[BHOLE] WATCH MONSTERS UNIVERSITY ONLINE FREE [DOWNLOAD 2013 PUTLOCKER] Jamie Wilson-Taylor and Jessica Spray are engaging, and their script is clever. They lull you into thinking the story is going along clichéd routes before subverting it, and produce a few big laughs along the way. There are musical jokes, although possibly they could go further with that aspect by exploring leitmotifs, and the show's incidental music. The only big let-down though is the ending, which is very pat and somewhat jarring with what's gone before. It doesn't fit with the characters, or make any comment about Doctor Who or musical theatre. It's a shame because the set up suggests something interesting, and it just doesn't deliver that.
Despite this, overall I Need a Doctor is a lot of fun. Self-aware, ambitious, imaginatively [BHOLE] WATCH MONSTERS UNIVERSITY ONLINE FREE [DOWNLOAD 2013 PUTLOCKER] staged and accessible, it's still at the point where it would benefit from further development. Hopefully by the end of their Fringe run they'll have plenty more ideas to work with. In the meantime, it's a fun and undemanding hour, pin-pointing the intersection on the Venn diagram of Doctor Who, Alan Partridge, and the power of musical theatre.
When James Gandolfini left the party back in June, several of his obituarists noted that his success had ushered in an era in which the antihero was the dominant figure in TV drama. In all honesty, the ‘lead baddie’ was nothing new – J.R. Ewing was the biggest TV star of the 1980s while in the 1990s, Andy Sipowicz typified the sort of TV character who you’d only have in your home if he was kept safely on the other side of the screen. Nevertheless, in the little more than a decade since Tony Soprano rocked onto our TVs we’ve seen a cavalcade of guys, Vic Mackey, Al Swearengen, Dexter Morgan, Don [BHOLE] WATCH MONSTERS UNIVERSITY ONLINE FREE [DOWNLOAD 2013 PUTLOCKER] Draper, Walter White, whom we love in spite of ourselves. Their morals may not meet with our approval, but we sure like to see them go about their nefarious business from week to week.
The makers of Ray Donovan have clearly aimed at the same angle. There are bad deeds a plenty and many a bad dude to do them. So why does it feel so different? Well, it’s fairly simple. If we’re to like the bad guy, he’s got to be likeable. If his particular brand of nastiness makes straight likeability a stretch, then good old fashioned charisma can easily fill the gap. Sadly for Ray Donovan, both likeability and charisma are in desperately short supply. There is no reason to care about any of the characters and I’d find myself indifferent to whether or not they succeed, even if I was given any information on what it is they’re trying to succeed at. As it is, it’s just unpleasant people doing unpleasant things to unpleasant people.
Take Ray. He’s still as laconic as ever, which is fine in itself, but he still hasn’t done or [BHOLE] WATCH MONSTERS UNIVERSITY ONLINE FREE [DOWNLOAD 2013 PUTLOCKER] said anything to makes us care about him, let alone to justify his eponymity. He needs to open up a little if we’re ever going to get to know him, understand his motivations and perhaps even root for him. We can’t do any of those things while he remains so inscrutable, and clumsy dream sequences are a poor substitute for characterisation, especially when they are as hideous as the one that opened this episode. I’m all for characters being enigmatic, but Ray barely qualifies as a cypher. He’s not even useful as a vehicle through whom we can enjoy the seedy L.A. milieu he inhabits, largely because his fellow characters are at best inert and at worst, just ghastly.
Mickey, who is so nakedly an attempt at cutting a magnificent bastard from whole cloth, has too much bastard and not enough magnificence. We hear him describing, and comparing, the moments of his sons’ respective conceptions. We learn that his ex-[BHOLE] WATCH MONSTERS UNIVERSITY ONLINE FREE [DOWNLOAD 2013 PUTLOCKER] partner, and the mother of his youngest son, has preserved his Cadillac and his big ol’ boot of booty porn. (In her new husband’s house? For twenty years?) It tells us nothing that we don’t already know. Yeah, Mickey is a horrid little scumbag. We gathered that at first sight. We’re just having our faces rubbed in it now. We’re four episodes in and the script is still stuck in Establishing Character Mode, but unfortunately finding us too many new reasons to be disgusted by him and too few to like him.