Kate (mskatej) wrote,
Kate
mskatej

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Prison Break, 3.01: Orientación

Sigh.

Was the writing in Prison Break always this terrible? I'm actually embarrassed.

All of the dialogue--no really, all of it--was expositional. I was watching it, actively thinking, in every scene, "please stop explaining everything to me. You are not remotely subtle. You do not need the characters to tell the audience what's going on. IT IS FUCKING OBVIOUS." Even if I'd never seen the show before I would have felt insulted. I do not remember it being like that before.

Seriously. Every conversation. From Michael telling Lincoln: "She's important to me." Short pause. "I can't live without SARAH. I LOVE SARAH." To: "YOU KILLED MY FATHER I HATE YOU." To: "No man leaves here alive." To: "They've got Sarah and my son, and now we all need you to escape from this prison some time before next week, which should take you, oh, about the space of several exciting episodes."

HELLO DUH. We FUCKING KNOW.

We have eyes and brains and memories and knowledge of how network television works. ARGH. (I hate it when shows disrepect established fans and in turn, insult the intelligence of new viewers.)

I actually might have enjoyed this episode if it hadn't been for the cringe-worthy script, because while the plot may be standard fare it's got some promise. Everyone loves a prison break after all!

Is there a plus side for me? *ponders*

Michael is still beautiful and Wentworth is still a remarkably soulful actor, and he's got chemistry galore with William Fichtner (although I'm already bored with Michael acting like he's too good to be Mahone's friend. If Michael's such a saint, he should just forgive him, right?).
Tags: tv: prison break
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