Sarah Connor: The Good Wound
This week, on The Sarah Connor Chronicles …
RECAP DETAILS AHEAD (don’t read if you haven’t watched it yet) …
Tag: t-1001
Sarah Connor: Goodbye To That
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.”
Sarah Connor: Samson and Delilah
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.