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Showtime’s Summer Dramedy Hour is back: Weeds and Episodes premiere, part 1

10 Jul

Weeds Season 8 Promo Poster

I always like to wait a bit before I judge. I’ve spent time mulling over both of Showtime’s summer Dramedies:  Weeds and Episodes.  While Episodes can be thought of as an understated comedy that satirically examines the television industry, from concept of a series to its premiere, Weeds can be seen as a black comedy that looks at everything in the most pessimistic possible light.  It isn’t completely clear why Showtime decided to give Weeds one final season to wrap everything up since the end of Season 7 was satisfying in a Botwinesque way:  Nancy (Mary-Louise Parker) gets shot and will she survive?  Sometimes it is better to leave an open ending.  American audiences hate open endings though.  They want closure.  In reality, closure is rarely something anyone gets to experience and that is most likely why the American television audience craves knowing a clear outcome. This is usually to the detriment of the storytelling process.  I hope it won’t be true for the final season of Weeds.

Shane (Alexander Gould) dealing with the neighbors after Nancy’s shooting.

In the Season 8 premiere of Weeds, “Messy,” we pick up right where we left off at the end of last season:  with Nancy having just been shot.  In the head.  Ironically this happened in her seemingly safe suburban mansion, in Old Sandwich, CT.  The title, “Messy,” comes from one of my favorite scenes of the episode, when two exceedingly old neighbors climb on ladders to snoop over the fence and see what happened at the Baldwin compound.  If Jenji Kohan got one thing right in this episode, it was the obnoxious behavior of the elderly wealthy residents of Connecticut.  I’m sure there are some very nice elderly people in Connecticut but my personal experience was almost the same while I lived in the uh, nutmeg state – I would sometimes find my landlords standing at the window staring inside trying to eavesdrop. I was brought back to that creepy experience as I watched the busybody neighbors from Old Sandwich comment on the “messy” lives of the Baldwins.  Connecticut hates messy.  Ironic that it is safer to walk around East Harlem than parts of New Haven and Bridgeport, but who am I to judge?  A disgruntled Californian, I guess.

I had pretty much given up on Weeds by the end of last season.  In fact, the only reason I watched it was because I was living in East Harlem at the time, and I could relate to Nancy’s plight of the halfway house, as I was job hunting and staying at a former friends’ condo (yes former, a story which I am sure I can relate to another cable show’s episode considering my life is surely as messy as any fictional characters’), when Weeds aired last year.  And as that bullet rang out at the end of last season, I thought it was a fitting and somewhat sophisticated way to end the series.  I will admit I was highly skeptical when I discovered there was going to be a final season of the series.

But I digress.  We quickly join Silas (Hunter Parrish) and Nancy in the ambulance witnessing Nancy make sexual references to the paramedic in front of her son while shot in the head, bleeding and possibly near death.  And that is the last we hear from her in the episode since she is put into a medically induced coma.  This episode is about Nancy’s family and friend’s reactions to her – tragedy.  Shane (Alexander Gould) at once becomes a predator and a cop, trying to chase down the gunman and then investigate the crime since he is secretly enrolled in the NYPD police academy.  I won’t reveal the shooter’s identity specifically, only to say, it is a former step-child of Nancy’s.  Someone I didn’t even remember existed and a bit disappointing for the triggerman.

Doug (Kevin Nealon) is inappropriate as always, hiding under the table after Nancy is shot (I secretly don’t blame him) and then later feeling her up while she is in a medically induced coma.  Very bad form, even for Doug.

Nancy’s sister, Jill (Jennifer Jason Leigh), inappropriately has sex with Andy (Justin Kirk) in the hospital room next to the bed where Nancy slumbers in her coma. Andy later has a conversation with a Rabbi in the hospital cafeteria.  Very Andy-esque.  Finally, Jill’s evil twin demon daughters post a picture of Nancy online after she has been shot.

Nancy’s (Mary-Louise Parker) shooter returns to her hospital room.

Nancy’s shooter comes back to the hospital to either finish the job he started or muse on his feelings about attempted murder.  Either way, he is interrupted by Nancy’s roommate’s daughter who has been walking in on inappropriate activities throughout the episode.  Nancy must sense danger as she seems to go into cardiac distress as the episode ends.

Will Nancy die? I doubt it.  Only nice people die young.  Evil people live to ripe old ages.  As my father said about one of my mother’s aunts, she was so mean, even the cancer couldn’t stand being in her.  I kind of see Nancy in the same light, though I still enjoy watching her mess up everyone’s life.

And if you think things are screwed up for the Botwins, they are not that much better for Beverly and Sean in Episodes which I will be happy to discuss in my next installment…

ABC’s Missing: soapy anger and violence

12 Apr

I decided to reserve judgment on ABC’s Missing.  Not because I didn’t like the pilot, I did.  It was slick, compelling and full of clichés, yes, but still, I didn’t get distracted or want to turn it off.  No I was drawn into the screwed up world of Becca Winstone  (Ashley Judd).  Who was this woman?  Why did someone blow up her husband, Paul Winstone (Sean Bean) in Vienna?  Why did her son, Michael (Nick Eversman) get kidnapped in Rome?  Most importantly, when she encounters her first bad guy, how the hell did she learn how to fight like that?  And she only had a clothes hanger for her initial weapon.  We also discover that housewife Becca Winstone isn’t actually a housewife, she’s a retired CIA operative and apparently had a hot affair with Interpol stud, Giancarlo Rossi (Adriano Giannini) and it seems that CIA Paris guy, Dax Miller (Cliff Curtis) has a soft spot for her as well.  They help her throughout the series, when they are not getting in her way.  Strangely, she does get passed between them for the sake of the plot, creating a love triangle without any sex (so far), but it still manages to work.

Gregory Poirier (Creator and Executive Producer) explains how the show got made, “This episode was never conceived as a stand-alone pilot. We already knew we had 10 episodes ordered when we wrote it, which gave us a lot more freedom. “ Poirier and his team were able to get the financing for the 10 episode order by explaining to ABC that it was cost-prohibitive to go shoot the pilot in Prague, then wait and go back and start over again if the show got picked up.  Instead he mapped out the entire 10 episodes for ABC and they green-lighted the project.

This approach allows the show a more organic feel.  The pilot was written knowing how it would be integrated into the next episode, which is usually not the case.  Sure, when pilots are pitched there is a series bible and a proposal about how the season should play out, what the character arc will be and the big plot points but things can change drastically between the shooting of a pilot, its subsequent pickup and the shooting of the rest of a television season.

The first three episodes of the show, the pilot, “Hard Drive” and “Ice Queen” flow seamlessly into each other.  We follow Becca as she bargains with heads of international government organizations, battles bad guys in gun battles and hand to hand combat.  She gets shot, falls into the Seine and still comes out alive.  And she seems to be able to drive anything with a motor.  Expertly.  Between Revenge and Missing, I’m beginning to like ABC’s drama again.  Yes, it is slick soapy drama but it is also network television.  And there is just something cathartic for me watching Ashley Judd kick someone’s ass every week.  She might be a pacifist but I’m not.

Missing airs on ABC, Thursdays at 8/7central

For streaming episodes, click here.

Hell on Wheels: Episode 2 “Immoral Mathematics” review

19 Nov

The Swede: a sadistic accountant

I don’t know exactly what AMC was thinking with that pilot which I still think trudged along with cliches laden throughout the narrative; however, I was pleasantly surprised with the second episode of the Hell on Wheels. It’s what I expected in the first place. And it is why I tend to give a show a second chance even if I hate the pilot. Last year, I liked the USA pilot for Fairly Legal. No it wasn’t earth-shattering television but I thought it was – cute. And honestly, sometimes cute is all I need with a television show. Then with expectations set high, I tuned in for the second episode and wondered if all the executives at USA had smoked loads of crack because what I was watching was not the same show. They had somehow ruined the good, happy, feeling and made it some miserable power struggle with a few half-lighthearted moments. I stopped watching by episode 5.

I’m the first one to admit I don’t give a rat’s ass about railroads or trains.  So I am not the audience for this show.  But I have a theory:  if a show is well written and you make compelling characters, it can make almost any subject bearable.  And that happened for me in this episode.  Finally, some of the characters are beginning to show – character.  Cullen Bohannan (Anson Mount) must prove he is more than just a good shot in a confessional booth.  He gets brought in for questioning regarding the murder of his former boss in the pilot episode.  Will he cover for Elam (played by rapper Common) or will he betray him?  To make this drama more compelling, the man who has Bohannan brought in for questionning is a new, twisted character, The Swede (Christopher Heyerdahl) who shackles Bohannan in an empty railcar until he confesses to murder or hangs him without the confession, whichever comes first.  What is clear is that Bohannan is going to die in this episode if he doesn’t take drastic action, take control of his life, and stop reacting to his wife’s death.  This episode represents the moment a character realizes it is up to him to change his life and control it or he will lose it.

SPOILER ALERT: Bohannan and The Swede have an intimate conversation regarding what made The Swede (actually A Norwegian), a sadistic torturer.  He was once an accountant.  No. That isn’t the explanation but if you have ever worked with anti-social accountants who aren’t people persons and there are many out there, believe me, then you might see an underlying similar personality. It was when he became a prisoner of war that he discovered killing people for his survival was not only necessary but on some level, pleasurable.  Of course, the pleasurable part is implied but it hangs in the air of the railcar while Bohannan realizes if he doesn’t not escape, he will become a statistic on The Swede’s balance sheet of “immoral mathematics” – hence the title of the episode.

Not only does Bohannan escape but he confronts Durant (Colm Meaney) and talks himself into his former boss’s job, winning his freedom from The Swede’s persecution.  At least temporarily.  Because once you’ve made an enemy with someone like The Swede, that problem usually doesn’t fix itself.  In the meantime, Durant has his hands full.  He’s worried about the missing surveyor’s maps that Lily (Dominique McElligott) escaped with.  He puts out a reward.  And he also manipulates the news story to make the Indians somehow look worse which I would have thought was almost impossible after the pilot episode.

Finally, Lily is on the run.  Well, ok on the hobble because she can’t move very fast.  After all, her husband was murdered in front of her (come on if the Indians didn’t get him that stupid cough would have killed him in a couple of months – at least he went out with a bang this way).  We also cannot forget that she was shot with an arrow but managed to extract it from her shoulder and murder the Indian who killed her husband.  I have some high hopes for Lily being a kick ass bitch.  They were a bit let down this episode though.  Yes, that scene where she has to sew up her wound was impressive and made me want to vomit, I’ll give the writers that.  But I feel like you can’t have it both ways.  She’s tough when she needs to be and vulnerable when it serves the narrative.  She ends up being rescued by the only ‘civilized Indian’ in the area, Joseph Black Moon (Eddie Spears).  I’m taking bets on how long it will take for those two to hook up and really cause some problems in the Hell on Wheels settlement camp.

Hell on Wheels: AMC’s newest drama entry

14 Nov

Anson Mount as Cullen Bohannan

I suppose I should begin this by saying: I don’t like shows that have to do with the Civil War or history of the Civil War. I find them mind-numbingly dull most of the time.  In fact, I’m really not a huge history buff at all.  I guess that is because after being forced to take an historiography class (for anyone that hasn’t had to go through an advanced degree program in liberal arts, historiography is the study of history, actually the history of how history is written).  Through this course, you get to examine how history is written, why it is written, whose point of view it is written in, whose voice is left out, and finally asking yourself, what does that mean?  Is any history really true or is it merely those individual’s opinions who managed to get their voices heard?  That is why primary research (finding documents such as birth certificates, hospital and military records, police reports, government studies and correspondence, telegrams, etc.) is so important to support any one historian’s theories;  however, if you think about it, anything can be falsified and although all of history isn’t a big lie, I would be glad to argue that a large part of history is written with a slanted perspective depending on who the author of any given subject is.  That is why I am honestly not a fan of watching historical shows on television.  That and honestly, war bores the shit out of me.  It is such a man’s game.  Although, I will admit to learning how to play Call of Duty and immensely enjoying blowing people’s heads off, I just feel like there are many instances in history that if testosterone would have been in a more limited supply maybe cooler heads would have prevailed.  Who knows.  I just don’t get excited thinking about battle movements.

What does all of this talk have to do with AMC’s newest show Hell on Wheels?  Well, in my mind, everything.  We follow a former confederate solider, Cullen Bohannan (what the hell kind of name is that?  I spent the entire episode not knowing what his name was until I was forced to look it up), on a journey of vengeance for his wife’s murder.  I am not quite clear if this took place during the war or right after it, but I’m assuming it happened while Cullen was fighting.  And by the end of the pilot, it seems fairly clear that his wife was gang raped and murdered by a group of Union soldiers.  So, here I am, realizing that I get to listen to history whether I like it or not.  And the problem is, that it doesn’t feel organic.  I feel like I’m getting my history shoved down my throat by AMC original programming.

I would argue a better way to show us history, is to create a character living in a specific time and not forcing us to listen to bits and pieces of what went on like school reports to give the viewer background.  Either make it happen organically, or forget it.  For example, I thought I was going to HATE the HBO show Carnivale.  Because I hate the circus.  Don’t ask me why.  It’s irrational.  It’s just that everything seems so seedy in the circus I find it depressing.  However, I ended up loving this show and was greatly disappointed when HBO cancelled it:  still a stupid decision HBO people.  Shame on you!  What I loved about this show is that the writers expertly wove in everything you needed to know about the Depression through the characters and the narrative.  Never once in my viewing of that show did I ever feel like the writers took a time out from the action to explain something that had gone on in the Depression that we needed to understand to get the story.

In Hell on Wheels, the way it is set up, they cannot help but do this jerky narrative technique.  At least they could give us flashbacks to learn about the Civil War.  Oh would that be too expensive?   You should have thought about that in the first place AMC.  Furthermore, the writers are using terms to show they have learned the lingo from that time (case in point, calling a knife an Arkansas toothpick), and while they think it is coming off as clever, I’m thinking, ok you guys, anybody can do a little research and learn this crap.  Stop trying to be clever and start telling a story I can follow.  And when I say that, I mean this backstory about what happened in the past that is informing the present.  Again, showing it is so much better than talking about it.  You learn that, literally, in Screenwriting 101.  The mantra “Show it” is shoved down your throat so much that if you can’t learn that basic idea, then I’m concerned about your overall ability to learn then convey ideas in an entertaining way.

In this pilot episode, I believe the principles of writing for television and film have been violated just like the wife of Cullen Bohannan (Anson Mount, who by the way, does do a good job).  I don’t think I have ever seen quite so many cliches in a television show since the 1980s.  Case in point, Thomas Durant (Colm Meaney) who is responsible for financing the building of the Union Pacific railroad line might be the biggest cliche I’ve seen since… honestly, I can’t come up with a bigger cliche right now.  It’s not that the character isn’t well-acted, it’s that the character as it is written is one that we’ve seen a million times before.  Ruthless business man who will lie, cheat, steal and physically harm anyone who gets in the way of his growing empire of wealth.  Great.  I get it, but give his character a bit more depth.  Give him something.  Even a personality quirk that at least makes him interesting to watch.

And… the way the Indians are portrayed is no better than watching a 1930s western.  Or The Searchers.   I realize this is a drama for television but come on, there are two sides to every story.  And I just happen to be driving across the country when I saw this pilot and here I am driving through Oklahoma and entering so many reservation territories and I was struck by the way the attack on the railroad workers camp was shown.  It is definitely a brutally violent heartless attack and you automatically are forced to identify with the white man unless you are some sociopath who enjoys scalping people because let me just say, I sure as hell did not enjoy watching someone scalped alive.  But yes, I get it.  That shit happened.  But I also thought about it as I was driving along I-40 and thought, if it were me and I had been an Indian and all these assholes just showed up on my land and decided to take it, wouldn’t I be just as violent and brutal?  And my answer was yes.  That is how they lived and that is how they were going to respond.  And were the white people so stupid that they would not have employed far more guards, etc. with guns at these camps, realizing the danger they were in?  If all those idiot men could engage in great battle movements, didn’t they have the common sense to realize they needed some preventive measures?

I haven’t even touched on the politics between the “irony” that Cullen is a former slave owner and he’s put in charge of a crew of former slaves working on the railroad.  But he is an enlightened slave owner.  He gave his slaves their freedom a year before the Civil War broke out and paid them wages, and did not have sex with any of the women.  I was ready for Cullen to say that he also listened to “All Things Considered” and “Morning Becomes Eclectic” on NPR because obviously Cullen is just a good guy.  He fought in the Civil War because of pride and honor.  That did a lot of good for his wife.  So, now we must watch, if we choose to, Cullen go on his rampage because he choose the country and ideals over the woman he loved.  A noble choice?  I say that is a masculine choice that causes all this shit to happen in the first place.  And I just wasted an hour of my time watching a guy feel sorry for himself.  He got paid to do that.  Nobody paid me a cent to sit through that.  I suppose I will watch one more episode to see if this gets any better or just sucks.

It’s official: Weeds gets renewed for an 8th season

11 Nov

My heart essentially dropped when I read that Showtime went ahead and renewed Weeds.  Again.  At one time, it was one of my favorite shows, but once Nancy (Mary-Louise Parker) burned down the house and fled Agrestic, the show felt done.  When the Botwins and friends turned up in Ren Mar, it felt wrong.  It wasn’t the same show any more.  The whole point of Weeds was that we were watching the life of a soccer mom evolve into a drug dealer.  By the time she burned down Agrestic, well, she’d turned into a drug dealer. Goal accomplished.  Where do we go from there?

There are really two answers to that question.  One is let the show finish gracefully, and let the fans come up with their own fate for Nancy.  She could go down in TV history as a drug dealing mom who also is an arsonist among other things.  The other answer is unfortunately the more practical one if you are a Cable network who wants to turn a profit:  you shouldn’t care if a show turns to shit, you still want to churn it out cash for the bottom line so let’s ruin the strong character we created and let’s destroy the show.  For money.  And in Hollywood, you’re lucky if you get any sort of art since the bottom line is always about profit.

I slugged through life in Ren Mar half-heartedly.  It was no longer the same show I knew and loved.  Once Nancy hooked up with the drug kingpin I wondered if it would turn around.  Uh, no.  The only redeeming thing for me was when Shane (Alexander Gould) murdered Pilar (Kate del Castillo).  It was one of those moments I didn’t see coming and I thought, “Wow.  I just had to watch an entire season of this show for one great moment.  Maybe it will pick up next season.”  That was a gross mis-judgement on my part and when my now historically least favorite Weeds season (that is season 6 for any hard core fans) started, I saw it was going to crash and burn.  In fact, I had to stop watching by episode 5.  It wasn’t until Season 7 was about to start that I gave Weeds one last chance, for old times’ sake.  I sucked it up, watched the rest of Season 6 and prepared for the worst.  Strangely, I pretty much enjoyed Season 7.  Now, it wasn’t near the greatness of the first two seasons of the show but it felt as if Jenji Kohan and company had sat down and reflected on what made Nancy Botwin, well,  Nancy Botwin.

What initially made Weeds such as great show was taking an ordinary person and putting her in extraordinary circumstances and watching her struggle to survive.  What ruined this show was forgetting who Nancy was for, uh, about four seasons and just writing plots and forgetting that it wasn’t the drug thing alone that made the show what it was.  It was Nancy swimming with sharks while never quite becoming one, keeping a bit of humanity inside her somewhere, and somehow triumphing.  I realize characters need to evolve and grow.  But Nancy never felt that she organically evolved after she left Agrestic.  She reacted.  Nobody likes a reactor.  Then the character is ruled by plot.  Not their personality.  Nancy was ruled by plot for 4 seasons and the show floundered.  Yes, it still might have gotten good ratings but its watchability, at least in my opinion, took a nose-dive.  This season (7), Nancy was back to being proactive and the show felt different.  Not quite like it did, especially when teeny bopper queen Michelle Trachtenberg shows up as a spoiled drug dealer.  That’s when the show ended up having a nasty power struggle that I don’t feel paid off:  it became a question of what’s stronger?  Nancy as a character determining the show’s outcome, or the plot.  It felt like a stalemate.

I’ve got to admit (SPOILER ALERT) that as I watched the last scene of this season, I felt that it was the right time to end Weeds.  And what better way?  Does Nancy get shot?  I like to think she does.  Does she die?  I kind of think so.  Because you see, Nancy stopped struggling and in Nancy’s world, that really is death.  She needs to live for the next fix of drama.  So, sure, Jenji Kohan can now take her next 13 episodes and do with them what she may.  I hope it is something mind-blowing, not mind-numbing.  And… if Nancy does survive the gun shot, who does get killed?  Someone needs to die.  Maybe one of her children?  Now that might be interesting but I’m talking about an entirely different show.  How would Nancy survive the death of one of her kids?  Would she go out for revenge?  Again, not Weeds.  If Doug or Jill die, then that’s sort of a cop out.  So… what are they going to do?  Honestly, I’m not sure I care any more.  I would have rather seen Nancy go down in a hail of bullets.  An anti-heroine who could go down with some great criminals.  In my mind, there is nothing worse than going down in history as a Connecticut home owner (I lived in Connecticut for two years so I can attest to this).  How boring can you get?  If that’s how her life turned out, then Showtime and Jenji Kohan, I’d like my money back.  And my time.

Sons of Anarchy: Brick Episode Review

9 Nov

Karma.  It will get you every time.  And right now, karma is coming after Clay (Ron Perlman) and Gemma (Katey Sagal).

SPOILER ALERT:

If you have been wondering for years exactly what happened to John Teller and if Clay and/or Gemma was responsible, the good news is:  it looks like we are in the process of finding out this season.  Actually we do find out that Clay killed John Teller.  We don’t have all the details quite yet but we know Gemma obviously knew this and that Wayne (Dayton Callie) helped cover it up, although he did it because Clay lied to him about his motives.  It turns out that Clay is a ruthless, self-serving bastard that doesn’t care so much about the club or anyone else, he cares only about his hunger for power and control.  Yes, he also cares about Gemma.  That’s about it.  It’s essentially like watching a Shakespearian tragedy play out in a motorcycle club.

It is closest to Hamlet.  Especially since the central bones of the narrative is about Jax (Charlie Hunnam) butting heads with Clay at every turn, negotiating his life with his over-bearing mother, Gemma, and, at least in the first three seasons, it was about Jax finding his place in the club, and in the family.  Also, growing up enough to have a somewhat mature relationship with Tara (Maggie Siff), his high school sweetheart and the only female strong enough to stand up to Gemma, mostly.  Anyone who has had an overbearing insane crazy mother-in-law with a strange attachment to her son (that would be most mothers I’ve met in my lifetime) will understand that a prospective daughter-in-law can only stand up to her future mother-in-law to a point.  Then she must play her and allow her to believe she is an ally (which is what Tara was doing until Gemma’s discovery of the letters this season).

Now Tara has become a central player in the power struggle between Jax, Clay and Gemma.  She has been forced to enter into the politics of the motorcycle club in order to maintain her status quo in the family and in turn, hoping to use Piney’s (William Lucking) hatred of drug dealing and loyalty to the memory of John Teller, not to mention his strong idealism regarding the founding doctrines of the club.  Of course, Tara has been exposed because no matter how clever she is, she isn’t quite as cunning as Clay and Gemma:  two individuals who might be less educated than Tara but far more street smart.  In this episode we don’t see much of Tara but we learn that Clay has plans to eliminate her if he can get his hands on the letters she’s hiding.  Gemma tries to take a kinder tactic reminding him that she’s with Jax and she’s the mother of their grandchild.

We also learn a bit more about Wayne.  His ultimate loyalty is with Clay, most probably due to their shared guilt of covering up the murder of John Teller but he is secretly in love with Gemma.  He will do almost anything to stay in her favor but will betray her in order to still stay loyal to Clay.  Watching the game of musical letters this week and the lies that were told between Gemma, Clay and Wayne were some of the most interesting scenes in the episode.

Juice (Theo Rossi) has his own drama playing out.  Potter (Ray McKinnon) sends down the order that Juice must get a sample of the cocaine they are trafficking.  He almost gets caught and has to hide the kilo and smuggle it out of the room it is hidden in.  He falls asleep before he can return it and as the episode ends and the Sons are doing a count, everyone realizes a kilo is missing.  It’s guaranteed someone will die next episode.  At least Tara can’t be blamed for that mess.

Ringer: “The Poor Kids Do It Everyday” Episode 6 Review

22 Oct

SPOILER ALERT:
Things aren’t looking so hot for Gemma (Tara Summers). She’s disappeared and in the opening of this week’s episode, Henry (Kristoffer Polaha) feverishly cleans all the blood off the walls and the broken pottery off the floor. Then he ditches her car at the JFK long term parking lot.  Yes, he looks guilty.  Later, he and Bridget as Siobhan “talk” more than once (he even breaks into her house with a key she gave him) and he swears he covered everything up to protect her since he believes she did something to Gemma.  Bridget manages to get Henry to tell her where he got rid of the rags he used for the cleanup then promptly reports him to the police and plants her own thumb print on the pottery, to detract any suspicion from Siobhan.  Not sure how well this well work for Bridget if they actually decide to fingerprint Siobhan for any reason in the near future.

Juliet (Zoey Deutch) starts going to public school and people don’t like her because she’s rich.  A mean girl gets into a fight with her and young teacher, Mr. Carpenter (Jason DohringLogan Echolls from Veronica Mars) intercedes on her behalf to keep her from getting expelled her first day.  It looks like somebody is going to be hot for teacher by the end of this season.  Juliet also causes a personal crisis for Bridget when she surrenders her stash to her voluntarily.  Poor Bridget must call new hot sponsor, Charlie (Billy Miller) to help her through her, um, cravings.  He does.  Get your mind out of the gutter, he throws the stash away, problem solved.  For now.

Agent Machado (Nestor Carbonell) gets a search warrant for the strip club belonging to evil murderer mob guy and they don’t find Malcolm (Mike Colter), who has been mysteriously moved from his prison in the basement.  They don’t seem to kill him though because in previews, he appears to be alive.

Finally, we see a shot of Siobhan in Paris receiving a phone call that Gemma has been taken care of.  You’ve got to wonder who Siobhan has on her hit list for next week…

 

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