“You’re in a desert, walking along in the sand, when all of the sudden you look down, and you see a tortoise. It’s crawling toward you. You reach down, you flip the tortoise over on its back. The tortoise lays on its back, its belly baking in the hot sun, beating its legs trying to turn itself over, but it can’t, not without your help. But you’re not helping. Why is that?”
Do you remember where you heard that?
RECAP DETAILS AHEAD (don’t read if you haven’t watched it yet) …
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Yeah, I know, I’m VERY late posting about this past week’s show. I’ll keep it brief …
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This week’s episode of The Sarah Connor Chronicles was definitely lighter on the physical activity, and heavier on the psychological activity. Not so coincidentally, most of it centers around Dr. Boyd Sherman, one of the names from the blood wall, who is a child/family psychologist who used to work primarily with war veterans. The Connors set out to protect him, and they do. Yet somehow they never quite figure out why he’s so important to Skynet. But we do.
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According to Variety.com …
“Terminator is far from being terminated.”
Apparently, FOX ordered the “back nine” episodes of the Sarah Connor Chronicles late on Friday, filling out the full second season order. This, despite the fact that the ratings haven’t been great so far this season.
No reason has been given for the pick up yet, but it may have something to do with a desire to cross-market with the pending Christian Bale Terminator movie. Or the critical attention the series has received this season. Or the fact that Dodge doesn’t want to lose its advertising vehicle (pun intended).
Whatever the reason, I’m happy!
In this week’s episode of The Sarah Connor Chronicles, we get what is essentially a very traditional Terminator storyline. Nothing too complicated: A cyborg travels back in time, its mission to kill somebody who is crucial to the human anti-Skynet resistance movement. The twist in this case is that for once, it’s not John Connor, or even Sarah, but instead somebody named Martin Bedell, one of John’s best soldiers/tacticians in the future.
And so the race begins to see who will find him first, the Connor Crew or the determined T-888 which, as we all know from past experience, cannot be bargained with or reasoned with and (say it with me) “will not stop until you are dead.”
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This week’s episode of The Sarah Connor Chronicles was a HUGE improvement over last week. Mainly because it relied so much on the acting chops of Summer Glau, who — let’s face it — plays everybody’s favorite character on the show. One of the main reasons I didn’t like last week’s episode is because Cameron was largely sidelined throughout it. It’s a strange thing to say, because she’s a cyborg, but I’m beginning to see that Cameron — not the Connors — is really the heart of this series.
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Okay, so the title of this week’s episode of The Sarah Connor Chronicles is “Mousetrap”. And about 15 minutes into the episode, you already understand why. And then a few minutes after that, Cromartie point blank gives you the history of the mousetrap, and how it can’t really be improved upon. Which is probably true. It’s not really possible to build a mousetrap that’s much better than the original. But, as Wile E. Coyote has proven time and time again, it is possible to build a more COMPLICATED mousetrap … which may or may not work.
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In this episode of The Sarah Connor Chronicles, we learn that the bully from A Christmas Story, Scut Farkus (played by Zack Ward), went on to channel his rage into becoming an anti-Skynet resistance fighter. He travels back in time to warn the Connors that Ralphie is actually a terminator, and that by no means should T-Ralphie be allowed to get its hands on a prototype Red Ryder Carbine Action BB Gun. Unfortunately, as Scut is dying from a gunshot wound to the chest at Sarah Connor’s feet, he realizes that the time travel bubble was about 60 years off. So to save face, with his last dying breath, he tells the Connors, “Stop Greenway, Serrano Point, Two Days”.
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So The Sarah Connor Chronicles is back for a new season. And I have to say that I, for one, was not disappointed. Everything picked up exactly where last season’s finale left off — from the clever plot to the urgent tone to the fantastic use of spiritual music and slow motion to build an exciting opening scene. Here’s what FOX has to say about the music:
“The song is an original arrangement of a gospel spiritual called ‘Samson and Delilah,’ composed by the Rev. Gary Davis. The track is performed by Shirley Manson and arranged and produced by Bear McCreary … specifically … to fit the episode’s opening sequence.” For those who don’t realize, Bear McCreary is the composer for Battlestar Galactica, and has been the genius behind everything from that show’s opening credits to the adaptation of “All Along the Watchtower” used in the Season 3 finale. So I’m thrilled to hear that he’ll be scoring this show.
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