Honesty is not part of Harlee’s philosophic template. This is causative to her being involved in subversive dirt. She has inexplicable hostility to being righteous. Her boss (Ray Liotta) is awful but Harlee has an even more horrifying personality than at first appeared. The anti corruption task force guy (Warren Kole) busts her. Harlee's issues are the ones I feel least inclined to lament. She has to learn habits of purity and has to face the possibility of betterment. Harlee's daughter is a spoilt brat. Who is her father? There is aggressive car damage. This was okay. A bad guy is served up. Even IA is corrupt. Harlee's necklace is bugged. There is ranting and this was good.
“Did he make an aggressive gesture?”
“Where there’s drugs there’s a gun.”
“Any external threats.”
“You need to fire your profiler.”
“You don’t get a lawyer. All you get is me.”
“What do you mean by loyalty?”
“Every betrayal begins with trust.”
The POTUS is in St Louis. The reconstruction goes on. There are ration cards. Dr Scott is dead. Chandler is a national hero. The new opening credits are nice. The stupidly named Operation Healing Breath goes on. Elizabeth Rohm, Nestor Serrano and Tania Raymonde guest star. The XO is now the Nathan James captain. There is planned incompetence and ferocious ambition.
There are troubling currents and dark muttering but no auteurist cool. People are doomed to cry out hopelessly in non-comprehension at their sudden changes in fortune. There are clunky attempts at profundity. There is negative attention and dark covert forces. This was not stunningly good. There is malicious intent and no emotional bond. Bad guys are emotional robots. There are ugly behaviours and moral danger.
Chandler gets a great Office Of State. There is no sense of layered dynamics. People are harassed by halfwits. Glowsticks are waved. Enmities and hostilities take place. The SEAL is now a father. There is no psychological and philosophical insight. This had no dramatic range. I wasn’t deeply unimpressed with this morally simplistic ep that had no dramatic potency. This was not unabashed entertainment. It was okay, no more.
“Waited out the plague next to the rotting bodies.”
“Japan’s a no show.”
“The broken pieces of our nation.”
This had no passion or clarity. People simply chose not to care. Elizabeth faces the various joys of her job. A thread of discomfort runs through this. People have an apparent lack of interest in helping. Zeljko Ivanek, Bebe Neuwirth and Keith Carradine co-star. Suspicion inescapably encroaches. There are inane reactions. Elizabeth has a 3rd child. This was slow and unchallenging. The brat eldest child has no unvarnished sincerity and lives her life in a performative nature. Everyone has dead chicken eyes.
Elizabeth is a slightly empty presence. This was silly, soft and safe. Elizabeth hushes the howls of indignation. The brat is a dreadful irritation. There are syrupy does of sentimentality. The daughter has such extreme unpleasantness; she is neither necessary nor desirable. This has no coherent vision and is fatuous.
“Standard death to America stuff.”
“Not a man whose sense of environment you can trust.”
“I was raised in Virginia by a man who wanted sons.”
“Your display of theatrics.”
“May I call you Elizabeth?”
“That’s the table ain’t it?”
“You’re no friend of mine.”
“Nobody ever came looking for me.”