However, Season 2 has garnered mixed reviews from viewers on Rotten Tomatoes. A Jewish community is targeted by Proud Boys wannabes, and Harry takes it personally Dee makes a big decision about her custody, but will Robyn and Aunt Vi. The program is well paced, and Queen Latifah is believable as the tough, but appealing, mysterious former. At the time of this writing, roughly 84 percent of voters have graded the finale with an A, with less than 1 percent of voters giving it an F. The EQUALIZER pilot is an intense, engaging episode. Including a week of delayed viewing, “Equalizer” episodes slip to eighth place. TVLine is currently hosting a viewer poll for The Equalizers Season 2 finale. Queen Latifah Is Using Her Powers for Good in First Look at The Equalizer Trailer. Thus far this season, again omitting news and sports programming, “The Equalizer” is the fifth-most-watched series on broadcast TV, per Nielsen’s Live + Same Day data, ranking behind only CBS’ “FBI” (1) “Young Sheldon” (2), “NCIS” (4), and NBC’s “Chicago Fire” (3). The episode was written by Ora Yashar and Adam Glass, and directed by Chris Fisher. In the B story, McCall (Queen Latifah) attempts to win custody of Delilah (Laya DeLeon Hayes). “The Equalizer” Episode 311, titled “Never Again,” centered on Harry’s (Adam Goldberg) search for the culprit in a string of local antisemitic hate crimes. The success of The Equalizer is due to the sum of its partsan outstanding cast led by the superb Queen Latifah, plus the exceptional creative team that has continued to evolve their. Third, it’s an acceptable practice to separate news and sports from entertainment programming - all of those reasons combined have us handing “The Equalizer” Sunday’s silver medal. Second, Sundays are the only evening of the weekend in which the 7 o’clock hour is considered nationally programmed (and still not for every network, like The CW), and thus part of Nielsen’s national primetime ratings. PT), so the long-running newsmagazine program only had a red - err, champagne - carpet to contend with. Nightmare Film Shoots: The Most Grueling Films Ever Made, from 'Deliverance' to 'Mad Max' to 'Avatar 2'įirst and foremost, the Oscars didn’t start until 8 p.m. Martin Scorsese's Favorite Movies: 58 Films the Director Wants You to See End of the Road was released on September 9, 2022, by Netflix. The film stars Queen Latifah, Ludacris, Mychala Lee, Shaun Dixon, and Beau Bridges. Moore and David Loughery, and produced by Tracey Edmonds, Mark Burg, and Brad Kaplan. Only American Films Should Win the Best Picture Oscar, Says Cannes Head Thierry Frémaux End of the Road is an American crime thriller film directed by Millicent Shelton, written by Christopher J. Marcus Dante (Tory Kittles), Robyn is able to save the day and take down an Elon Musk-style tech bro in the process.The Academy Announces Creation of New Production and Technology Branch The Equalizer series debuted in 2021, but instead of a male lead, it starred Queen Latifah as Robyn McCall, another highly-skilled vigilante. With help from old Army colleague Melody Bayani (Liza Lapira) and her hacker husband Harry Keshegian (Adam Goldberg), as well as a seemingly sympathetic cop, Det. Originally adapted from a popular 1980s TV show of the same name, the successful Equalizer movies with Washington led to a new show idea by CBS. Thanks to some dialogue from Robyn’s old CIA buddy William Bishop (Chris Noth), who tries to lure her back to the Agency, we know that she’s the right person for the job, and a slightly over-edited fight scene later confirms it. See, Robyn, after being steered off the wrong tracks into the Army and then into a career of hush-hush spec ops wetwork, has recently retired from a position at the head of a global non-profit to spend more time with her incredibly difficult 14-year-old Delilah (Laya DeLeon Hayes), who has been raised mostly by her Aunt Vi (Lorraine Toussaint) and isn’t about to let Robyn forget it.īut the first order of business in The Equalizer episode 1 is establishing Robyn’s badass bonafides by embroiling her in the case of a waitress who accidentally witnesses a professional killing and suddenly finds herself, thanks to some highly advanced CCTV trickery, framed for the crime. It certainly helps that Robyn McCall is played by Queen Latifah with an air of weathered gravitas that is quite similar to what Washington brought to the role and a great fit for the domestic drama that is shackled to the procedural vigilantism.
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