The team looks forward as they mourn the loss of a coworker.The team looks forward as they mourn the loss of a coworker.The team looks forward as they mourn the loss of a coworker.
Rootie J. Boyd
- Ticket Taker
- (as Rootie Boyd)
Frank Cermak Jr.
- Luke
- (as Frank Cermak)
Storyline
Did you know
- TriviaKiefer Sutherland's name is mentioned in this episode in connection with the series finale of 24. The previous episode saw Sutherland's daughter, Sarah Sutherland, feature on the show, playing the part of Mary, the college student who Charlie wanted Don to do an interview with.
- Goofs(at around 34 mins) There is a laptop with a YouTube video titled "Schumacher Breaks Record", but the F1 cars in the video are the Ferrari of Nigel Mansell and Alain Prost, and the McLaren of Ayrton Senna from the 1990 season. At that time Michael Shumacher wasn't racing in F1 yet.
- Quotes
Will McAvoy: Charlie Skinner was crazy. He identified with Don Quixote - an old man with dementia who thought he could save the world from an epidemic of incivility simply by acting like a knight. His religion was decency. He spent a lifetime fighting it's enemies. I wish he could be here to learn the name of his successor like I just did - our new boss, the new president of ACN is MacKenzie McHale. So this fight is just getting started because he taught the rest of us to be crazy too... You were a man, Charlie... A great big man.
- Crazy creditsSilent end credits.
- ConnectionsFeatured in The 67th Primetime Emmy Awards (2015)
Featured review
Sorkin's swan song is really a writing clinic
One's fantasies are not merely a function of one's upbringing and temperament, but also one's age.
My current fantasy (will kindly spare you the earlier versions) would be to see Sorkin and Moffat co-write something. Each is arguably among the best writers of our generation, if not actually THE best. To see them work together would be something.
This episode hit all the right notes but lacked the emotional punch of episode 5 because, to match that, Sorkin would ACTUALLY HAVE TO COME TO YOUR HOME AND WALLOP YOU IN PERSON.
Oddly, it reminded me of the EMBER ISLAND episode of THE LAST AIRBENDER, an animated series which (justifiably) had aspirations far above its station. In that 'sode, one of the best of the series, the writers took a timeout to have the main characters attend a local play where their own story (ie, the story of the main characters, their legend) was being acted out on stage by amateurs.
In the time of Shakespeare, that device was a "play within a play" and the extensive use of flashbacks here (made possible by modern tech) achieves essentially the same effect.
If you are fan of the series (probably the only reason you would be reading this, methinks) then the effect is mesmerizing. You watch these snippets and you realize that Sorkin and his team IN BARELY THREE SHORT (very short!) seasons have made these characters feel like family.
Your family.
You will hear a lot of fans tell you a lot of reasons why this episode is brilliant (or not brilliant, as the case may be) but I humbly suggest that the real power of this one lies is its ability to remind the viewer, to bring to the surface, to underscore, how potent, how powerful, this production has been.
And it has.
My current fantasy (will kindly spare you the earlier versions) would be to see Sorkin and Moffat co-write something. Each is arguably among the best writers of our generation, if not actually THE best. To see them work together would be something.
This episode hit all the right notes but lacked the emotional punch of episode 5 because, to match that, Sorkin would ACTUALLY HAVE TO COME TO YOUR HOME AND WALLOP YOU IN PERSON.
Oddly, it reminded me of the EMBER ISLAND episode of THE LAST AIRBENDER, an animated series which (justifiably) had aspirations far above its station. In that 'sode, one of the best of the series, the writers took a timeout to have the main characters attend a local play where their own story (ie, the story of the main characters, their legend) was being acted out on stage by amateurs.
In the time of Shakespeare, that device was a "play within a play" and the extensive use of flashbacks here (made possible by modern tech) achieves essentially the same effect.
If you are fan of the series (probably the only reason you would be reading this, methinks) then the effect is mesmerizing. You watch these snippets and you realize that Sorkin and his team IN BARELY THREE SHORT (very short!) seasons have made these characters feel like family.
Your family.
You will hear a lot of fans tell you a lot of reasons why this episode is brilliant (or not brilliant, as the case may be) but I humbly suggest that the real power of this one lies is its ability to remind the viewer, to bring to the surface, to underscore, how potent, how powerful, this production has been.
And it has.
helpful•405
- A_Different_Drummer
- Jan 3, 2015
Details
- Runtime1 hour 4 minutes
- Color
- Sound mix
- Aspect ratio
- 16:9 HD
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