The Killing’ concludes on Netflix, more miserable than ever. Netflix. Two weeks ago, Netflix released the fourth season – and what is allegedly the final season, though I have a hard time believing that, given history – of “The Killing,” having revived the show after AMC canceled it for a second time. I have seen all six episodes, and while I already discussed it on this week's podcast, I had a few thoughts I wanted to write up, as well as provide a space for non- podcast listeners to weigh in on how they felt about the series' latest conclusion, with spoilers aplenty coming up just as soon as I”m somehow the most depressing character in a TV universe that also includes The Leftovers”… Season 3 of “The Killing” wasn't great, but it was easily the best of the show's three years on AMC. Confining the mystery to a single season reduced a few of the show's more aggravating tics to a more manageable size, and the work done with the guest characters and subplots was a dramatic improvement over the Larsens, “viral” wheelchair basketball videos, etc.

Holder's friendship with Bullet was the strongest relationship the show ever did, the episode where they executed Ray Seward was riveting – except for the various moments where Sarah Linden again proved herself to be the most gullible police detective in television history, always believing the latest piece of information placed before her above anything she knew previously – and it felt at times like Veena Sud and company had begun to figure out how to genuinely take advantage of telling a traditional police procedural story over 1. Then, of course, they botched the ending yet again, and I resolved that if “The Killing” ever returned, I might watch it, but only “with the understanding that I shouldn't pay the slightest bit of attention to the plot.”I entered this six- episode Netflix season curious to see whether Sud and company could carry the improvement of season 3 forward, and also how the storytelling felt with half as many episodes to work with.

But I also approached it with both lowered expectations and minimal emotional investment. And even given that minimal investment, these episodes were remarkably unpleasant to get through. We pick up in the immediate aftermath of Linden giving her serial killer ex- boyfriend the suicide- by- cop that he desired – Linden having been manipulated into it because, again, she believes with all her heart whatever it is that someone last told her – as Holder helps her cover up the evidence of murder. But Linden turns out to be even worse at covering up crimes than she is at investigating them, and so she does remarkably stupid things like hold onto her ex's phone, or dispose of crucial evidence right near his lake house.

We're meant to view Linden – who has had mental health issues in the past – as going off the deep end in the aftermath of season 3, but playing bug- eyed crazy for most of six episodes stretches the limits of what Mireille Enos does well as an actress. Joel Kinnaman(*) was always the more interesting of the two leads, and he unsurprisingly does better at portraying Holder's own struggles – falling off the wagon, being cruel to his sister and his pregnant girlfriend, confessing to the crime at an NA meeting conveniently attended by a police informant – but it's still six hours of the show's heroes being trainwrecks even as they're trying to work a new case.(*) This is your periodic reminder that Fienberg is absolutely right in wanting Kinnaman to play the young Lou Solverson in “Fargo” season 2, especially when you compare photos of him to 1. Keith Carradine. That case, involving a private military academy cadet who may have massacred his entire family, is even more of a wallow than Linden and Holder's struggles. It's an opportunity to trot out every cliché about the cruelty of boys to one another, and how the sadism gets so much worse in a (faux) military setting. As the chief suspect – and the one who carries large swaths of each episode in between our glimpses of Linden and Holder going to pieces, at times barely aware that they are actively investigating a multiple homicide – Tyler Ross is asked to play every scene either through tears, or on the edge of tears, and it wears thin over even a half- length season. As the academy headmaster – and apparently its only adult employee – Joan Allen is given almost nothing to play but steely impatience with these two idiot cops. And the explanation that the boy did, in fact, kill his parents (after a psychotic break caused by the academy's hazing) does a very poor job of explaining the various mind games that Allen's character orders her co- conspirators to play as part of their own weird cover- up. “The Killing” was never a light show in its AMC incarnation, though the culture clash between the deeply private Linden and open book Holder provided occasional levity.

Season 4, though, amps up the misery, assuming that it's inherently the same as profundity. One can be linked to the other – the dark final season of “Breaking Bad” was incredible, and I remain under the spell of “The Leftovers” (even as many others are not) – but bleakness doesn't inherently make something deep and compelling, especially not when your central character isn't well- drawn enough to support all this unhappiness. After a deux ex machina appearance from Billy Campbell as wheelchair basketball mayor Darren Richmond – the chief red herring of season 1 – takes care of whatever legal jeopardy our heroes are in, we jump ahead five years for a truly bizarre epilogue. Holder's a father to an adorable little girl, and he's found a new home running a shelter for troubled teens – an effective payoff both to Holder's own struggles with addiction and his friendship with Bullet. He and his daughter's mom have split up, but that's just fine and dandy, because who should return from her soul- replenishing walking of the earth but Sarah Linden? And who should be revealed to be each other's One True Pairing but Holder and Linden, despite almost no suggestion in previous seasons that there was any romantic tension between them?

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For that matter, it was barely even suggested in previous seasons that the two of them were even friends, and if you choose to read the final scene as simply the two of them realizing they need each other around in a platonic sense, “The Killing” didn't even really put in the necessary work to foreshadow that. Not all opposite- gender partners must fall in love, even on television, and the Linden/Holder partnership was presented as something where two opposites gradually developed respect and trust for one another, and not that they were each other's soulmate, or even each other's best friend forever. I suppose that the beating Sud took after season 1 failed to solve the Rosie Larsen case as the ad campaign had implied (if not explicitly promised) made her reluctant to ever again embrace ambiguity or try to deny her audience closure. And I would imagine that the majority of the people who toughed it out all the way to the end of “The Killing” season 4 did it out of genuine enjoyment of the show and/or Linden and Holder, and that therefore they might appreciate an ending that leaves them together, even if they're not cops anymore.

For me, though, “The Killing” was largely a wasted opportunity. From time to time, it really did demonstrate the power of spending so much time on a single investigation. But too often, it just felt like an elongated version of a network police procedural that lasted longer without actually going any deeper. Season 3 could have been a breakthrough, and maybe even one that set the show up for an extended Netflix run (say, with Holder as the veteran breaking in a rookie partner), but season 4 was a mess well before it got to the parts designed to wrap up the series for good. After two resurrections by two different companies, I'm not ready to accept that “The Killing” has actually been buried just yet.

The Avengers (2. 01. Watch Sherlock Holmes And The Secret Weapon Mediafire. Wikipedia. Marvel's The Avengers[4] (classified under the name Marvel Avengers Assemble in the United Kingdom and Ireland),[1][5] or simply The Avengers, is a 2.

American superhero film based on the Marvel Comics superhero team of the same name, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sixth film in the Marvel Cinematic Universe. The film was written and directed by Joss Whedon and features an ensemble cast that includes Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Tom Hiddleston, Clark Gregg, Cobie Smulders, Stellan Skarsgård, and Samuel L. Jackson. In the film, Nick Fury, director of the peacekeeping organization S. H. I. E. L. D., recruits Iron Man, Captain America, the Hulk, and Thor to form a team that must stop Thor's brother Loki from subjugating Earth.

The film's development began when Marvel Studios received a loan from Merrill Lynch in April 2. After the success of the film Iron Man in May 2. Watch The Final Cut Online Hulu. Marvel announced that The Avengers would be released in July 2. With the signing of Johansson in March 2. Whedon was brought on board in April 2. Zak Penn. Production began in April 2. Albuquerque, New Mexico, before moving to Cleveland, Ohio, in August and New York City in September.

With Corey Parker, Téa Leoni, Robert Bauer, Clea Lewis. This short-lived FOX sitcom featured Neil, a shy repressed guy who meets the girl of his dreams, Alicia, who.

"Drunk in Love" is a song recorded by American singer Beyoncé featuring her husband, American rapper Jay Z. The duo along with production and writing credited by. Marvel's The Avengers (classified under the name Marvel Avengers Assemble in the United Kingdom and Ireland), or simply The Avengers, is a 2012 American superhero.

The film was converted to 3. D in post- production. The Avengers premiered on April 1. Hollywood's El Capitan Theatre and was released theatrically in the United States on May 4, 2.

The film received positive reviews from critics, as well as numerous awards and nominations including Academy Award and BAFTA nominations for achievements in visual effects. It has set or tied numerous box office records, including the biggest opening weekend in North America. The Avengers grossed over $1. Marvel production to generate $1 billion in ticket sales. The film was released on Blu- ray Disc and DVD on September 2. A sequel, titled Avengers: Age of Ultron, was released on May 1, 2. Avengers: Infinity War and an untitled sequel, are currently in development, with Infinity War scheduled for a May 4, 2.

May 3, 2. 01. 9. Plot. The Asgardian. Loki encounters the Other, the leader of an extraterrestrial race known as the Chitauri. In exchange for retrieving the Tesseract,2 a powerful energy source of unknown potential, the Other promises Loki an army with which he can subjugate Earth.

1. HitFix's Alan Sepinwall reviews the final season of "The Killing" on Netflix, in which Linden and Holder start cracking up while investigating a military academy.
2. The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs.

Nick Fury, director of the espionage agency S. H. I. E. L. D., and his lieutenant Agent Maria Hill arrive at a remote research facility during an evacuation, where physicist Dr. Erik Selvig is leading a research team experimenting on the Tesseract. Agent Phil Coulson explains that the object has begun radiating an unusual form of energy. The Tesseract suddenly activates and opens a wormhole, allowing Loki to reach Earth. Loki takes the Tesseract and uses his scepter to enslave Selvig and a couple of other agents, including Clint Barton, to aid him in his getaway. In response to the attack, Fury reactivates the "Avengers Initiative".

Agent Natasha Romanoff is sent to Calcutta to recruit Dr. Bruce Banner to trace the Tesseract through its gamma radiation emissions. Coulson visits Tony Stark to have him review Selvig's research, and Fury approaches Steve Rogers with an assignment to retrieve the Tesseract. In Stuttgart, Barton steals iridium needed to stabilize the Tesseract's power while Loki causes a distraction, leading to a brief confrontation with Rogers, Stark, and Romanoff that ends with Loki's surrender. While Loki is being escorted to S. H. I. E. L. D., Thor, his adoptive brother, arrives and frees him, hoping to convince him to abandon his plan and return to Asgard.

After a confrontation with Stark and Rogers, Thor agrees to take Loki to S. H. I. E. L. D.'s flying aircraft carrier, the Helicarrier. Upon arrival, Loki is imprisoned while Banner and Stark attempt to locate the Tesseract. The Avengers become divided, both over how to approach Loki and the revelation that S. H. I. E. L. D. plans to harness the Tesseract to develop weapons as a deterrent against hostile extraterrestrials. As the group argues, Barton and Loki's other possessed agents attack the Helicarrier, disabling one of its engines in flight and causing Banner to transform into the Hulk. Stark and Rogers work to restart the damaged engine, and Thor attempts to stop the Hulk's rampage.

Romanoff fights Barton, and knocks him unconscious, breaking Loki's mind control. Loki escapes after killing Coulson and ejecting Thor from the airship, while the Hulk falls to the ground after attacking a S. H. I. E. L. D. fighter jet. Fury uses Coulson's death to motivate the Avengers into working as a team. Stark and Rogers realize that for Loki, simply defeating them will not be enough; he needs to overpower them publicly to validate himself as ruler of Earth. Loki uses the Tesseract, in conjunction with a device Selvig built, to open a wormhole above Stark Tower to the Chitauri fleet in space, launching his invasion. Rogers, Stark, Romanoff, Barton, and Thor rally in defense of New York City, the wormhole's location.

Banner arrives and transforms into the Hulk, and together the Avengers battle the Chitauri while evacuating civilians. The Hulk finds Loki and beats him into submission. Romanoff makes her way to the wormhole generator, where Selvig, freed from Loki's mind control, reveals that Loki's scepter can be used to shut down the generator.

Meanwhile, Fury's superiors from the World Security Council attempt to end the invasion by launching a nuclear missile at Midtown Manhattan. Stark intercepts the missile and takes it through the wormhole toward the Chitauri fleet. The missile detonates, destroying the Chitauri mothership and disabling their forces on Earth.

Stark's suit runs out of power, and he falls back through the wormhole just as Romanoff closes it. Stark goes into freefall, but the Hulk saves him from crashing into the ground. In the aftermath, Thor returns Loki and the Tesseract to Asgard, while Fury expresses confidence that the Avengers will return if and when they are needed. In a mid- credits scene, the Other confers with his master. Earth. In a post- credits scene, the Avengers eat in silence at a shawarma restaurant. Cast. Robert Downey Jr. Tony Stark / Iron Man.

A self- described genius, billionaire, playboy, and philanthropist with an electromechanical suit of armor of his own invention. Downey was cast as part of his four- picture deal with Marvel Studios, which includes Iron Man 2 and The Avengers.[6] Downey said that he initially pushed Whedon to make Stark the lead: "Well, I said, 'I need to be in the opening sequence. I don't know what you're thinking, but Tony needs to drive this thing.' He was like, 'Okay, let's try that.' We tried it and it didn't work, because this is a different sort of thing, the story and the idea and the theme is the theme, and everybody is just an arm of the octopus."[7] About the character's evolution from previous films, Downey said, "In Iron Man, which was an origin story, he was his own epiphany and redemption of sorts.

Iron Man 2 is all about not being an island, dealing with legacy issues and making space for others. In The Avengers, he's throwing it down with the others".[8]Chris Evans as Steve Rogers / Captain America. A World War II veteran who was enhanced to the peak of human physicality by an experimental serum and frozen in suspended animation before waking up in the modern world. Evans was cast as part of a deal to star in three Marvel films, in addition to The Avengers.[9] Evans said that Steve Rogers is much darker in The Avengers: "It's just about him trying to come to terms with the modern world.

You've got to imagine, it's enough of a shock to accept the fact that you're in a completely different time, but everybody you know is dead. Everybody you cared about. He was a soldier, obviously, everybody he went to battle with, all of his brothers in arms, they're all dead. He's just lonely.