Watch Monk S04E 12 1
Genny is on the brink of death as doctors try to stabilise him. In Naples, Ciro and Salvatore Conte and their respective allies are negotiating for the division of the spoils left by Don Pietro. The division of the market squares is unanimously accepted as a master plan among the old members of the Savastano clan, and by Conte's men. The police investigate the shooting in the concert hall, and believe Ciro Di Marzio was responsible. Ciro hires a similar-looking man to confess to the police as being responsible for the shooting and go to jail on his behalf. Ciro reassures his wife Deborah that they can resume normal life. Deborah can no longer stand to be around her husband's criminal actions and continues to feel in constant danger. Deborah decides to take their child and return to take refuge in the previous hideout. Ciro joins her and confronts her: a furious dispute breaks out between the two. Deborah escapes the watch of her husband's men and is about to enter a police station, but before entering she reconsiders. Ciro tries to talk with his wife once again, taking her out to dinner. Deborah shows no signs of calming down, and at the end of a furious quarrel Ciro kills her on a beach and simulates a criminal execution, burning her body in a car.
Watch Monk S04E 12 1
The jury subplot heavily parodies the classic film 12 Angry Men. These include a single initial "not guilty" vote and the same type of blade used to commit both crimes. Many jurors are parallels of those in 12 Angry Men, including Patel (David Ackert) and Juror #11 (George Voskovec), who are immigrants proud to be in America; Mr. Cobb (Wings Hauser) and Juror #3 (Lee J. Cobb), who are each antagonists and the last to vote "not guilty" (interestingly, both the Monk character and the 12 Angry Men actor are both named Mr. Cobb); the sports fan juror (Kevin Bernsten) and Juror #7 (Jack Warden), who both make various baseball references; and Monk analogues Juror #8 (Henry Fonda), the lone initial "not guilty" votes. Additionally, the panning shot of the jury room was inspired by an identical shot toward the end of 12 Angry Men. Wolk wrote that the writing team watched the films 12 Angry Men and Jury Duty over the course of production.
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I just watched the start of the episode.They beam down, and find the obelisk.They then discuss the native inhabitants and how much time they have to divert the asteroid which will hit the planet.Kirk wants to explore with the 30 minutes they have before they need to leave.Then Kirk takes a stroll up onto the obelisk and gets trapped.
I think with SNW some people just expected bigger stakes upfront. And to be honest, every live action show first episode started with pretty weighty stuff. Discovery started off with a war! So some people expected stuff like that I guess. For me, this was better. It just brought me back to watching a comfortable episode of TNG or TOS on any given week. And I know the bigger stuff will come in time.
My one small objection was that the first couple of minutes made the Enterprise look like a toxic workplace (hazing, Spock berating Uhura for being honest about whether Starfleet was for her). That was probably because when I sat down to watch it on Thursday, I had a massive internet outage about ten minutes into the episode. They resolved these plot points adequately.
I dozed off on SNW, but woke up for when Mount ordered the ship down into plain view. Mount seems to make speechy line readings sound natural and convincing without evoking other captains, which is a really fine trick. Will try watching it straight through with my wife as soon as i finish my TOP GUN article this weekend.
Yep I thought of Hoshi too! In fact I just happened to rewatch Fight or Flight a few days ago and ironically it was the second episode of Enterprise focused on Hoshi in a very similar (but more deadly) situation. And Hoshi was really the only true linguist communication officer in Star Trek until Uhura in the Kelvin movies.
When the blind coachman asks Ragnar how he plans to escape, I suspect many viewers were asking the same question. When Ragnar replied that he had no intention of escape, I suspect many people were just as baffled as the coachman. (Speaking of the coachman, the vision Ragnar has where he becomes the Seer is really quite powerful. The Seer admitting that perhaps he was wrong is something I need to think about more after rewatching. I know it's important, I'm just not sure why.)
Then again, how could a TV show pass up such a dramatic end to such an iconic figure? A pit of vipers is a fitting enough way for Ragnar to perish, though the entire scene of his torture---the English soldiers beat and burned him; Aelle branded Ragnar before cutting a cross into his forehead---was hard to watch.
Interestingly, King Ecbert, disguised as a monk, showed up for the execution to watch his old friend die. Friend is probably not the right word. Ecbert and Ragnar respected one another, but while Ecbert may have loved Ragnar in some strange, twisted way, we learn that Ragnar felt quite differently. Far from instructing Ivar to seek vengeance against Aelle, he directs his son to attack Ecbert. Of course, there's no reason the sons of Ragnar Lothbrok can't direct their ire in more than one direction.
(If you haven't seen The Last Kingdom yet, you really need to go watch its first season ASAP; season 2 of the show is now being co-produced and will air on Netflix. It details a different time in this same, broad story, with Alfred a grown man and the Viking invasion fully underway, with many of the northern kingdoms fallen to Viking invaders.)
Think you know how to love? Think again! For the first time, best-selling author, purpose coach and former monk Jay Shetty is revealing his highly anticipated rules of love. Carefully crafted after years of research, Jay explains his critical steps for finding love, building trust, healing from heartbreak, fighting with your partner and breaking up gracefully. Get ready for life-changing wisdom from one of the most respected and sought-after thought leaders.
Alice Nevers: Season 1 premieres in the US and Canada on Tuesday, January 3, exclusively on MHz Choice and its digital channels, including MHz Choice on Amazon. (You can add it to your watchlist now.)
I'll have to view a rerun to fully digest and come to terms with what happened to those kids. Meanwhile:How do you wiretap a crew that doesn't use phones at all and only meets in well-guarded public places? Laser mics?Remember the "The Conversation", especially the long opening scene in the park? I'm a total layperson, except for some working knowledge of audio equipment, but using multiple shotgun mikes sounds quite plausible to me. There's also the option of wiretapping the area beforehand and post-processing the audio to remove the sound from the boom boxes. Herc's idea of using a camera and a lip reader wasn't that bad either, except that it would have to be done more competently. I don't know how realistic it is for a lip reader to precisely transcribe the dialog -- I was giggling when I first saw that because it reminded me of a Seinfeld episode. I'm sure the FBI will have the appropriate equipment and expertise to deal with this situation. If the MCU started to make use of their (or rather McNulty's) FBI contacts, they could certainly make some progress as far as getting the equipment is concerned.Unrelated question: What exactly did Omar pull off here? Here's my current understanding of what happened: Omar got Prop Joe to tell him when he would deliver a package to Marlo, then followed Cheese to find out the location of the warehouse where Prop Joe got his shipment from the Greeks. When the shipment was on its way, Prop Joe called Marlo and also called Omar. Instead of robbing Marlo, as expected, Omar instead held up Prop Joe's warehouse. Does that sum it up correctly? I'll have to watch the episode again to remind myself who Omar was following when he got the call from Prop Joe.
I have to say that I disagree about the Dukie comments -- he's my favorite of the four (though I love them all). He reminds me of kids I went to school with, and it's been so lovely to watch his small smiles and quiet dignity amidst such total wreckage. When I watch this show I have to remind myself, "It's only a show, it's only a show," but then I remember that even if this Dukie (and Ryan and Michael and Namon) isn't real, each represents thousands of kids who are very real. I love this show so much. It's compelling and gripping and vitally relevant, not to mention smart & amazingly scripted, acted and produced. To the creative powers that be who work on this show, Thank You. And to HBO for airing it (and funding it) I thank you too. And now I have to cry myself to sleep.
Eromitlab- great link on that article. After reading it, I'm once again impressed with how the creators have been able to paint a picture of what life is like for many people in West Baltimore. I kept picturing the Pit from season 1 when reading this. I wish I could be more eloquent about it, but last episode, much like the final episodes of seasons 1 and 2, just leaves me feeling hopeless, shocked and a bit sad. Wallace was hard to watch, but what happened to Randy was heartbreaking. Hopefully Michael looks out for Dookie in some way, or Prez can get Daniels or Lester to step in and try to save him from being put in a foster home, which Randy told us is awful. If The Wire was a normal TV show, each adult figure would have grabbed onto one of the kids (Cutty/michael, prez/dookie, namond/bunny, and now Carver/randy). clearly thats not happening.Also, it seemed like the group dynamic changed a lot from the start of the season until now. At first, the 4 boys seemed like a crew. now it seems michael is close with each boy, but until last night, it was michael/randy/dookie and namond was seperate. maybe thats because namond started dealing. lastly, how badly did michael beat keonard? 041b061a72