On this week’s episode, I fill you in on where It’s All Connected 2021 has taken me after introducing the concept in Episode 29. From Stoker, I went through many films by Guillermo del Toro and Mike Flanagan, two of the best at what they do!
While scoping out the recent Netflix additions the other day, I stumbled upon a film called The Disappointments Room. I’ll admit, I was first drawn by the seemingly bad grammar, but then found myself curious about the film because it stars Kate Beckinsale and features a secret room in a big old house. I’m more a fan of the actress from her appearances on talk shows than her films, but figured I’d give it a shot. Plus, I’m a suck for big, old house movies filled with secrets. Continue reading Halloween Scene: The Disappointments Room (2016)
To say I’m enjoying re-watching Prison Break would be quite an understatement. I finished the first season in a few days and it only took me five days to watch the second only because the weekend hit and I had other stuff to do. No offense to my lovely wife, but the benefit of liking a show she doesn’t care about is that I can burn through them like crazy. It’s to the point where I’m neglecting most other forms of entertainment from current TV to Netflix discs (I’ve had The Road sitting here for over a week because of this show) and even podcasts, though I still listen to/watch those while cooking or playing Xbox. Anyway, I liked the second season as much as the first but I can see how it might have lost some people. While the first season involved a lot of suspension of disbelief (guards not seeing or hearing things, etc.) this one had a lot of close calls and people showing up at exactly the perfect time to save someone else’s ass. And yet, I don’t care.
The beauty of Prison Break‘s second season is that it doesn’t rest on its laurels. The drama of the first season was how or if Michael’s plan would work, how his tattoos plaid into the whole thing and whether he could trust the people he either brought in or had to bring in to his inner circle to get out. Now, some of those elements are still there (the tats still contain aspects of their escape and he can’t seem to completely escape some of his fellow escapees), but now we’re focused on survival, trying to figure out a way to prove their innocence and eluding a series of enemies all much more formidable than prison guards and fellow cons.
The key to this season, as far as I’m concerned, was found in the performances. Most of the escapees got their own stories and a chance to show what they had before leading to death or further freedom. I still have no idea what kind of accent John Abruzzi was supposed to have, but he was put to the test and failed. C-Note did his damndest to save his family, but it wasn’t an easy road. Hell, even Haywire had more interesting moments than he probably had any right to (which included a guest appearance by future Big Bang Theory star Kaley Cuoco). But, as I’ve come to expect from this series, most of the emotional heavy lifting is done by T-Bag who runs the gamut from slithery asshole to creepy predator and charmer to lovesick fool. The writers give him a ton to do and he bears the weight with ease. There’s moments where you almost, ALMOST feel bad for the dude. The same can be said for Alex Mahone who came in this season as a kind of bad guy, a bent FBI agent whose strings were being pulled with the threat of harm to his family hanging over his head. The linchpin, though, was that he was just as smart as Michael. Another tragic figure in this story, Mahone’s path does not wind up where you would have expected as the series kicked off.
The season ends with plenty of game changers, which is another element of the series I appreciate. Like I said with the first season, it feels like the seasons are planned out as giant arcs with plenty of smaller arcs built into them with plenty of bad things happening to good people to keep you interested. A lot of series’ kick off with a wild first season where it seems like they throw all their best ideas into the pot immediately without much thought for further seasons. Sure, you can never know how long you’ll be on the air, but how bad did Heroes get after the first season? How about Desperate Housewives (yeah, I watched the first season and still think it’s pretty good, though I haven’t seen it since it first aired)? You get the feeling with those shows that they had this desire to top themselves that wound up creating some ridiculous situations or arcs that had no chance of comparing favorably to the more thought-out ones in the earlier/first seasons. With Prison Break it’s pretty simple: Season One has them escaping a prison, Season Two sees them trying to stay free, Season Three has them unfairly locked up in a crazy Mexican prison and the Fourth…well, I don’t quite remember. That’s a pretty basic set-up, but it makes sense. Expect another one of these posts by the end of this week because the third season was shortened by the writer’s strike and comes in at 12 or 13 episodes if memory serves.