2013-2014 Television Spearie Winners

I have added a couple of new categories to both the nominations list and winners list here. These categories have three nominations each and, aside from one are for the show as a whole instead of individual episodes. The link to the nominations can be found below. Without further ado, here are the winners of the first Spearie television awards.

Nominees

BEST VISUAL EFFECTS

Game of Thrones (Joe Bauer)

This category is not entirely fair, as the fantasy series Game of Thrones easily uses more visual effects than any other show on television. That does not, however, take away from the amazing environments it creates and the awe-inspiring creatures which serve to help fully create the world that this series has built. There is a fascinating vfx reel out which shows some aspects of how the effects were done, which can be found here.

BEST COSTUME DESIGN

Game of Thrones (Michele Clapton)

This category does very much favor period and fantasy pieces, again leading to an easy Game of Thrones victory. The way that the series uses the different families to have different styles of dress, one can easily tell who is connected to whom simply by the way they are dressed. The clothes let you know about the characters, and that is why they take this victory without much of a problem. 

BEST PRODUCTION DESIGN

True Detective (Alex DiGerlando)

While this category would often seem to go to period pieces, and 1995 is not usually far back enough, the brilliant Production Design on True Detective transcends time in order to immediately give the sense of the world this show takes place in. The sets suggest that the show takes place in a world much like ours, but with something just ever so slightly "off" about it. From sparse apartments to abandoned churches right down to stony mazes, the sets constantly gave a feeling of unease that suited this series oh-so-well.

BEST MUSIC COMPOSITION

Game of Thrones (Ramin Djawadi)

Year after year Ramin Djawadi manages to outdo himself with his work on Game of Thrones. By givin each family its own theme, and constantly varying it  up for certain sequences, Djawadi's score has been just as integral as the visuals in creating the world of Game of Thrones.

BEST ACTION SEQUENCE

The Battle for Castle Black-Game of Thrones (The Watchers on the Wall)

Though perhaps not built up as well as the show's other large-scale battle, Blackwater, the Battle for Castle Black was an improvement in most other areas. Featuring improved melee coreography, surprising deaths, and a scale unrivaled in television, the Battle for Castle black was truly impressive on all accounts. Essentially two battles in one, this set a new bar for television action scenes. (Oberyn vs. the Mountain was close, but in the end quite quick and more memorable for its ending than for the action itself.)

From here on out all categories will also feature runners-up. As well, the next category will remain quite vague, due to avoiding spoilers.

BEST DEATH SCENE

Oberyn Martell-Game of Thrones (The Mountain and the Viper)

Runner Up: Hank Schrader-Breaking Bad (Ozymandias)

Possibly the single most brutal death ever put on television, every Game of Thrones fan cringed and covered their eyes when Oberyn's fate pulled a 180* turn. I will not go into more detail, in order to keep those who have not seen it unspoiled, but needless to say this is one moment that will never be forgotten.

BEST SOUND

Game of Thrones-The Watchers on the Wall (Richard Dyer, Ronan Hill, Bradley C. Katona, Tim Kimmel)

Runner up: Breaking Bad-Felina (Mark Cookson, Kurt Nicholas Forshager, Darryl L. Frank)

The entire episode of The Watchers on the Wall was occupied by the battle for Castle Black. As such, the sound design was integral into creating the feeling of the chaos of war. From sword clangs to the sounds of a wildling army and the thud of an arrow piercing a chest, the battle would not have been nearly as powerful were it not for the brilliant sound work. 

BEST CINEMATOGRAPHY

Hannibal-Mizumono (James Hawkinson)

Runner up: True Detective-Who Goes There (Adam Arkapaw)

Since it first premiered, Hannibal has always been one of the most visually interesting shows on television. It is one of the only shows on today that truly makes an artistic use of its cinematography at almost every turn. Each shot is beautiful, and lends a dreamlike feeling to the show, as if one is watching a nightmare instead of a person's life. There is no other show on television quite like Hannibal and when it comes to creative and beautiful camerawork, no other show even comes close. 

BEST EDITING

True Detective-The Secret Fate of All Life (Alex Hall)

Runner up: Breaking Bad-To'hajiillee (Kelley Dixon)

True Detective was a difficult proposition from an editing standpoint. Telling the story from three different time periods, and two different people telling the same story, it could have ended up as nothing more than a mess. Instead, True Detective became a masterful piece of storytelling, and the editing had a lot to do with that. Scenes like the one in this episode, in which Marty and Rust tell the story of what happened in a moment in 2002 and 2012, while the audience sees what actually happened could have been incomprehensible. Instead, it was a marvelous example of unreliable narrators and one of the greatest scenes of the past year, film or television.

BEST WRITING

Breaking Bad-Ozymandias (Moira Walley-Beckett)

Runner up: True Detective-The Secret Fate of All Life (Nic Pizzolatto)

Also known as: the one where s--- went down. This episode truly served as the logical conclusion for the series, with everything that came after an extended epilogue to tie things together. This episode changed everything, and eventually proved to be the hour that the entire series had been building towards. Moira Walley-Beckett's teleplay used only a few lengthy scenes taking place in a couple of hours and made one of the greatest hours of television ever, a monumental feat that likely will not be replicated soon.

BEST DIRECTING

Breaking Bad-Ozymandias (Rian Johnson)

Runner up: Hannibal-Mizumono (David Slade)

Rian Johnson's previous work on Breaking Bad had been nothing if not divisive. Fly and Fifty-One are considered to be, depending on who you talk to, either incredibly artistic masterpieces of television, or wheel-spinning wastes of time. Given more narrative momentum to work with in Ozymandias Johnson's work received universal praise, as he brought his unique instincts to a momentous, game-changing work of storytelling. Keeping a constant, 43-minute state of tension and shock, Johnson allows Moira Walley-Beckett's screenplay to be a truly devastating hour, one which sends the characters, and the audience, to hell, but doesn't allow them the relief of coming back, instead taking their emotions on ride in a way they did not know was possible.   

BEST GUEST ACTRESS

Gaby Hoffman-Girls (Caroline Sackler)

Runner up: Gillian Anderson-Hannibal (Dr. Beverly Du Maurier)

Playing the sister of Hannah's boyfriend Adam, Gaby Hoffman comes into Girls early in its third season and immediately changes the status quo of the show. While Adam is weird, Hoffman's Caroline is so much weirder that she becomes funny, and then immediately skips right past that stage to become unsettling. Though she wasn't in many episodes, she certainly made an impression with her time onscreen.

BEST GUEST ACTOR

Pedro Pascal-Game of Thrones (Oberyn Martell)

Runner up: Michael Pitt-Hannibal (Mason Verger)

Oberyn entered the world of Game of Thrones like a whirlwind, immediately capturing the attention of viewers. With his free-spirited sexuality, justified anger, and mostly a nation's worth of charisma, former unknown Pedro Pascal instantly became a star, and many people's favorite character of the series. Pascal represents the reason why I make these awards, when he was snubbed by the Emmy Awards for his performance. While they may not have seen his brilliance, he will always have a place in the hearts and minds of Game of Thrones fans everywhere.

BEST SUPPORTING ACTRESS

Maisie Williams-Game of Thrones (Arya Stark)

Runner up: Stephanie Beatriz-Brooklyn Nine-Nine (Detective Rosa Diaz)

It's telling of Maisie William's growth as an actress that her best season is the one in which she had the least screen time. While Arya wasn't as omnipresent as she has been in the past, Maisie Williams made the most of every scene, showing that the Arya we all met in the premiere three years ago is more and more rapidly fading away, being replaced with a human embodiment of rage and revenge. The young actors on Game of Thrones are all impressive, but Williams has perhaps the toughest job, leading her to the darkest places, and yet she still makes the audience root for her at every turn, an impressive feat for any actress, much less one still in her teens. 

BEST SUPPORTING ACTOR

Aaron Paul-Breaking Bad (Jesse Pinkman)

Runner up: Peter Dinklage-Game of Thrones (Tyrion Lannister)

Though less prominent than he has been in previous seasons, Aaron Paul makes the most out of every moment of screen time his character is getting. Though his outburst in Rabid Dog is his most memorable moment, every episode this season showed a new side and level to Paul's acting. Many people's favorite character, Paul proves himself to be a consummate actor, disappearing into the character entirely, and remaining on people's minds, even if he only appears in a scene or two of an episode. 

BEST ACTRESS

Allison Tolman-Fargo (Molly Solverson)

Runner up: Anna Gunn-Breaking Bad (Skyler White)

Frances McDormand won an Oscar for playing Marge Gunderson in the Coen's masterpiece Fargo. Though not playing the same exact character, Allison Tolman's Molly Solverson is clearly meant to be a spiritual successor to the character, and Tolman entirely lives up to it. Keeping the strength of McDormand's character, but ultimately making it her own, Tolman is a revelation, and hopefully somebody who will continue to make their mark on the industry.

BEST ACTOR

Bryan Cranston-Breaking Bad (Walter White)

Runner up: Matthew McConaughey-True Detective (Detective Rust Cohle)

Saying that Bryan Cranston deserves an award for his work on Breaking Bad is like saying that it gets wet outside when it rains. Cranston has consistently given what is possibly the greatest performance of all time, and does not fall at all in the final season. With Ozymandias proving to be one of his best episodes, Cranston finishes his run as Walter White with a bang. While he probably won't ever find a character quite like Walte White (It's doubtful we'll see a character of this caliber in the foreseeable future) Cranston has nonetheless proved himself as one of the greatest and most versatile actors of all time, and I cannot wait to see what he does in the future.

BEST ENSEMBLE CAST

Game of Thrones

Runner up: Brooklyn Nine-Nine

Not only does Game of Thrones feature probably the largest cast on television, it is also the best cast. featuring nearly 30 regular cast members this season, and likely featuring speaking roles nearing 100, Thrones has yet to find a casting misstep. This season was the best for several characters and though it did not introduce as many new characters as last season, it made the most of everybody at its disposal, and remains a great example to get future roles for its actors (Which is good because quite a lot of them found themselves out of a job after this season).

BEST EPISODE

Ozymandias-Breaking Bad

Runner up: Mizumono-Hannibal

This is probably not much of a surprise, considering it already won directing and writing, but there is a reason many people consider Ozymandias to be the greatest hour of television ever. There is little more to say than I have already said, except that not only does this episode feature amazing writing and directing, but also series best performances from Bryan Cranston, RJ Mitte and Anna Gunn. Ozymandias is the best episode of the best season of the best show I've yet to see.

BEST SERIES

Breaking Bad

Runner up: True Detective

Breaking Bad did something in its final season that few shows have been able to do: made the greatest season of its run. Featuring nonstop excellence, with each episode among the upper level of the show's run, Breaking Bad had possibly the greatest final season of all time. It is a shame that this show is over, but in the end it is much better that it ended on its own terms, at the top of its game, and cemented itself in the annals of television history as one of the greatest shows ever, if not THE greatest. 

2013-2014 Spearie Television Awards Nominations

I've never done television awards before since I felt as though I was always playing catchup, and only had a few shows I was truly caught up with. Now that that has changed, I felt as though it would be fun to make awards for television. Due to the differences between tv and movies the categories will be different, highlighting the most competitive categories television has to offer. So please enjoy and see whether your favorite shows got nominated, or some shows you may not have considered before.

BEST SERIES
Breaking Bad
Fargo
Game of Thrones
Hannibal
True Detective

BEST EPISODE
Mizumono-Hannibal
The Mountain and the Viper-Game of Thrones
Moving Up-Parks and Recreation
Ozymandias-Breaking Bad
The Secret Fate of All Things-True Detective

BEST ENSEMBLE CAST
Breaking Bad
Brooklyn Nine-Nine
Fargo
Game of Thrones
Parks and Recreation

BEST LEADING ACTOR
Bryan Cranston-Breaking Bad (Walter White)
Hugh Dancy-Hannibal (Will Graham)
Matthew McConaughey-True Detective (Detective Rust Cohle
Mads Mikkelsen-Hannibal (Dr. Hannibal Lecter)
Billy Bob Thorton-Fargo (Lorne Malvo

BEST LEADING ACTRESS
Lena Dunham-Girls (Hannah Horvath)
Melissa Fumero-Brooklyn Nine-Nine (Detective Amy Santiago)
Anna Gunn-Breaking Bad (Skyler White)
Amy Poehler-Parks and Recreation (Leslie Knope)
Allison Tolman-Fargo (Molly Solverson)

BEST SUPPORTING ACTOR
Andre Braugher-Brooklyn Nine-Nine (Captain Ray Holt)
Peter Dinklage-Game of Thrones (Tyrion Lannister)
Dean Norris-Breaking Bad (Hank Schrader)
Nick Offerman-Parks and Recreation (Ron Swanson)
Aaron Paul-Breaking Bad (Jesse Pinkman)

BEST SUPPORTING ACTRESS
Stephanie Beatriz-Brooklyn Nine-Nine (Detective Rosa Diaz)
Betsy Brandt-Breaking Bad (Marie Schrader)
Rashida Jones-Parks and Recreation (Ann Perkins)
Sophie Turner-Game of Thrones (Sansa Stark)
Maisie Williams-Game of Thrones (Arya Stark)

BEST GUEST ACTOR
Raul Esparza-Hannibal (Dr. Frederick Chilton)
Patton Oswalt-Brooklyn Nine-Nine (Fire Marshall Boone)
Pedro Pascal-GAme of Thrones (Oberyn Martell)
Michael Pitt-Hannibal (Mason Verger)
Andrew Rannells-Girls (Elijah Krantz)

BEST GUEST ACTRESS
Gillian Anderson-Hannibal (Dr. Beverly Du Maurier)
Becky Ann Baker-Girls (Loreen Horvath)
Gaby Hoffman-Girls (Caroline Sackler)
Diana Rigg-Game of Thrones (Olenna Tyrell)
June Squibb-Girls (Flo)

BEST DIRECTING
Breaking Bad-Ozymandias (Rian Johnson)
Breaking Bad-Felina (Vince Gilligan)
Game of Thrones-The Lion and the Rose (Alex Graves)
Hannibal-Mizumono (David Slade)
True Detective-Who Goes There (Cary Joji Fukunaga

BEST WRITING
Breaking Bad-Ozymandias (Moira Walley-Beckett)
Fargo-The Crocodile's Dilemma (Noah Hawley)
Game of Thrones-The Children (David Beniof & D.B. Weiss)
Hannibal-Mizumono (Steve Lightfoot and Bryan Fuller)
True Detective-The Secret Fate of All Things (Nic Pizzolatto)

BEST EDITING
Breaking Bad-To'hajiillee (Kelley Dixon)
Game of Thrones-The Watchers on the Wall (Katie Weiland)
Hannibal-Mukozuke (Michael Doherty)
True Detective-Who Goes There (Affonso Goncalves)
True Detective-The Secret Fate of All Things (Alex Hall)

BEST CINEMATOGRAPHY
Boardwalk Empire-Erlkonig (David Franco)
Breaking Bad-Granite State (Michael Slovis)
Fargo-Buridan's Ass (Dana Gonzalez)
Hannibal-Mizumono (James Hawkinson)
True Detective-Who Goes There (Adam Arkapaw)

BEST SOUND
Breaking Bad-Felina (Mark Cookson, Kurt Nicholas Forshager, Darryl L. Frank)
Game of Thrones-The Watchers on the Wall (Richard Dyer, Ronan Hill, Bradley C. Katona, Tim Kimmel)
House of Cards-Chapter 14 (Steve Bissinger, Lorenzo Millan, Jeremy Molod)
Sleepy Hollow-Necromancer (Jon Mete, Mike Rayle, Rickley W. Dumm, Ian Herzon, Joseph Tsai)
True Detective-Who Goes There (Mariusz Glabinski, Eliza Paley, Geoffrey Patterson)

BEST MUSIC COMPOSITION
Game of Thrones (Ramin Djawadi)
Hannibal (Brian Reitzell)
Sherlock (Michael Price)

BEST PRODUCTION DESIGN
Boardwalk Empire (Bill Groom)
Game of Thrones (Deborah Riley)
True Detective (Alex DiGerlando)

BEST COSTUME DESIGN
Boardwalk Empire (John Dunn, Lisa Padovani)
Game of Thrones (Michele Clapton)
Sherlock (Sarah Arthur)

BEST VISUAL EFFECTS
Game of Thrones (Joe Bauer)
Marvel's Agents of S.H.I.E.L.D. (Mark Kolpack
Sleepy Hollow (Jason Michael Zimmerman)

BEST ACTION SEQUENCE
Game of Thrones-The Mountain and the Viper-Oberyn Martell vs. Gregor Clegane
Game of Thrones-The Watchers on the Wall-The Battle for Castle Black
Hannibal-Kaiseki-Hannibal Lecter vs. Jack Crawford

Due to the spoilery nature of this next category I have blocked out the character names, but once you have watched the episode of the show you can highlight over the character name to see who it is.

BEST DEATH SCENE
Breaking Bad-Ozymandias-Hank Schrader
Breaking Bad-Felina-Walter White
Game of Thrones-The Lion and the Rose-Joffrey Baratheon
Game of Thrones-The Mountain and the Viper-Oberyn Martell
House of Cards-Chapter 14-Zoe Barnes

Game of Thrones season 4 review

Created by David Benioff and D.B. Weiss

Based on the series "A Song of Ice and Fire" by George R.R. Martin

If there was one word to describe the fourth season of Game of Thrones it would be "eventful." By far this season had the most big moments, with at least four episodes that could be considered to be the "big" episode of the season. As such, this was definitely the most exciting season of the series, especially for those who had not read the books and did not know what was coming. Although, this season had a few surprises for those who had read the books as well.

Those surprises may have led to a few book fans getting disappointed or frustrated with the show, if not just plain confused. Each season the showrunners move farther away from the books, but this season was especially far. While the major moments were all there, the smaller moments changed quite a bit. A lot of this is due to the fact that book three was 2/3rds of the way completed last season, with a lot of characters already done with their arcs. as such, many characters arcs had to be brought from a future book or just plain made up this season. We even got a scene that took us farther north than any of the books have as of yet.

That said, many of these changes were for the better. While it certainly felt like a distraction for the night's watch storyline, the craster's keep arc with the mutineers at least gave Bran something to do besides walk around endlessly. As well, this season gave the viewers character meetups such as Brienne and the Hound which greatly increased the dramatic weight of certain sequences.

What everybody will remember about this season were the events. The Hound's tavern brawl, Joffrey's wedding, the trial by combat, the battle at the wall, Tyrion's detour. All of these moments came interspersed throughout the season and led to it a general sense that a major, game changing moment could come at any time, not just in the 9th episode. That made this one of the most shocking and exciting season's of television ever.

What people are less likely to remember about this season are the arcs. Season 3 was brilliant in this regard. There was a real feeling that each storyline built itself to come to a narrative head in the 8th and 9th episodes. Though the early episodes had a few climaxes, it really felt like each character had their own film in which they grew and learned from their experiences, especially Jaime, who retains the greatest single-season arc in the show yet. This season had less of that. While certain events, such as the battle at the wall and the trial by combat were definitely built up, they suffer a bit from the fact that this was a season full of climaxes. There were so many game changing moments to adapt and not as much character development, as evidenced by the fact that some main characters would disappear for up to four episodes in a row at times.

That said, all of that can go out the window when one begins to talk of Tyrion Lannister. Given by far his meatiest work to date, including an impassioned speech that's very likely to result in an emmy, Dinklage kills it this season as he has never done before. His story shows him gradually coming to terms with the senselessness of the violence and death that surrounds him, and does build up beautifully to his confrontation in the finale. This was Dinklage's best season yet, and he deserves every accolade he is getting.

Also experiencing his greatest season yet was Kit Harrington's Jon Snow. Though the Night's Watch arc has not always been the most interesting, this season raised the stakes and thus made it one of the more interesting storylines. Part of this was that it really did have a huge climactic moment to build to, in the form of the battle at the wall. This battle is a massive action sequence, one with exciting, versatile action, the best of the series, as well as shocking and emotional moments. Unfortunately, though the battle itself is better, the episode falls just short of "Blackwater," the show's other battle episode, which featured better buildup and writing to accompany the action.

This season's suffering storyline, however, was that of Daenerys Targaryen. After an exciting plotline last season, which led to an Emmy nomination for Emilia Clarke, Daenerys finds herself without a true goal only halfway into the season. coupled with a first half that is not as exciting as it should be, this season was easily the weakest for the Mother of Dragons, if not also the weakest storyline of the season.

It seems every year that Game of Thrones adds a multitude of new characters, but comparatively this season did not, as there were fewer new faces and they mostly played very small roles. The exception to this is Oberyn Martell, played by Pedro Pascal. Oberyn shows up in King's Landing in the season premiere and then proceeds to steal every single scene in which he is present. Most of the credit here has to go to actor Pedro Pascal, who took an already exciting character from the books, and added a huge spark of charisma and life to him. His Oberyn is charming, mysterious, and very unpredictable, and he proves an exciting wildcard, leading up to his climactic moment that might just be the most memorable scene in a season full of them.

In the end the season's structure was what led to some strange feelings. Easily starting off the strongest of any season, the first two episodes of the season rival even some of the all-time best episodes of the show. That said, episodes 3-5 occupy a sort of weird lull which doesn't seem to progress the plot too much further, before episode 6 takes over and moves things forward again. It is a strange structure, one which is a major factor in this season falling slightly short of the last one.

Overall this was a season of change. Last season ended the primary story of the show in a brutal and horrifying fashion, creating a strange peace which wound up claiming the lives of more major characters than the war did. What this season did was transition from the first phase of the story to the second and final phase. The board is now set, and Westeros is a very different place than it was at the beginning of the season.

In the end, this season contained all of the complex politics, character dynamics, philosophy and death that viewers of Game of Thrones have come to expect. All of this doesn't even mention that they also manage to fit a murder mystery and courtroom sequence into the proceedings. Even with its flaws, and throwing book readers for a loop, this season showed that Game of Thrones is not slowing down, and is, in fact, still keeping up its pace as one of the strongest shows on television. This may not be the best season of the show, but it certainly will not deter fans in any way from continuing to watch for as long as the show is on air.

Season Grade: A-

Best Episode: The Lion and the Rose (Episode 2)
This was a tough choice, as episodes 8 and 10 were very close in quality as well. Though occurring very early in the season, this episode, featuring the wedding of king Joffrey Baratheon, was filled with all of the tension, character pairings and brilliant visuals that a Game of Thrones wedding has come to be known for. ANd the final moments of the episode are some that no viewer will ever forget.

Weakest Episode: Breaker of CHains (Episode 3)
Yup. The one with the "Is it a rape" scene? Dealing with the aftermath of the royal wedding, this was the start of the three episode period of filler. Unlike the episodes that follow it, however, this episode did not feature a surprisingly exciting action sequence or a mind-blowing revelation north of the wall. As such, it just kind of exists, an uneventful episode in the most eventful season yet.   

Hannibal Season 2 review

Created by Bryan Fuller

(Spoilers for season 1 of Hannibal follow)

Hannibal's first season showed a lot of promise, and was incredibly visually fascinating, but suffered from occasional bouts of poor writing. Season 2 fixes this problem and instead becomes one of the best shows on television. Amazing, artistic visuals mix with a storyline that doesn't waste a single scene, much less an episode, and manages to keep a very constant sense of tension throughout thirteen surprising and very violent episodes.

This season picks up right where the last one left off: Will Graham (Hugh Dancy) is in jail for Hannibal Lecter (Mads Mikkelsen)'s murders, awaiting his trial. Meanwhile, Hannibal has taken Will's position as a consultant for the FBI. After what essentially amounts to a two part season premiere the show really kicks into high gear, with episodes four through seven each feeling big enough to be the climax of the season, but instead all come together to create an incredibly memorable stretch of episodes that closes the first half of the season out on a strong note and leads into the more psychological, but equally brilliant, second half of the season.

This unique structure helps to keep the season from having to resort to filler episodes. Instead every episode either directly pushed the plot forward or contained some greater thematic purpose relating to the relationship between Will and Hannibal. In fact, most of the episodes of this season were stronger than the best episode of last season. That is just how much this show improved in its second outing. 

Of course, the heart of the show is the relationship between Will Graham and Hannibal Lecter. Both roes are played to perfection by Hugh Dancy and Mads Mikkelsen. The two have amazing chemistry with each other, and as their game of cat and mouse becomes more and more intense, the actors live up to the challenge, finding the perfect blend of friend and enemy that their relationship needs to be. The two of them made the show last season, and though the rest of the show has improved this season, their performances remain the strongest aspect of the show.

e greater thematic purpose relating to the relationship between Will and Hannibal. In fact, most of the episodes of this season were stronger than the best episode of last season. That is just how much this show improved in its second outing. 

Of course, the heart of the show is the relationship between Will Graham and Hannibal Lecter. Both roes are played to perfection by Hugh Dancy and Mads Mikkelsen. The two have amazing chemistry with each other, and as their game of cat and mouse becomes more and more intense, the actors live up to the challenge, finding the perfect blend of friend and enemy that their relationship needs to be. The two of them made the show last season, and though the rest of the show has improved this season, their performances remain the strongest aspect of the show.

cks into high gear, with episodes four through seven each feeling big enough to be the climax of the season, but instead all come together to create an incredibly memorable stretch of episodes that closes the first half of the season out on a strong note and leads into the more psychological, but equally brilliant, second half of the season.

Of course, the heart of the show is the relationship between Will Graham and Hannibal Lecter. Both roes are played to perfection by Hugh Dancy and Mads Mikkelsen. The two have amazing chemistry with each other, and as their game of cat and mouse becomes more and more intense, the actors live up to the challenge, finding the perfect blend of friend and enemy that their relationship needs to be. The two of them made the show last season, and though the rest of the show has improved this season, their performances remain the strongest aspect of the show.

The rest of the performances are still somewhat of a mixed bag. Laurence Fishbourne's Jack Crawford is an interesting character, given some true depth, but still remaining the least ambiguous character of the series, and that is meant to be a compliment. Hetienne Park shows a marked improvement this season, as her character is given something to do as opposed to simply being there. Caroline Dhavernas' Alana Bloom remains a troubled character, though, being the character most prone to poor decision making. 

The guest stars often prove to be some of the strongest performances of the show. Raul Esparza's Frederick Chilton especially proves memorable, taking a much more active role in the plot this season. Eddie Izzard, Amanda Plummer and Cynthia Nixon also prove to be quite memorable. Most memorable, though, is likely Michael Pitt as Mason Verger. A well known character in the Hannibal mythos, Verger makes his appearance in the second half of the season. From the moment of his appearance Pitt adds a strange energy that simultaneously feels off tone for the show and perfect for it. He is the yin to Hannibal's yang. Larger than life where Hannibal is subtle. The two villains play off each other perfectly, making the audience really question who to root for when it comes to these two monsters. Though perhaps not as strong as the Will/Hannibal connection, the show wisely uses this plotline to enhance tension, but knows when to leave it off and focus back  on what the show is really about.

Hannibal also remains one of the best looking shows on television. The cinematography, editing and subtle effects work make for a strange atmosphere that few shows have successfully managed to accomplish. The series truly feels like watching a nightmare at times. It is so dark and heavy, but at the same time very dreamlike, and the visuals are largely to thank for that. 

The real reason this season is such an improvement, however, is in its urgency. The season starts off with a view of things to come, an exciting sequence that portends the conflict that will end the season. From that point on there is no filler time, everything in the season is meant to hurdle the plot to the promise the first scene made. Television shows are somewhat known for wasting time, as they have to stretch out a story over many hours. However, Hannibal found a way to keep the pace and the suspense up, as well as the surprise, as the audience is kept guessing at how they get to the final endpoint. This season shows that Bryan Fuller and company are making their own way through the Hannibal  mythos, and so when it comes to this season's brilliant finale, all bets are off and anything can happen. 

Really not enough people watch this show. While it does have its fans, and thankfully received a third season order, it is still very much a cult show. Though for many it is way too dark and violent to even watch, (This season does not cut down on the gore much, and adds quite a lot in emotional intensity) For those who can stomach it, Hannibal is one of the strongest shows on television now, and the fact that it is on NBC makes that fact all the more shocking. Season 2 of Hannibal is a nonstop thrill ride, one which daring viewers will find much to reward their attention, and it all leads to one of the greatest season finales of all time. 

Grade: A

Greatest Episode: Mizumono (Episode 13)

This is what the entire season builds up to and this episode does not let those expectations down. Shocking, exciting, daring and all together brilliant, Mizumono is the culmination of the wonderful meal that Hannibal is. Perfectly tying together this past season, and building up  an amazing level of expectations for next season, this episode proves just how far this show has come.

Weakest Episode: This is very hard to pick, as there are very few weak moments this season, much less episodes. Maybe the one with the fossil exoskeleton? That one was pretty weird.

X-Men: Days of Future Past Review

Directed by Bryan Singer

Written by Simon Kinberg

The X-Men series doesn't really get enough credit. While Batman and Superman both had several films before the first X-Men film was released, in 2000 X-Men defined what a superhero film would be going forward. By moving its heroes to the real world it set the stage for a new era wherein costumed crime-fighters were consistently the top dogs at the box office. Without it, there would be no Spider-Man or even The Avengers. It's also easily the longest running superhero series to not have to resort to a true reboot, meaning that everything is canon (admittedly leading to some silly plot holes).

However, the last film in the "original" series, before spinoffs and prequels, was a disappointment. Filled with anti-climaxes and overstuffed with unnecessary characters and plots, X-Men: The Last Stand failed to satisfyingly end the series that started with the first film and was perfected with the second. As well, the spinoffs were a very mixed bag, with one being very good (First Class), one decent (The Wolverine) and one so terrible it barely counts as a movie (Origins: Wolverine). Because Days of Future Past was including members of the original cast for the first time since 2006 there was a lot of pressure on it to fix the mistakes of The Last Stand and deliver a solid conclusion while allowing for the First Class team to take over in movies going forward. In that regard, X-Men: Days of Future Past is an unequivocal success.

From the moment the original main theme appears during the opening titles it is apparent that director Bryan Singer and writer Simon Kinberg, missing since X2, have taken the series back to its best roots. Much like the best films of the franchise, this film has a grandiose scale, a feeling of importance and stakes, fully fleshed out characters and sequences that use the character's abilities in creative and unexpected ways. 

The film starts in the year 2025, as mutants are losing a war with the Sentinels, robots that can adapt to mutant powers in order to kill them and their supporters. The only way the X-Men are able to survive is through Kitty Pride (Ellen Page) who can send a person's consciousness back in time, which she does when they are attacked to warn them to leave. However, the changes aren't felt until the person wakes up, meaning that they have to conduct the changes in a limited time. Charles Xavier (Patrick Stewart) comes up with an idea to prevent the sentinels from ever being created, but it requires going decades back in time. Wolverine (Hugh Jackman) volunteers, as he is the only one who will be able to recover from the process, and he goes about uniting young Charles Xavier (James MacAvoy) and Magneto (Michael Fassbender) in order to stop this threat before it truly starts. 

X-Men: Days of Future Past is a very complex film. There are many different story threads going on at the same time. The unfortunate side effect is that a few characters and stories seem slightly underserved. However, by choosing one plotline to keep the focus on, the film avoids the common trap of having all of its stories be underserved, and delivers in spades with the main story thread, while the others support that thread well as B-plots. However, it does not follow the usual superhero formula of an A-plot in one way: there is no true villain. Usually the villain is the main plot of any superhero film, but this film has a greater ideas at work. This makes it feel less like "just another comic book movie" and more like a dramatic thriller that happens to feature characters with superpowers. And one that uses those superpowers in jaw dropping and entertaining ways. 

All of the actors outfit themselves greatly in this film. Jackman's played this part seven times so he'd really better have it down by now. MacAvoy and Fassbender are of course great, perfectly cast as the young Xavier and Magneto, both in looks and demeanor. Jennifer Lawrence outfits herself well as Mystique, given more depth than the character had in the original series. The real breakout of the film, though, has to be Evan Peters as Quicksilver. His scenes have a great energy to them and are easily the highlight of the already great film. Avengers: The Age of Ultron has a lot to live up to in terms of this character.

If there is a flaw in the film it's that there is not enough time spent in the future timeline. This is somewhat fitting, though, as this film is more about setting up the first class group while giving the original cast a fitting send-off. That said, the sequences in the future do give the truest sense of stakes. The sentinels are a terrifying and intimidating villain, one whose threat seems insurmountable. As such, these scenes convey a real sense that the characters are in danger. As well, the fact that time is being changed means that even the younger versions of these characters are in danger. Of all the films in the series, this one truly feels the most high-stakes, as the characters have the most to lose.

This film, in the end, falls just short of X2 in terms of standing in the franchise. That is not really an insult to this film, as X2 pretty much is as great as an X-men film can be. This film comes very close however. It is dramatic, exciting and a lot of fun. It sets up future films with the young cast and fixes the mistakes of The Last Stand to deliver a much more satisfying conclusion to the original series. Hopefully we see them again, as more screen time with Patrick Stewart and Ian McKellen is always great, but if not then at least this is a film that does them justice. 

Verdict: X-Men: Days of Future Past may at times have too much going on for its own good, but for any fan of the franchise that will not, and should not, deter them from seeing this movie. Days of Future Past is one of the most satisfying and entertaining movies of the franchise, truly tying all of the movies together, short of Wolverine's solo outings. It also sets the stage for a future of great X-Men films. This is a must see for anybody who enjoyed the first two films of the franchise. A-

Godzilla Review

Directed by Gareth Edwards

Written by Max Borenstein

Godzilla takes the franchise about the giant monster back to its roots, sort of. Of course, those roots do not include the use of men in large rubber suits, but instead consist of large-scale monster v. monster battles mixed with an environmental message and a less interesting human story.

The film starts in 1999, as a series of strange earthquakes rocks and destroys a Japanese power plant. 15 years later Ford Brody (Aaron Taylor Johnson), whose parents worked at that plant, returns home from a tour of duty as an IED disposal expert. Immediately upon coming home, he is forced to fly to Japan to take care of his father Joe (Bryan Cranston) who is conducting an unauthorized investigation into the earthquake. There they witness the birth of a giant monster, MUTO, and begin to realize that maybe the only thing that can stop this monster is another monster.

First of all, let's address the eighty million pound lizard in the room. Godzilla is amazing. The creature designers managed to keep his classic look, while still updating it to look cool and intimidating for a modern day audience. The effects rendering him and the other creatures are seamless. That said the creature design aside from Godzilla is not quite at the same level, but it is still strong and creates an intimidating and dangerous presence.

A lot of people have commented on the lack of screentime of the monsters in this movie. In truth, though, that is much to the film's benefit. By building the monster fight up for the entire movie it makes it so that when it does happen the audience is truly anticipating it with open arms. And the fight does live up to that, with large-scale exciting action, and even some surprises. It follows the lead of Jaws, deciding wisely that suggesting the presence of this creature is even more powerful than showing it. As well, the scale is kept largely by showing the proceedings entirely through human eyes, and by keeping Godzilla a supporting character, letting his reputation and presence show the true scale of things.

The human portion is where the story falls short a little bit. The best part of it is easily Bryan Cranston. It should come as no surprise, but Cranston's performance as Joe Brody is fantastic, conveying power, emotion and subtlety all at once. It does help that his character is easily the most interesting character anyway, but the power of Bryan Cranston's performance cannot be underestimated. Unfortunately the main character of the film is not Joe Brody but his son, Ford. Ford Brody is a generic protagonist. Army trained, with a family in the epicenter of the danger, Brody is somebody we've seen in dozens of movies and is just not that interesting. The rest of the cast fares slightly better. Ken Watanabe and Elizabeth Olsen really do try hard to elevate flat characters and are semi-successful.

I am glad Godzilla tried to have a human story, and the story does have potential, but for the amount of screen time devoted to this particular plot thread the film simply needed a more interesting protagonist. However, the way it handles the monsters more than makes up for this, as by the end of the film the stakes are truly felt, the visuals impress and the all-out monster melee has totally enraptured anybody in the audience willing to be caught up in the proceedings. It's not the greatest monster movie of all time, but its a far cry ahead of the last American Godzilla movie, and it gives hope that some sequels may even be able to perfect the formula. B+

Ranked Marvel movies

Well, Captain America: The Winter Soldier was released this weekend. I would do a normal review, but I think it will be more fun to see where The Winter Soldier winds up on the ranking of Marvel's films. For the purposes of this list, only Marvel studios films will be included. That means that Spider Man and X-men films will not be included, as they belong to other studios. However, all involved in the shared universe will be included so without further ado, here we go.

#9 

Iron Man 2

Well this was a disappointment, wasn't it? Two years after Iron Man redefined the superhero film its sequel was released, and it turned out to be an overlong film with an undercooked villain. The biggest problem, however, was the fact that the film really doesn't stand on its own. It is so tied up in setting up the shared universe that it doesn't really tell a satisfying story in its own right. Also, the final fight with Mickey Rourke's Whiplash is the definition of an anticlimax.

#8

The Incredible Hulk

Marvel sure seems to want to forget that this film ever happened. While it's certainly not great, I do think it gets somewhat of a worse rap than it deserves. Some of the action is quite entertaining, and Edward Norton is always a reliable protagonist. As well, it is certainly a better film than Ang Lee's Hulk. In the end, though, perhaps The Hulk is a character better suited to a supporting role than a lead. Unfortunately, it doesn't seem like a solo outing for the green giant will have much more of a story to tell than Hulk running from the military and eventually being forced to fight another giant monster. Perhaps someday someone will be able to give him an interesting story, but until then he should probably keep more to the sidelines.

#7

Thor: The Dark World

I was very excited for this movie when I heard that Alan Taylor, director of some of the best early Game of Thrones episodes, would be helming the film. In the end, I found the extra fantasy elements of the film to be quite entertaining. Unfortunately, the Earth elements wound up being even more grating. Rather than having one comic relief character, they added a second and turned a previously serious character into a third. While this is not bad in its own right, the comedy that these three provide is much more annoying than funny, and does not at all mesh with the rest of the film. The final fight is a disappointment as well, using a cool concept to far less than its full potential. Perhaps I am mostly disappointed because I wanted a mythological epic where Marvel wanted a superhero film. All I can say is thank god for Tom Hiddleston, as he truly saves the film's second act, making sure this was not the weakest Marvel film.

#6

Iron Man 3

Now we're getting to the good ones. Iron Man 3 showed that Marvel has largely figured out how to make a satisfying sequel. Tony Stark's internal struggles were interesting, the film's tone was light enough to be entertaining, but serious enough to feel the stakes, and the visuals have never been better. It is still held back by a few things. Marvel is not known for having great villains, and this film is one of the weaker ones. While the villain does pose a threat, his motivations and plan are very generic. I was excited when I heard that the mandarin was going to be the villain because I hoped the film would use him in a more interesting way than the first two. In the end he was slightly more entertaining than the villains of the first two, but leaves the viewer with a feeling of wasted potential. Nonetheless, Iron Man 3 has more style than either of the first two films and proves to be a solid sequel entry in the Marvel canon, if not the best example.

#5

Iron Man

I know that many of you will not agree with Iron Man being this low. In fact, a large part of the reason it is so high is that I respect the fact that it is responsible for the entire Marvel shared universe being started. However, I think when one steps away from the film the real reason for its success is Robert Downey Jr. His performance is excellent, finding the humor and pathos in the character. When you step away from that, however, Iron Man is a standard origin story with a well below average villain. I feel that it is a touch overrated, as its main strength is its lead star. However, that performance is enough for the film to be one of the stronger films of the Marvel canon.

#4

Thor

And After the most overrated Marvel film comes the one I feel is very underrated. The first Thor may have had less screen time on Asgard, but with Kenneth Branagh's direction it felt even more epic. I was impressed with the Shakespearian aspects of the plot, as the Thor/Loki dynamic was fascinating to watch. As well, though the attempts at humor do bring this film down, they are not quite as annoying as they will become. What makes this film really strong though is that it has easily the strongest villain of any Marvel film. Loki is fascinating, played brilliantly by Tom Hiddleston. Threatening, fun and having more fans than the film's hero, Loki may just be the true star of the Marvel shared universe, and I think many people forget that this is the film where he got started, and where he was at his best.

#3

The Avengers

Ok, hear me out for The Avengers not being number 1. I love The Avengers, and feel as though it is one of the more entertaining blockbusters of recent memory. However, I feel it is much more of a cool film than a good one. While that is not a criticism, as cool is much more of what it was going for when it combined six superheroes together, I does keep it back from being at the same level of the only two great films Marvel has produced. That being said, Joss Whedon's writing and direction are a perfect fit for this film. He balances all the characters very well so they have almost equal parts to play (except Thor and Hawkeye) and he fixes the character of Black Widow, showing the potential Scarlett Johansson had in the role. His dialogue is so great that many people forget that the film doesn't really have a story. Probably the most fun of Marvel's movies, and I very much look forward to the team's next outing.

#2

Captain America: The First Avenger

I guess you can tell by now that Captain America is my favorite of the Marvel superheroes. I feel as though he is the most interesting character as a person, and Chris Evans gives the most layered performance of the shared universe. His first film is easily the most heartfelt of the entire Marvel universe, and very nearly at the number one spot. What really sets this film apart, though, are the setting and the director. The WWII setting gives the filmmakers a lot to work with, and is very cool to see a superhero period piece. As well, this film is one of the only ones that truly feels like a standalone, with S.H.I.E.L.D not coming in till the last scene. As such, Joe Johnston's style really shines through in a way the other Marvel directors haven't been able to do. It feels very retro, and that's very cool to see, and makes for quite an interesting setup, and one of the best superhero films of all time.

#1

Captain America: The Winter Soldier

By far the smartest film Marvel has ever made, Captain America: The Winter Soldier is a true, exciting action thriller. The storyline, retaining the feel of 70s spy films, is as strong as anything Marvel has produced yet. As well, the entire cast is on point in this film, which truly makes S.H.I.E.L.D. important. Packed with several cool twists and great performances, Winter Soldier is easily the best film on this list when taken on its own terms. It is also notable for having by far the best action of the entire Marvel Universe. I don't know where they came from, but the Russo brothers have shown that they know how to do action very well. Containing some hard hitting intensity, actually intimidating villains and employing good use of shaky cam, Winter Soldier is the most exciting film of the entire series. Perhaps it is just the most in my head, but I truly feel as though Marvel has outdone itself with Captain America: The Winter Soldier, and have created their best film yet. I am now very much looking forward to what James Gunn will do with Guardians of the Galaxy.

Brooklyn 99 Season 1 Review

Created by Daniel J. Goor and Michael Schur

First seasons are hard, especially for comedies. Dramas can win an audience over quickly with strong story turns or a unique and engrossing atmosphere, but comedies, sitcoms especially, are based mostly around the way the ensemble interacts with one another. This often takes time, and as such a lot of these shows seem to require a degree of patience before the audience can become truly invested. It is to Brooklyn 99's great credit, then, that it does not at all feel like a show in its first season.

From two of the head writers of Parks and Recreation, this show depicts an incredibly dysfunctional police station which is thrown for a loop when a new no-nonsense captain is brought in to whip them into shape and get them acting like a team. Most thrown by this change is Jake Peralta (Andy Samberg), an immature and conceited officer with an authority problem who also happens to be a very gifted officer.

From the getgo Brooklyn 99 felt much more confident than most shows in their first season could even hope for. Featuring a talented, ethnically diverse cast, which includes an excellent and unique depiction of a homosexual character, and not shying away from the darker aspects of police work the show managed to elevate itself merely by giving it their best shot rather than following the cookie-cutter. It helps that a lot of the comedy comes more from social commentary than from easy, sophomoric humor. While it does occasionally have those moments, they are aided by the fact that most of the comedy is more thought out and comes about more genuinely.

What also helps is that most of the shows characters are played somewhat straight. While they do all have their own quirks, they show the capacity to change as the season goes on, and reveal new layers which fit with the character despite being not instantly noticeable. Andre Braugher, playing the strict Captain Holt, is an excellent lampoon of his type of character. Braugher perfectly portrays the stereotyped no-nonsense persona, but he has just as much fun with the character reveals that go against that. Beatriz instantly becomes the rough Diaz, playing off her dark tendencies with glee while infusing her with more heart than one otherwise would. Melissa Fumero's Amy Santiago is also notable as a great representation of a "normal" character who is still able to provide comedy. Joe Lo Truglio and Chelsea Peretti bring the show's silliest moments with their broader characters, and while they are far less complex than those around them, they still consistently earn laughs. Terry Crews might just be the MVP, though. He's always been the best part about whatever he's in, and one can instantly tell that this role was written specifically for him, as it fits him like a glove and makes the greatest use out of all of his talents.

Andy Samberg, however, started the show as the weak link. His character's immaturity didn't quite fit in with the smarter humor that was surrounding him, and his character was too simple to be the lead, especially compared to the complex characters surrounding him. As the season wore on, however, something changed. Jake Peralta is still recognizably the same character, but he has been allowed to grow and learn. This is weird for television and unheard of in sitcoms, where characters do not change as to keep their humor consistent, but the character is able to gradually grow and, as he does, fit in better with the rest of the ensemble.

This is not a perfect show. While the episodes do maintain a high laugh-per-minute ratio and are very consistent, there isn't really any episode that stands out. While I can't say I would give any individual episode less than a B, I also couldn't give out any As. They mostly wind up in the A-/B+ range, great and funny but not quite a classic. While its true this is a minor quibble, it also means that its a show that is never truly amazing, but is rather constantly very good. Perhaps next year it will manage to achieve that next level, but until then I can say that if you enjoy sitcoms, Brooklyn 99 is one of the better recent ones, but if you do not have time to devote to catching up on a tv show, it's not necessarily at the level where you need to make time.

Season Grade: B+

Strongest Episode: Unsolvable (Episode 21)
This was really hard to pick as the show kept a very consistent level of quality, and it is difficult to say any one episode is better than another. However, I feel that the second half of the season featured stronger interactions with the cast and it seemed as though the writers truly figured out each character, and got better at integrating the police work into the comedy. This episode, featuring Terry and Jake taking on a cold case, made the most of the character interactions, as well as featuring Terry Crews very strongly, instantly elevating the episode.

Weakest Episode: The Slump (Episode 3)
Again, very hard to pick. However strong the idea of hotshot Jake Peralta having a slump might be, perhaps episode three was a little too early to use this particular idea, and it could have been used more effectively later in the season.

Noah Review

Directed by Darren Aronofsky

Written by Darren Aronofsky & Ari Handel

With a film based on the bible religion is obviously going to play into many people's reception of the film. While that's not necessarily how I feel things should be it is nonetheless going to be a topic of conversation for many. As such, I feel like I should preface this by saying that I don't consider myself to be a religious person. I have nothing against religion, but it simply doesn't play an important role in my life. That being said, I do not think Noah requires you to follow the religion it is based on in order to enjoy it as a film, and as well I don't believe it should offend you if you do consider yourself to be religious. It is simply an adaptation of a story from the bible, and a very good one at that.

Noah tells the well known story of a man who is told by "The Creator" that the world will be destroyed and that he is responsible for saving the innocent beings, the animals, so that life can have a new chance. Russell Crowe plays the titular lead, and gives an incredibly powerful and intense performance. One really feels the weight of every decision he has to make, and it is easily Crowe's best performance since 2007's 3:10 to Yuma. Also in great form here is Jennifer Connelly, playing Noah's wife, who has a few scenes where she manages to elevate the role above that of being simply a "wife" role, especially in the film's third act. The rest of the performances are strong as well, with Logan Lerman, playing Noah's troubled son, and Ray Winstone, as the antagonist, giving especially strong performances.

When one realizes that Darren Aronofsky made this film they will no doubt be unsurprised that the visuals are amazing. The editing and cinematography are very unique and add to the film's engrossing atmosphere. As well, the score is fantastic. It feels somewhat similar to Clint Mansell's score for Aronofsky's The Fountain, but does differentiate itself, taking on a more epic, biblical feel.

The greatest thing about this film, though, is the fearlessness that went into it. Many people forget that the bible has a lot of really strange and fantastical elements to it, and Aronofsky and co. do not shy away from that even a little bit. The effects used to bring these elements to life are fantastic, and its fascinating to see how much they committed to telling this story in their own way.

This is not a film for everybody, though. As befitting a story from its source material it is an incredibly heavy story. While definitely engrossing and entertaining, many of the story elements, including the main climax, are extremely dark and intense, definitely to a point that will be uncomfortable for many. If you can handle this kind of material, however, Noah will prove to be a fully entertaining spectacle. It's one of the most beautiful films of the past several years, and the performers are all on top of their game.

It is truly mesmerizing that this film actually got made, but I'm glad it did as it is a film that fully commits to the task and scale before it, and doesn't shy away from challenging the viewer. It is also a thoughtful film. It's moral is a powerful one, but it doesn't slam the viewer over the head with it, rather posing a question and allowing them to come to their own conclusion. It is also nice to see a film with a religious basis that is open to the viewer's religion. This film neither attacks christianity nor shoves it down the throats of the audience. Aronofsky (an atheist) is simply telling one of the oldest known stories in the best way he can. Not everybody will like this movie, but I believe its a film that should be seen by everybody who can handle it. And see it while it's in theaters, as it is such a big, visual film that this is the best format in which to see it. A

The Wire Season 2 Review

Created by David Simon

The Wire did something very strange in its second season, it changed the formula. This is rare for a show with self-contained seasons, as they usually try to keep a similar tone in order to keep the fans happy. Instead, showrunner David Simon realized that they needed to make sure that their second season didn't feel like a rehash of the first season, and so they based it around a completely different aspect of criminal investigation in Baltimore.

Season 2 of the wire finds the targets of the police as being corrupt port unions. The drug dealers of season 1 are still around, but their role is far reduced, functioning much more as a side plot and finding themselves with far less screen time. As well, the police system is changed. Many of the same characters are involved here, but to much different degrees. We see some of the more prominent officers of last season very much on the sidelines, while some previously minor characters have become much more prominent. 

As such, the storyline with probably the most screen time is that of the dock workers. This was a real risk as all of these characters are brand new to the second season. This takes a while to get used to. It is hard to lose the character consistency in this season, and as such the early sections of the season feel very strange. They aren't necessarily bad, but it almost feels like an entirely different show at times.

If fans are patient with this, though, they may find themselves even more satisfied than they could ever expect. This season takes a little longer to really get going than the first did, but it's even more satisfying when it does.  This is not a show where every episode will have an exciting or shocking moment. Many episodes exist simply to put chess pieces in place. However, this patience is payed off, as the final three episodes of this season use every one of these carefully placed pieces to their fullest effects in order to deliver one of the most satisfying final acts ever to grace television. 

I cannot quite say that this season is as good as the first, and I cannot say that it is worse. It is certainly very different, and will likely give viewers, especially the more casual ones, a lot of difficulty in trying to connect to it. However, it still shows the brilliant writing and wonderful acting that the series is known for, and will easily stand up as a perfectly crafted 12 hour film. 

Season Grade: A

Best Episode: Storm Warnings (Episode 10)

Any of the final three episodes could easily be here, but I'm going to go with the one that surprised me most. The Wire is a show built off of delayed satisfaction, and this episode delivers upon that entirely. Storm Warnings takes the season's least interesting character, and in one perfectly directed and performed scene, pays off every second of his screen time, and shows that they knew what they were doing the entire time. This is a show where you really do have to simply trust that the writers know where they're going, and that even if a storyline seems weak, it's possibly going to wind up being the best that television has to offer.