The Last Ship: This is How the World Ends

Episode 2.13 A More Perfect Union
Written by: Anne Cofell Sanders
Directed by: Jack Bender
Original airdate: September 6, 2015


In the aftermath of the Ramses’ defeat, the crew try their best to get President Michener to St. Louis and to spread the cure. The propaganda war is still raging, inadvertently helped along by Jeter, who is contacted by his deceased wife’s parents. Seemingly triumphant at last, the crew celebrates, only for a new threat to emerge.

Well, this season ended with whimper rather than a bang. Sort of. There is a bang, but it seemed to be more of a last-minute revision more than anything. Chandler was strangely low-key in this, too, and seemed to have almost withdrawn into himself. Honestly, I thought he looked ill throughout most of this episode, like he could barely stand and keep it together. That just added to my sense that Chandler’s footing is precarious–the reality that life is never going to be what it was, try as they might, could be sinking in and shaking him to his core. Or, Eric Dane was ill when they filmed this.

Remnants of the cult are still running around, spreading lies and shooting Scott at the end. This made me wonder if Rhona Mitra is staying with the show or moving on. They introduced her trial plot as a really big thing, and now suddenly she’s just been pardoned by the president. It seems a shame but I guess they didn’t want to get bogged down in courtroom drama since this is a shoot shoot show. They introduced a set of new characters this season, and any one of them could be her replacement. There was the doctor from the medical ship, Wolf and the recently dear departed Bivas, the leader of the kids who seems to be hanging around on the ship, Valerie, Patrice is lurking somewhere, and now Beard’s daughter. It’s like The Last Ship 90210!

Speaking of Beard, they mentioned his daughter at the start of the season, so I knew she’d be showing up eventually. And here she is. I guess she’ll be hanging around next season. There was a nice scene between her and Scott when Tex introduces them. And, oh my god, are they really going to try for a romance triangle with Beard, Scott, and Chandler? I will only accept this if the reason for it is because of Beard and Chanderl’s growing feelings for each other, which, at this stage in their lives and given the circumstances, is just much too hard to face right now. So they express that delicious tension through a mutual attraction to Scott. Please don’t disappoint me on that, show!

I know I will be disappointed.

The one good thing about the cult plot is that it probably can extend into the third season, even without the sub and the Ramses. If it got a deep enough hold on a shattered America, and given my country’s tendency towards pockets of fundamentalism, this is a realistic scenario. It also revealed just how cut off the crew of the Nathan James have been from the rest of the world as they completed their mission. This whole cult thing grew up in a matter of months, and managed to get a working sub in just a few months as the world collapsed. Who knows what other surprises are waiting out there for the crew. It’s a big world.

I do think the deadly virus has played itself out now, since Scott has now created multiple cures. I wonder if the series will find some new twist on that, a mutation perhaps. Or if it shifts into post-apocalyptic rebuilding. Since the US Navy is vetting this show, I can see a lot more propaganda use for the later. The navy is traditional, it’s a comforting remnant of the past that could be an organizing element. It would be interesting to see how forces opposed to going back to the old ways might respond to that, since it’s a legitimate question. If they re-establish the presidency, assuming something doesn’t happen to Michener, he will need a strong military to keep the peace at home and abroad as they rebuild. Scott as the new Surgeon General, perhaps? To go along with Chandler being promoted to Commander of Naval Operations (I half expected him to end up as vice-president).

We’ll find out next summer. Overall, however, I think this season of the show was much better than last season, even if it upped the ridiculous factor in a lot of places. They moved the story forward in significant ways, while still leaving lots of room. There was some good action, some good drama, and they touched on some interesting and complex moral and social issues as well. I will look forward to this show’s return next summer.

The Last Ship: Hug it Out

Episode 2.12: Cry Havoc
Written by: Mark Malone and Nic Van Zeebroeck
Directed by: Greg Beerman
Original airdate: August 30, 2015


I am compelled to open this blog entry with a deep appreciation for the hotness that is Rhona Mitra in this episode. Sure, the tent city they stumbled their way into was meant to bring her full circle from the flashback to the death of her mother in some missionary tent in deepest, darkest Africa. Who cares about that, when she’s sporting those tight, tight pants and that tight, tight tank top looking all sweaty and intense. Yes, please! I really enjoyed that particular part of the episode. Just so I don’t get accused of too much objectifying, the scene really does bring her full circle. She gets a nice moment when she cures a little girl by giving her a hug. Cheesy as hell for sure, but I liked it. And she looked really hot doing it. I appreciated the scenes on many levels.:)

There were a lot of over-the-top elements in this episode that made it fun. I particularly liked Sean’s Home Alone scream at the end. I think Chandler may have broken in to Danny’s stash of anti-psychotic drugs and Oded. He had a wildman stare in his eyes throughout the episode, and alternated between being a guy who’d gone deep inside himself to the point where he thought he could see the bottom of the ocean to barking decisive orders. Maybe he could farsee at this point in the series, since he’s demonstrated such superior tactical intellect all along. I think the scenes were meant to showcase that, actually, Chandler’s genius at chess that allows him to anticipate and outmaneuver. It just looked like he was high as a kite. Meanwhile, Slattery finds a nice big gun and saves the day for a change. He’s come a long way from dancing in the monitor room.

Is this the end of the sub? Will the finale this week be about the Nathan James and President Michener winning back the hearts and minds of the people? Will Scott decide to stay on land, walking the earth like a really attractive Johnny Appleseed, curing the masses with hugs (I’d watch that show, btw, TNT)?  What new conflict and trial will they introduce next week for season three?

Speaking of which, will we see Scott stand trial in the season finale? For a moment in this episode I thought she was going to ask for a pardon, but to her credit she didn’t. Let the chips fall where they may on that one, I think she’s decided. Good for her.

Under the Dome: Please Don’t Squeeze the Baby

Episode 3.11 Love is a Battlefield
Written by:  Peter Calloway and Adam Stein
Directed by: Lee Rose
Original airdate:  August 27, 2015


Aw, my favorite trash television show has been cancelled! I suppose it’s not a huge surprise, since the series has devolved into acid trip territory. I’m still going to miss it for the sci-fi comedy it unintentionally became.

Speaking of comedy, I think this series may take a pop culture mantle away from the Fonz. Instead of jumping the shark, we can now squeeze the baby. I admit jumping the shark is still more colorful and nonsensical, but I’m not sure I’ve seen anything more hilarious than Julia hurrying the birth of Eva’s baby by leaning on her abdomen with her whole body trying to push it out. We will probably not see its like on television for a long while.

So the queen is born, and she literally sucks Eva dry. It’s a good thing Barbie, who gets all gooey over his daughter, can’t breastfeed, or he’d suffer the same fate. Star child. Why does it always have to have a star child. Why hasn’t anyone figured out that this is the kiss of death for your show. Writers insist on foisting pregnancy plots into their shows (because male television execs seem to think people like that), and in science fiction this is the bad end that trope leads to. And then your show gets cancelled for being stupid and nobody learns the lesson.

Aside from that, the plot continues to plod along. We have Round 4,563,409 in the Big Jim/Junior merry-go-round. That’s been the revolving door of love-hate relationships throughout the series. Christine is dying. Joe is trying to finish the device to bring down the dome. Hektor doesn’t want any of the infected townspeople to get out. Filler, filler, filler.

I think the only question left is how this is going to end. Does it end with mass suffocation of the survivors of Chester’s Mill? Or will there be an 11th hour miracle cure as the dome comes down, and the townsfolk emerge, disoriented and dewey eyed to face the world anew? There are hints of a more evil alien race on their way to earth, but that plot will now never happen, unless they swoop down and turn the earth into a charred cinder floating in space as they exterminate the parasites that destroyed their world and threaten to seed the galaxy.

Now that would be an ending.

Killjoys: Da Ratman Forgive You, Dis Time

Episode 1.10: Escape Velocity
Written by: Michelle Lovretta
Directed by: Ken Girotti
Original airdate:  August 21, 2015


Aside from John, the one thing I loved about this show was the world-building the writers of Killjoys took pains to do across the episodes of the first season. All those elements came together in the season finale, from the religious order of rebels, to the matriarchal nine families, to the RAC and Level 6 Killjoys, to the DNA bomb, to the destruction of Old Towne and reneging on the promise of upward mobility. It was all laid out in a nice, clear string (kinda like the prayer beads Aldus received in his cell) and was very satisfying to watch. I was left with the sense that the world and the stakes were big, both culturally and for the characters, which is everything you want from a season finale.

Like a lot of season finales, groups are split. Some are on Lucy, others are in the tunnels. And D’Avin, who got his stupid ass captured for going after Khlyen, is off on his own in Arkam Asylum along with Fancy (love that guy). If they make him a Level 6 I think I’ll puke; he’s insufferable enough as it is, and Lovretta has a serious fetish about pretty boys getting beaten to a pulp–it’s happened to D’Avin in practically every episode. It’s weird. I’m sure they’ll rescue him, and I’m sure something will be “wrong” with him based on whatever Khlyen is going to do to him. D’Avin bores me. He’s not a very interesting character.

John gets a lovely moment where he plays monk for the Rat People, and does it convincingly. Wonder if that’ll be some foreshadowing. And, nice guy that he is, he can’t just let the ruse go because he’s concerned for the woman he blessed who needs medical treatment. There’s just such a genuine sweetness and decency about John that I really just love. He’s not perfect, and has his moments of douchiness which D’Avin tends to bring out in him. But overall, he’s been a revelation for me, and easily my most favorite character from any new show this year. I confess when I heard Aaron Ashmore had been cast I thought he’d be bland because he has too much of that boy-next-door quality to him that is a little boring. What I didn’t know is that he was actually perfectly cast for the role, and really makes his good guy innocent aura work really well for him. Love him.

It’s tempting to say that Seyah has a thing for Dutch, but that’s probably not true. Lovretta is usually pretty good at flirty same-sex stuff while managing to keep the male-gaze aspects down, and this was more of the same. But Seyah is anything but benign about anything she does. She pretty much treats Dutch like an accessory, and ignores John all throughout the party. We eventually find out she’s behind a coup and in on some of Khlyen’s schemes to boot. There’s a lot more there, I suspect. And none of the political machinations prevented Old Towne from getting bombed, so I’m not sure what it all was for just yet.

Not really a lot of movement for Dutch in this one. We find out a little bit more about her relationship with Aldus, and she nearly gets killed by a goon at Seyah’s party before John takes him out. She basically spends the episode trying to save D’Avin, which was a little eyeroll worthy. If anything, that should’ve been John’s role, not Dutch’s. I just don’t buy their romance. Too rushed, and too forced. It was the only part of the season that fell completely flat for me. I’m just over the whole shipping dance these days, mostly because most writers do it really badly, and also because it all-too-often ends up being the main plot for female characters.

Like Dark Matter, I suspect Killjoys will get renewed, and I’m genuinely looking forward to another season of that show. I don’t love the show, and it can be a little too busy at times, but I did enjoy it. I think they did a lot with very little, and gave the characters a gritty world to inhabit and play off of, which helped to flesh it out significantly. It feels like a world with consequences for the things people do and don’t do, and I liked that. I hope this show will be back next summer.

Dark Matter: Murder on the Raza Express

Episode 1.12: Episode 12
Written by: Joseph Mallozzi
Directed by: Andy Mikita
Original airdate: August 28, 2015

Episode 1.13: Episode 13
Written by: Joseph Mallozzi and Paul Mullie
Directed by: Andy Mikita
Original airdate: August 28, 2015


Season one of Dark Matter is now done and dusted. Judging by Joe Mallozzi’s blog, a second season is likely, though hasn’t been formally announced as of yet. The season does end in such a way that it could be a series finale if it needs to be, yet still leaves plenty of doors open for more. Episode 12 was very good, and I enjoyed it a lot, despite it being the exact same general plot as Episode 11. Episode 13, however, was a letdown, and drained away any of the momentum and excitement the show had going into it. I have become so habituated to the show’s “gotcha” moments at the end of each episode that they haven’t really excited me in awhile and these episodes were no exception.

In Episode 12, we find out more about Two, though not really that much more than what we already knew. Yes, she’s an artificially created person. And, as I feared, she was created by a man named Alexander Rook who has a creepy, condescending “blow-up doll” attitude toward her, and an on-off switch for the ultimate in female objectification. This is kind of like the Android. We’re told she and Two are the most powerful crew members again and again, and we even get to see it occasionally. But they are also regularly and easily rendered non-functional when they become too much of a problem for the writers to deal with. We saw this with the Android over and over this season to the point of ridiculousness–she’s too inconvenient to actually have in the story so they knock her out with bullets or a cattle prod. And now, we have the same for Two. It just reeks of male wish fulfillment.

There are shows that engage in gender conceit as a device. Mad Men, for example, allowed us to view the sexism of the 1960s through a modern lens, and was a very conscious choice on the part of the writers. It requires a deft hand to pull off, a genuine awareness of who your characters are and the world in which they inhabit, which also has to be a space that the audience shares in and is knowledgeable about. Even though someone who did not live during the 1960s might watch Mad Men, the sexism of that bygone era is still ingrained in our culture to some extent, and is, therefore, relatable to the audience. In addition, though there are few conversations about gender roles in Mad Men, there are several plot points and confrontations between characters that speak directly to the sexism being depicted, making it a part of the narrative structure of the plot.

This is not true of Dark Matter. While the audience may be bringing its own sensibilities about gender roles to the show, the writers have provided only the vaguest sense of the universe or context, and on top of that, has stripped all of the characters of identity. We have had hints that the universe of Dark Matter is our universe, but it is also quite removed from ours at the same time, and we understand little about the culture. If anything, since Dark Matter is set in the future and in space, the writers were more obligated to provide context and world building than Mad Men’s were, and opted not to do so for some reason.

Superficially at least, the Dark Matter universe does appear to have gender roles. There is a female nurse and a male doctor in Episode 6, male casino thugs in Episode 4, a dangerous femme fatale and a ruthless male general in Episode 8, and another male doctor in Episode 12. But how far does this go? Is their world very gendered? Is it more gendered than ours? Are we to glean that it’s only The Raza men who need a lesson in gender politics, one that can only be taught to them by two artificial women and a teenage girl? Or are they merely a reflection of a sexist society? How can they be with their memories erased? We’ve now had two episodes in a row in which the men sit around saying “We’ve got to do something” while the (artificial or underaged) women go out and actually do something. But what are we supposed to take from that when there is no internal commentary from the characters themselves about it, no awareness at all that the women are taking all the physical risks while they sit by impotent? Mad Men had many key plot points about gender roles during its run. Here, gender issues seem to be imposed on the show strictly for the audience, rather than as part of the narrative structure of the series or the journey of the characters, who remain oblivious to it.

For example, if issues of feminism and sexism are so important to the writers of the show, why not have it be an explicit journey for the characters. So far, all the men have done is question every one of Two’s decisions (including her decision to take the latest job in Episode 12, you notice) and talked about their own actions during crisis. Like so many things they could do with issues of identity, why not use this conceit to examine gender roles and cultural expectations of such, to show just how much there is to be gained by stripping away those pre-conceived notions of male and female roles and behavior. What an existential journey that would be, and would speak brilliantly to the role of experience and entitlement in gender roles. Instead, we get artificial women getting things done with on/off switches for when they get to be too uppity, and no self-reflection from the men or internal context at all about any of it.

What a waste.

Anyway, I could go on about this for hours. The gender issues of the show are extremely frustrating to me, particularly since they perpetuate and reinforce very wrong ideas about feminism. The writers are suggesting that feminism occurs at the expense of men rather than in partnership with them, that empowered women can only be achieved when the men are deliberately weakened and ineffectual. It’s a terrible message to send, that does more harm than good for feminism. Add to that the underlying sexism that permeates the series that I’ve spoken about in other posts, and you end up with something maddening to watch. I’d quit, but someone needs to call it out for what it is. The emperor has no clothes.

As for the episodes themselves, I really did enjoy Episode 12. Had the season ended with that episode, with or without a cliffhanger, I’d have been hopeful about the show’s future. It had emotion, action, stakes, story, character development. Pretty much everything you want. Wil Wheaton has made a career out of playing smarmy douchebags, and he plays the same thing here. He’s found a niche for himself. Following Ennis Esmer’s performance as the villainous Wexler was unfortunate, though. They were both creeps, but Wexler was a much more interesting and well portrayed creep. I will never stop being sad that we’ll probably be seeing Alexander Rook again and not Wexler. Beyond that, every time the editing cut to the men sitting in the shuttle talking I literally yelled at the television to get back to the actual action. Because who wants to spend five minutes of the episode listening to them have the same conversation over and over again. And, I confess I felt a genuine sense of satisfaction when Two turned the bone saw back on the doctor. Yes, he was an over-the-top hateful man (who conveniently forgot that he helped create Two and so was himself responsible in part for what she’d done, but of course nobody thinks to point that out). The show’s not exactly subtle.

I loved seeing the Android get a bigger role, and back in action, because they seriously screwed that up this season. I didn’t like the Android at first, but Zoie Palmer won me over, so I dearly hope the writers figure out something to do with her in season two other than turning her off every other episode. She makes watching the show bearable. I’m sorry Red Android and her bitchface are gone, though maybe the Android can reboot her. Despite liking the character, her emotional journey seems kind of pointless, particularly when I watch her trailing around after the crew, who don’t even notice her. Even at the dinner table, the Android managed to look totally alone as she drank the wine. Her programming is indeed flawed if she really thinks any of these people are her friends. I think that was all just clumsy setup for Episode 13 and her being turned off yet again (seriously, that was some stupid shit to keep repeating, writers, and it makes your character look dumb, too. If you’re going to keep the Android around, please stop doing that.).

As for Episode 13, I thought it was terrible. People running around the ship waving guns, talking. Blah blah blah. Didn’t this happen in, like, at least three other episodes this season, too? This was their take on Ten Little Indians. I literally could not stop laughing at One and Four’s scene as they checked their section of the ship. Four was wearing his sword, and the hilt at his hip kept waving around as he walked, and I thought it was hilarious. But oh, poor Alex Mallari, please give him something to do except hang out in the gym and look stoic. I like that he was the leader before the memory wipe, please do something with that at least. His character has been the worst, this season, even worse than the Android in terms of development. I think he’s a good example of everything that’s missing from the show. We find out he’s royalty, that he’s accused of patricide. We see him with his old mentor, whom he does not remember in an episode (more walking and talking, I might add), and he kills him at the end to send a message and for self-preservation.

I’d really hoped issues of identity and memory and self-determination would play out more profoundly in this series, but that does not seem to be the case. Four decides he will reclaim his throne. But I have to ask why? He has no memory of his childhood, no memory of his family, connections to the court, or any of that. It’s literally lost to him, so why would he bother? Is he just falling back on who he is at his core? Is he doing it because he thinks that’s what’s expected of him? Other reasons? The show has to give us something about their internal thought processes from time to time. Instead, Four is like a wall.

It does look like they’re trying to set up a triangle of sorts. I had less trouble with One’s conversation with Two at the start of Episode 12 than most of their interactions. His concern was nice to see, as was her anger over finding out the truth. You could have done that, and Two’s conversation with Three in Episode 13 without any of the romance; the events of Episode 11 would’ve been sufficient for those connections to form. Speaking of Two and Three, that was just painful. No chemistry whatsoever. Neither actor looked comfortable with it, and it just came off stilted and fake. The show seems determined to rehabilitate Three as a softy, which is a shame. He’s a better character, and more useful, as an asshole. I hope they pull back on that for season two because he’s not really very much fun anymore.

Five wiped their memories and Six is the betrayer. Presumably Five wiped their memories to protect whoever Two and Four were talking about killing in the audio she recorded. I think we’re supposed to believe it was Six they were talking about, but I think it was One. It could be anyone, honestly, so it’s hard to care. While I’m at it, did Five forget about the kid dying in the storage room? She’s there long enough for Six to figure out she’s good at tech stuff, and to begin snooping. Meanwhile, he’s bleeding out, and she doesn’t seem even remember him. As for Six’s betrayal, with no ideas of motives it’s just a thing he did. He clearly made some kind of deal with the GA or someone, probably in Episode 8, and we’ll get some ad hoc explanation for it next season. So it’s hard to care or be shocked by it.

As I mentioned, I think the show will get a second season. I can’t say I loved this season (maybe that’s an understatement) as I had a lot of problems with it. I was initially interested in Mallozzi’s claim that it passed the Bechdel Test, which it does. I will give credit where credit is due in this is a start. However, the Bechdel Test, while an interesting litmus test, does not guarantee that a movie or television show will not be sexist, and Dark Matter is an example of this. Sure, the artificial women and the teenage girl all talked to each other about things other than men, but the writers kind of stacked the deck in their favor on that one, I think, with the gender imbalance they created. Beyond that, the show is rife with overt and covert sexism that detracts from whatever points they earn for passing the Bechdel Test. There is much room for improvement.

I really did want to like this show, and it pains me that I found it so bad to mediocre, with a few bright spots here and there. I’ll watch second season, but I’m not sure I’ll have the patience to blog about every episode like I did this season. It’ll depend on how things go in the first couple of episodes–first seasons can be a shakedown period for most shows, while they smooth out the edges, figure out what works and what doesn’t.

I guess we’ll all tune in next summer to see.

The Last Ship: Watership Down

Episode 2.11: Valkyrie
Written by: Stephen Kane
Directed by: Olatunde Osunsanmi
Original airdate: August 23, 2015


The Last Ship pulled back a bit from the moral dilemma of the previous episodes, for a more action-packed episode. The crew discovers that Ramsey is using an oil rig in the Gulf of Mexico as a broadcasting platform, and seek to do the same or destroy it. While Danny and Tex struggle to help survivors of the destruction of New Orleans, Chandler and a team storms the oil rig. Tragedy abounds as the crew of the Nathan James lose several of their own, and suffer other casualties.

Foster got more face time here since the opener. She’s still pregnant, and there’s a nice moment with her and Scott, when Foster goes seeking a checkup. We don’t get to see much female-bonding in this series since it’s obviously meant for male audiences, so I doubly appreciated that we got the scene. Foster thanking Scott in light of last week was also very pointed. Scott was relentless and saved the world. This would not have happened without her, and Foster as much as said so. It makes me wonder where her criminal plot is going, because she and Chandler also seem to have an uneasy understanding by the end of the episode as well. I predict they’ll set up the finale for a major one-on-one confrontation between Chandler and Ramsey, and Chandler will have to decide whether or not to just kill him or take him in and make him stand trial. It’ll be interesting to see what the show does.

Michener makes a trite speech that Slattery dubs the speech of a lifetime. I’m still trying to figure Michener out. He seemed less dodgy in this episode than previous ones. But, I can’t help but remember he was the one who sent them to New Orleans in the first place, because he said that’s where Sean was taking him. But we also find out in this episode that the people there aren’t infected. So did Sean set up Michener with this info with the possibility that he’d get caught and tell the Nathan James where to find him? What were Ramsey’s plans for New Orleans? Was that why he wanted the infected teddy bears, so he could kill off the non-immunes there and use it as a base of operations? Ramsey has people all over, so I wasn’t bothered by someone rigging up the explosions but wouldn’t something like that take awhile to do? I guess Ramsey is the type to make plans, and several layers of contingency plans.

Interesting side note: So it’s only been six months since the series started. I thought it was longer.

Aw damn, they killed off Bivas. I really liked her. Her flirting with Burk was cringeworthy, but she was an otherwise fun character, and it was nice having a competent female out in the field. But I guess they’re replacing her with Valerie. I bet she’s Rhona Mitra’s replacement, actually. I still say Scott’s story is coming to an end–she’ll get a Presidential Pardon and stay at some port they land at at the end of the season. Valerie is another civilian woman who is super smart. Even though Granderson seems to be the comm officer she’ll be like Doctor Baldy, just kind of there in the background to show how much better Valerie is at the job. There was something really off in the way Chandler interacted with her, though. Mocking her about conspiracy theories seemed strange under the circumstances–I know if it were me I ‘d very much suspect the military accidentally released a weaponized virus and caused all this. Information was probably hard to come by, so that didn’t really sit well with me when he was trying to get her on his side. I guess she had to be made to look a little stupid, I suppose, so she could “wake up” but he end of the episode after seeing the “real navy.” This is where the show gets really eyeroll worthy sometimes. And then when he was complimenting her, the way Dane delivered the lines, it was like Chandler either didn’t really buy it, or was just being really bad at blowing smoke up her ass. It was very strange.

I also got a strange vibe from Ramsey’s brother. I hope he’s beginning to realize just how batshit crazy and dangerous his brother is. But I think it’s more he just hates his brother and is looking for an opportunity to take him out so he can take over. Ramsey’s manifesto will actually probably be interesting, and reviewed carefully by Chandler and his crew when they get their hands on it. The fact that he even wrote one is to remind us he might be a good strategist, but even people who are crazy as a loon can be smart. Neither one cancels the other out.

For now it looks like Michener is legit, and I didn’t expect them to make him a double agent anyway, though it’s still possible. The propaganda war is actually the most interesting part of this, and Ramsey did make a mistake in naming Michener and vowing to rescue him. If and when Michener’s message gets out from the Nathan James (because it will), Ramsey is going to be in the position now of having to denounce the President he just vowed to rescue. It’s easy enough to do, and then claim the leadership mantle for himself by claiming he found to Michener was in on it, too, with the military. But propaganda wars don’t make for big action sequences, so I expect that to play out as a backdrop mostly. Still, I like it.

Two more episodes left in the season and I have to say this has been a pretty good season. The show has a lot of flaws, but it’s ended up being really solid. Even though it’s a recruitment poster for the U.S. Navy, I think they’ve managed to introduce some complex moral storylines, even if not all of them get played out in full. Chandler is still a boy scout, but circumstances are slowly changing him, and I like to think he’s in his annoying pre-teen rigid years in his development. The world has changed; he has to change with it, at least to some extent. He can’t will it to be the way it was or the way he wants to be. I don’t know if that’s the character arc they’re going with for him (I suspect not), but it would be fascinating to watch if they did.

Under the Dome: Eating for Two

Episode 3.10: Legacy
Written by:  Alexandra McNally and Andres Fischer-Centeno
Directed by: Dennie Gordon
Original airdate:  August 20, 2015


Here’s what happens in this episode. Julia and Barbie talk and exchange I love you’s. Eva eats a barnful of handmaidens to hurry the queen’s gestation along. Eric La Salle shows up with a cure for the townsfolk’s Kinship disease and to threaten Big Jim. Barbie kind of sort of pretends not to be in his right mind. Joe decides to build Christine’s machine to save the folks of Chester’s Mill, and Norrie shoots someone in the head. What’s weird is that with all this stuff happening, the only thing that seemed to have any consequences was Eva’s voracious appetite for virginal handmaidens in white. It was pretty much a placeholder because we’ve got to get the season to 13 episodes.

Not much really to say about it, other than that. The baby’s fast development was a given. As was Julia having questions about Barbie after he goes back to save the baby. He does still seem off, but it’s hard to know with this show anymore since it’s gone so completely off the rails. It isn’t worth predicting where the show is going. If this is the last season, the dome’ll come down; otherwise I predict something Joe does actually fixes the calcification. The real question will be whether this awful alien possession plot will be dragged on for another season, or whether Christine will be conveniently killed off for the new queen at the end of her contract this season.