season I didn't like was Andrea continuing to be ineffectual. I kept hoping she would grow on me. I'm sorry that this is the first death of a group member that didn't affect me all that much. I thought it would. The last time I cried for Andrea was when her sister died. The last time I felt sorry for her was when she was left behind at the farm house. (Edit 10/7/2018: Over time, my mind has changed somewhat about Andrea. It was a sad ending for her, and for Michonne mourning her friend. Every time I think of Andrea, I feel sad for her, because she was a good person just trying to do her best.) In contrast, I was floored by Merle's final act and really his entire final episode. His talk with Michonne was a brilliant piece of writing and acting to make me forget for a while how awful Merle had been. Then in an unexpected moment of courage and selflessness - mixed with the knowledge that he didn't fit in anywhere - he let Michonne go and sacrificed himself for his brother. I never thought they would give him more depth. I wish we'd been allowed to know more of this side of him before the end. Daryl's breakdown upon finding Merle turned (shot in the chest instead of the head) was so hard to watch, but beautifully acted by both Norman Reedus and Michael Rooker.

I also had tears for Milton, who did not deserve to die so slowly, and for Michonne because she lost a friend. I was stunned that Woodbury ambushed the prison and murdered Axel. I was just starting to get to know and like him, and I was smiling because of something he said when the bullet took his life. Morgan (from the pilot!) returned as a shell of what he had been, crazed and alone after losing his son, Duane. T-Dog, someone I barely knew but who was there from the beginning, sacrificed himself for Carol, so I miss him. I was even sad for Otis, and he was there for just two episodes. I knew nothing about him, except that he risked his life for a kid he didn't know. I cried for Jim, who was left bitten and alone under a tree. The first time I saw Dale I was positive that the old guy of the group was going to go sooner rather than later, but I let myself get attached to him anyway. Sophia's exit is a scene forever burned into my mind. I was stunned when she shambled out of the barn. I felt a loss when Lori died because of Rick's devastation. His agonized howl was gut-wrenching, and his subsequent the telephone conversations with ghosts were mesmerizingly haunting(?). But I really had no good feelings toward Lori after she basically told Rick he needed to "take care" of Shane and then was appalled when he actually did so in self-defense. There's no way Shane was coming back, so I was glad of his death but was deeply affected at the same time. Shane struggled so much. It was a depressing end for him, but after he aimed a gun at his friend's head while they were searching the woods together and later sacrificed Otis, I was very wary and scared of him. I was hoping until the last moment that Shane could be saved while simultaneously willing Rick to pull the trigger, as if anything I felt strongly enough about would change what the writers had already written and the actors had already filmed.

So what happened with Andrea? Laurie Holden did a great job with what she was given, and I will always sort of miss her and feel that she's a part of the family. But the character was so standoffish and she seemed to make bad decision after bad decision, such as not killing Phil the Raging Maniac when she had the chance because she couldn't bring herself to do it. Still, I wanted Andrea to survive and make it to the prison not just for the sake of the group, and not because I loved her (I didn't, unfortunately), but because she wanted to save people. Also, she was a fighter and her death scene seemed out of character. Andrea should have been able to defeat one zombie, but she wasted time talking and then dropped the pliers on her first attempt. Of course, picking a tool up with your feet while strapped to a chair would be quite hard to do, but it was predictable and a let down. Predictable is a word I hardly ever associate with The Walking Dead, but everyone in TV and movies always drops whatever important thing they need at just the wrong time. I was like, "She going to drop the pliers. Yup. Wow, what a surprise." It actually served to reduce the tension and take me out of the moment, and then they cut away in another failed attempt to be suspenseful. If Andrea had been unable to free herself because Milton turned earlier or if the struggle had been shown and we could see she was too exhausted to fend him off then it would have been more exciting. So that was frustrating, yet Milton's part in it was heartbreaking. The likable, soft-spoken guy finally stood up to the big bad and lost his life for it but struggled to stay alive long enough for Andrea to escape. Oh well, it's just a small blemish in this consistently tense and intriguing show. I forgive the writers because of what they gave me with Daryl and Merle's emotional final scene, for the Governor's closing act - the moment any remaining spark of decency in him was extinguished - and for every other gut-wrenching moment before.

Now I can't wait for season 4. There's so much promise in a continuing storyline with The Governor, because he won't let his downfall go unanswered, even though he should kinda probably maybe sort of possibly be blaming himself for being such a d-bag. I hope they don't write The Governor in a way that I want him to die early next season, though. I love to hate him. I love to see his progression, losing his grip more with each episode. I mean, he's so awful that he won't survive forever (he's too reckless for that now), and I don't want the show to get stale, but David Morrissey is astounding and I hope he's around for a while. He revitalized the show and brought a living, scheming menace to it more dangerous than just a horde of slow-moving zombies. Without a doubt, he puts everything into this role. Just fantastic. But I feel that after his time as The Governor is up, Morrissey's next show has to cast him as the most soft-hearted marshmallow ever just to make up for all the evil. ;) I've not often felt so physically and emotionally drained by television, but I can't wait to do this all over again. It's going to be a long wait.

Walking Dead - The Complete Second Season Blu-ray
Walking Dead - The Complete Second Season DVD
Also available on Netflix.