“No one’s a good guy.”
Thus does our hero Miles Matheson (Billy Burke) sum up the current state of mankind in the final minutes of tonight’s new Revolution episode, “The Song Remains the Same” (another Led Zeppelin song title, for annotation fans). If the power is restored for one and all, to oppressors and oppressed alike, who’s to say the warring factions of the country formerly known as America would set aside their differences and reunite for the good of mankind? If adversity wasn’t enough to inspire peaceful cooperation, why should we expect the restoration of power access to be any less divisive?
It’s a question worth asking, in light of the surprise revelation about the true nature of Ben and Rachel Matheson’s secret invention responsible for the worldwide blackout. Bets were won and high-fives were exchanged for any viewers who guessed that the correct answer is…
…insert drumroll here….
…redundant pause for tension effect…
…one last pause for no good reason…
Tonight’s new episode of Revolution, “Ghosts”, divides its time between two primary threads, each about former partnerships torn asunder but looking for common ground to reunite, and finding it in the form of evil armed henchmen. Nothing mends fences like common foes.
In the wake of recent conflicting headlines regarding the revolving-door employment status of its longtime participants, ABC’s The View announced a new initiative to move forward into a bold new era by hiring Internet sensation 
We saw the White House blow up in Independence Day. We saw it blow up again in 2012. As I type this it’s being blown up yet again in theaters in Olympus Has Fallen. Add your own memories here of the White House’s repetitive history of exploding again and again and again at the movies, whether at the hands of terrorists, invaders, or bad weather.
Tonight on Revolution: EXPLOSIONS! GUNFIRE! MAJOR DEATH! BAZOOKAS! PUNCHING! Behold the end results of a three-month retooling hiatus.
As unimpressed as I was with the trailer, The Croods turned out to be an unexpected delight, with a sincere message for parents who want to protect their children from the world, but struggle with the knowledge that someday that job won’t be theirs anymore. (Says the nervous guy counting down the days until his son begins college.)
As of this weekend, I can now say I’ve seen every full-length motion picture directed to date by Christoper Nolan. In December 2012 his debut, Following, earned a Criterion Collection re-release. Shot in 1998 in 16mm black-and-white, it was minimally restored for this edition, with the original aspect ratio and much of the old-media grittiness retained for historical verisimilitude. Its seventy speedy minutes contain an amateur no-star cast (as well as crowds of unwitting “extras” captured on the fly) and were shot for just five thousand dollars, a bargain compared to other self-financed B&W debut films from the same decade (e.g., Kevin Smith’s Clerks, Robert Rodriguez’ El Mariachi). With such budgetary constraints and no established names involved in the creative process, a casual browser would expect Following to feel like a young-adult vanity project fit only for YouTube.
As much as I contemplated bowing out 
Midlife Crisis Crossover! 