24 is an American crime thriller television series produced for the Fox network, created by Joel Surnow and Robert Cochran, and starring Kiefer Sutherland as counter. When Calls the Heart, Heart of a Fighter Recap – Season Four Finale Packs Roller-Coaster Emotions. This final season trudged along while. Oh wait, scratch that — there were still 12 hours left in the "day"! The big draw for the. Small, odd show; small, odd finish. Or maybe it was a big show. Apple Tree Yard's shocking third episode has fans itching for series finale.
John Donovan Has to Face Up to His Wife’s Evil Misdeeds. POTUS wannabe John Donovan (Jimmy Smits) is trying desperately to align various plots in order to save his kidnapped wife, Rebecca (Miranda Otto), but in tonight’s 2. Legacy season finale, Rebecca’s partner in crime warns him that her survival might not be in her — or her husband’s — best interest. Director of National Intelligence Donald Simms (James Moses Black) had previously told John that Rebecca was his co- conspirator in the kidnapping of terrorist Asim Naseri’s young daughter, a dangerous plot carried out in an attempt to blackmail Naseri. Donovan had already witnessed what his wife — the former CTU director — was capable of when she had his elderly father, Henry (Gerald Mc. Raney), tortured for information. Despite that, and the fact that he seems to also believe Simms is telling the truth about Naseri’s daughter, Donovan persists in trying to force Simms to help him save Rebecca.“Once this gets out, she’ll wish she was dead,” Simms tells Donovan. And you know what you’re left with? Rebecca Ingram, war criminal.”The 2. Legacy Season 1 finale airs April 1. Watch clips and full episodes of 2. Legacy on Yahoo View. Read More from Yahoo TV. Marlene King Previews Her New Hollywood Cinderella Story. And the two- hour finale only drove home how the program squandered its assets, with the end coming two years and many dozens (if not hundreds) of killings too late. Initially promising with the casting of Kevin Bacon and James Purefoy, “The Following” overstayed its welcome, a victim of lazy writing and a decidedly grim streak that treated human life cavalierly even by the standards of primetime crime shows. That included borrowing repeatedly from movies (from “Psycho” to “The Fugitive”), while the life expectancy of FBI agents who weren’t series regulars was shorter than the red- shirted crewmen on “Star Trek.”See More: Fox Cancels Kevin Bacon Thriller . But modest first- season success necessitated new wrinkles, unleashing several rival sets of psychopaths to sustain the program through seasons two and three. The third season, in a very tired device, actually had Ryan begin to go a bit crazy himself, fouling up its one true moment of grace, when Joe was finally executed. After that, Joe appeared to him in visions, which as much as anything seemed to be happening because Purefoy is a compelling presence and, hey, he was already on payroll. As for the finale (and SPOILER ALERT if you haven’t watched), Ryan engaged in a series of encounters with the incredibly resourceful serial killer Theo (Michael Ealy), who remained dangerous even after putting a bullet in his head. Their tumble into the falls allowed Ryan – resigned to his fate – to essentially wipe the slate clean, recognizing that he was doomed forever to be denied the comforts of home, much like his spiritual predecessor Jack Bauer, who suffered mightily to keep the rest of us safe and secure. In a display of the program’s nasty streak, those final hours put both children and a pregnant woman in jeopardy, while revealing another traitorous FBI agent, working on behalf of a shadowy organization that Ryan will apparently devote himself to tracking down. Their onscreen representative was played by “The Americans’” Annet Mahendru, who – given “The Following’s” history – delivered the night’s funniest line when she said, “I hate torture.”The shame of it is that Bacon brought a grizzled charisma to the part, and there were solid supporting players, including his sort- of partner played by Shawn Ashmore, who suffered every bit as much as Ryan did. By contrast, this season largely wasted the addition of Zuleikha Robinson as Ryan’s love interest, and his niece Max (Jessica Stroup) too often felt like a note from the network – a strong female character to offset all the testosterone being thrown around. Frankly, “The Following” only earned a third season by a hair, and its obituary was written when Fox enjoyed success with “Empire” and “Gotham,” reducing its need for another drama of marginal appeal. Bacon comes away from the experience unscathed, other than adding a TV dimension to that “six degrees of” game involving his inordinately busy film career. The series, though, is merely another reminder – especially with TV’s newfound fondness for limited series – that not every handsome pilot is built to last. And all “The Following” leaves behind is a trail of dead bodies that led to a dead end. Bates Motel Series Finale Review - Today's News: Our Take(Warning: Spoilers for the series finale of Bates Motel past this point!)Bates Motel ended its five- season run Monday night, bringing the story of excitable boy Norman Bates (Freddie Highmore) and his overprotective, deceased mother Norma (Vera Farmiga) to a suitably tragic and elegant close. With finale . But there's also Dylan's act of emotional cruelty against his wife Emma (Olivia Cooke), who's suffered as much as anyone with with Calhoun- Massett- Bates blood, when he tells her . Even the good guy on this show is broken. But as has always been the case with Bates Motel, the emotional moments hit harder than the violent ones, thanks to Farmiga and Highmore's performances and co- creators Carlton Cuse and Kerry Ehrin's script. Norman's dying vision of running into his mother's arms in the forest, in which some shots he was a little boy, hit the right, complex note of how though their love caused so much death and destruction, it was genuine. It was sick and unnatural that they were the only people for each other, but they were their own world of two nonetheless. Freddie Highmore, Bates Motel. Thieriot got the finale's summary speech. He comes to the motel at his missing- person brother's invitation and sees his mother's body dressed up and seated at the dining room table, which makes him throw up. He tells Norman that he has to turn himself in and start getting the help he needs. Norman resists. I want you to be happy and I want you to be well. I want Mom to be alive again. I want you guys to meet my daughter. I want to have Christmases together, okay? I want all of these things to have never happened. And though a lot of it, like Norma's history of abuse and Norman's mental illness, wasn't their fault and they were dealt a bad hand, they still did things that made any hope of a happy life impossible. The scenes earlier in the episode that cut between Norman's memories of Norma's excitement at the prospect of starting over in White Pine Bay and the hopeless, bloody present previewed that painful conclusion. The end wasn't all bleak, though. A flash- forward set to Doris Day's . The music cue is a little trite, but the montage was an effective coda to the series. Freddie Highmore and Vera Farmiga, Bates Motel. Bates Motel premiered in March 2. Netflix's House of Cards started the Peak TV era, and it remains one of the defining shows of the content- deluged era we're living in. At the time, it was sort of a surprise - - an original scripted series on a network better known for its reality programming with A- list talent in front of the camera (Farmiga was just a few years removed from an Oscar nomination for Up In the Air) and behind it (Carlton Cuse was the co- showrunner for Lost and Kerry Ehrin wrote for Friday Night Lights). It was based on a well- established franchise (Alfred Hitchcock's Psycho) that was being updated for a modern audience while trying to hook viewers through name recognition. Now it feels like every channel and streaming platform has at least one attempt at a prestige- y show, and the seemingly endless supply of reboots, revivals and reimaginings shows no sign of running out. But no other show in its class of mid- level reboots has been as successful as Bates Motel. It's maintained a high level of quality throughout its run and used its source material in creative and surprising ways, both of which can be seen in Season 5's terrific Rihanna- as- Marion- Crane arc. It's a master class on how to breathe new life into an old franchise and how to respect source material without being beholden to it. At the same time, it's been never at the center of the conversation. Farmiga got an Emmy nomination for the first season, but that was it (it did win a handful of People's Choice Awards in January, evidence of how dedicated its fans are). It never got the ratings of an AMC show or the critical attention of an FX show. It's always been overshadowed by bigger, buzzier, more audacious shows. It's a quintessential . There's so much good TV that it's easy to overlook smaller, reliable genre shows like Bates Motel. And it's not a knock on Bates Motel to say that it doesn't need anyone to say .
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