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.
"Scream & Shout" is a song by American recording artists will.i.am and Britney Spears, taken from the former's fourth studio album #willpower. It was released on. Shaniasupersite.com NEWS & NOTES ARCHIVES: December 31, 2014 - January 1, 2008. News & Notes Archives 2 December 31, 2007 - January 1, 2003. News & Notes Archives 3. "Work Bitch" is a song recorded by American singer Britney Spears for her eighth studio album, Britney Jean (2013). It was written by Spears, William "will.i.am. 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.
Don Mitchell, Actor: Ironside. Born March 17, 1943 in Houston, Texas, USA, Don left home to go to college at UCLA-Fine Arts to become an actor. Producer Collier Young. Body { background-color: lightblue;} h1 { color: white; text-align: center;} p { font-family: verdana; font-size: 20px;}. Creed est un groupe de rock américain, originaire de Tallahassee, en Floride. Formé en 1995, il se composait de Scott Stapp, Mark Tremonti, Scott Phillips et.
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? 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.
Work Bitch - Wikipedia"Work B**ch" is a song recorded by American singer Britney Spears for her eighth studio album, Britney Jean (2. It was written by Spears, William "will. Adams, Otto "Knows" Jettman, Sebastian Ingrosso, Anthony Preston and Ruth- Anne Cunningham. The song's production was handled by Ingrosso, Jettman and Adams, while vocal production was done by Adams and Preston.
Work B**ch" made its premiere on September 1. Heart. Radio and select Clear Channel radio stations and was released to digital retailers on September 1. RCA Records as the lead single from the record alongside a clean version titled "Work Work"."Work B**ch" is an electronic dance music (EDM) song containing mostly spoken lyrics, where lyrically Spears, repeatedly exhorts "bitches" to "get to work". The song received generally positive reviews from music critics, with reviewers calling it "amazing" and a "perfect club track"."Work B**ch" debuted and peaked at number twelve on the US Billboard Hot 1.
Outside the United States, "Work Bitch" peaked within the top ten of the charts in 1. Canada, France and the United Kingdom. An accompanying music video for "Work B**ch" was directed by Ben Mor and filmed in Malibu, California and released in October 2.
The music video has generated acclaim from critics and fans alike, who praised Spears's dancing and the visual cinematography. Spears traveled to the United Kingdom to promote the song on the British TV chat show Alan Carr: Chatty Man. The song was performed for the first time by Spears as the opening song from Spears' Las Vegas residency show Britney: Piece of Me (2. Background and release[edit]Previously, in 2. Spears and will. i.
Scream & Shout"; will. March 2. 01. 3 as the executive producer for Spears' eighth studio album.[1] In preparation for the single and album, Spears began working with a vocal coach and choreography collaboratively.[2] "Work B**ch" was confirmed by Spears on September 7, 2. On August 2. 0, 2.
Spears' official website launched a countdown titled "All Eyes on Me" counting down to September 1. In response, Spears told fans that new music was coming "much sooner than you think".[6][7][8]On September 1. Spears confirmed "Work Bitch"'s worldwide radio premiere for September 1.
ET on her official Twitter account, following up with a second tweet, "Work Bitch will be available on @i. Tunes. Music that night at 1. ET, Sept 1. 7th.. You. Betta. Work. B #1. Week".[9] On September 1.
Spears revealed the writers of the song. Watch Waking Madison Online Mic here. On September 1. 2, Spears revealed the official single cover. The artwork features Spears posing in front of a vanity mirror, wearing a bedazzled leotard complete with feathered shoulders. A small sign can be seen behind her reading "Welcome to Fabulous Las Vegas", referencing her Las Vegas residency. The song leaked in full on September 1.
Heart. Radio[1. 0][1. A clean version of the song, titled "Work Work" has also been released.[1. A CD single of the song was released in Germany on October 1. Composition[edit]A 2. Spears sings over an EDM- influenced strong club beat.[1. Critics noted that it "features mostly spoken lyrics, [and] serves as a testament to the fine things a strong work ethic can bring about".[1.
Problems playing this file? See media help."Work Bitch" was written by Spears with will. Anthony Preston, and features a beat from DJ Otto Knows.[1. Knows is managed by Swedish House Mafia member Sebastian Ingrosso, who also received a songwriting credit; however, Ingrosso revealed he did not write the lyrics.[1. Work Bitch" is an electronic dance music (EDM) song[1.
E minor, at a tempo of 1. Spears, repeatedly exhorts "bitches" to "get to work".[1. It starts with a basic club beat, with a monotone taunting chorus: "You want a hot body? You want a Bugatti? You want a Maserati? You better work bitch!"[1.
Spears alludes to the luxuries she has attained due to her strong work ethic: "You want a Lamborghini? Sip martinis? / Look hot in a bikini? You better work bitch!" and "You wanna live fancy? Live in a big mansion? Party in France?" [1. According to Miriam Coleman of Rolling Stone, it "features mostly spoken lyrics, [and] serves as a testament to the fine things a strong work ethic can bring about".[1. Idolator contributor Christina Lee thought that the song "sounds like the lights- out after- party" to Ru.
Paul's 1. 99. 3 debut single "Supermodel (You Better Work)".[1. Britney moreso than [Britney Jean]. The album is what the album is, but we felt that song needed to come out to keep the foundation on what Britney represents.
But it shouldn't reflect the album—an album is a body of work as a collective. If we had to pick a song like, 'Oh, what song fits every color of the record,' you shouldn't do that… We felt that song represents 'Piece of Me,' that Britney oomph."[2. Critical response[edit]A writer for Billboard described the track as a "full- on club banger with Spears giving fans the secret to her success".[1. Writing for Muu. Muse, Bradley Stern complimented the song as a "thrilling, thunderously bold slice of forward- thinking dance- pop".[2. A reviewer for Pop.
Justice called the track "amazing", and suggested that the lyrical content "has the right attitude for a Blackout 2. Michael Cragg from The Guardian felt that "Work Bitch" is a "pretty relentless onslaught that reflects pop's current love for chucking in everything up to and including the kitchen sink", but felt that Spears' personality "[made] sure she hasn't been fully obliterated by will. Chris Eggertsen from Hit.
Fix called that it was a "perfect club track", but questioned how it would perform on mainstream radio.[2. However, Sal Cinquemani from Slant Magazine gave a negative review for the song, opining that it "follows the current EDM model of painfully aggressive, treble- heavy beats, harsh synths, and tuneless hooks, but makes even "Scream & Shout" sound like a melodic feast".[1.
Caryb Ganz of Rolling Stone noted that "Will. Britney blueprint: a squelchy thumper that's light on singing and heavy on hilarious directives barked in an English accent.. Blasts of clubby synths do most of the work, while Britney winks at the world".[2. Emmanuelle The Private Collection: Jesse`S Secret Desires Full Movie In English.
About. com writer Bill Lamb called the single forward thinking and gave the single praise, stating, "This is a single that is pushing boundaries and will likely feel more exhilarating each time you listen".[2. Besides critical response towards the song itself Angela Rovak from Vannevar emphazises that "widespread and superficial readings of “Work Bitch” makes it clear that the media, and society at large, risks blindly approving the potentially harmful and oppressive message the track broadcasts."[2. Commercial performance[edit]The song debuted on the Billboard Hot 1. Spears' 3. 1st song on the chart and the fifth highest debut of her career on the chart, and her seventh in the top 2.
It also marked Spears' 1. It also entered the top 1. Hot Digital Songs chart at number 6. Work Bitch" sold 1.
Spears' highest first- week sales since her 2. Hold It Against Me".[2. With its debut on the Mainstream Top 4.
Spears' 3. 1st chart entry, pushing her past Mariah Carey (3. October 3, 1. 99. In its second week, the song fell to 4. Billboard Hot 1. 00. The following week, it climbed back to 1. In the United Kingdom, "Work Bitch" debuted and peaked at number seven on the UK Singles Chart on November 1. November 1. 6, 2.
The song also peaked at number two on the UK Dance Chart.[2. The song also charted well in other countries, peaking within the top ten of the charts of 1. Music video[edit]Development[edit]"A lot of sex goes into what I do.
But sometimes I would like to bring it back to the old days when there was like one outfit through the whole video, and you're dancing the whole video, and there's like not that much sex stuff going on. It's about the dance and it's about being old school, it's like keeping it real and just making it about the dance. I'd love to do a video like that"—Spears discussing her creative control over the music video.[3.