Y’all think I’m going to talk about Smash, right? Or maybe Matt’s mom coming back into his life like a bad penny? Or Tami relinquishing ground like some Soviet general setting up a pincer for the German army?
I will. I’ll get to that stuff. But first let me tell you how I know this show we love is back.
Some spy gets blacklisted goes freelance, he could be standing right in front of you; you wouldn’t even know it.
After the incredible highs of the last two weeks, we had to expect we’d eventually have a bit of a let down. Fortunately, this is Burn Notice, where even the off episodes are eminently entertaining. Plus, we can always count on Fiona and the FX guys to give us some tasty explosions.
My father was an addict, my grandfather. I know how these people operate.
TNT’s done a bit of a number on the order of episodes, shuffling them around for a variety of reasons. Last week’s episode, in fact, was intended to be the third on the air according to John Rogers. But we get serendipity. Nate’s drinking from last week, which seemed a bit out of place because it was more pronounced than in previous weeks, makes a nice precursor to tonight’s full-on addiction problem.
Like any high-functioning alcoholic, as long as Nate’s well lubricated (but not too lubricated) he’s fine. Hence the booze in the soda can first thing in the morning and the ubiquitous tumbler. And like any high-functioning alcoholic, any interruption in the flow can be catastrophic.
There were a few great, moving lines in this episode, but as usual it was the silences that spoke loudest. Two minutes, one line of dialog, and Death Cab for Cutie singing a lamentation.
Fiona: Michael McBride. Sometimes I wonder if he’s the one I fell in love with.
Michael: I wouldn’t be surprised. We caused a lot of mayhem, you and I. He was your type of guy.
Fiona: Yes you were. Where did he go?
Michael: Oh you know how it is with cover IDs. You become who you need to be.
Fiona: And everyone gets to guess who you really are.
The dance between Fiona and Michael had been picking up steam before the long winter break and really sped up last week when Campbell broke up with Fi. She’s known for a long time that her feelings for Michael run deep, but her detour with Campbell let her bury them for a time. Now they’re resurfacing, but making her question who Michael really is and wheter he ever felt for her the way she feels for him.
By episode’s end she’ll have the answer.
A very quick note to pass along the good news from Javi Grillo-Marxauch’s blog: Shout! Factory, producers of some of the finest DVD sets on the market, are working on the box set of season one of The Middleman and should have it in time for Comic-Con!
Oh, those nasty, nasty contractors. Having grown up around the world of contracting, this episode wins on the believable bad guy who deserves whatever Team Leverage can do to him front. Taking advantage of the victims of natural disasters? Run of the mill for a GC.
I do have to admire the simplicity of the scam Retzing & Sons pull, though.
See? Better than underwear gnomes. There are more steps, but none are missing.
Was it just me, or did anyone else get chills when the team came out to run with Smash? FNL does epic moments better than any show in recent memory, but we haven’t had one of them since the first season.
Last week was a workman-like return to competence, but it was tentative and had lost a few steps. Like Smash, it needed a little help to regain its confidence and regain its footing. After the disappointment of its sophomore year, I think the little show we love is back.
Michael’s old toys. Most of them are blown up or taken apart, but I bet we can find a few good ones.
My normal conceit when doing a Burn Notice review is to do a short recap in the character Michael took on for the scam, but I’m not feeling Donny ((He’s a little bit rock ‘n’ roll.)) so you’re stuck with me tonight. That’s probably more appropriate for this more serious, straight-ahead episode anyway. This one was raw and more emotional than we’ve ever seen before.
Mikey go boom. When we last left Michael Westen, he was diving from his landing inches ahead of a shockwave. Tonight: the aftermath.
On Monday, January 26th, TNT expands its stable of original programming with the premiere of the Warner Horizon production, Trust Me. Starring TV vets Tom Cavanagh and Eric McCormack as best friends and creative partners at fictional Chicago ad agency Rothman Greene & Mohr, Trust Me is a light drama ((I won’t call it a “crama”, no matter what DMc says.)) about modern advertising.
Here’s the thing: I want to like this show and I’m going to give it four or five or even six episodes to grow on me. Creators Hunt Baldwin and John Coveny have a combined 20 years of experience in the Chicago ad world, and they and co-EPs Greer Shephard and Michael M. Robin have proven they know how to put together a tight drama on a cable budget with The Closer. But…