Shameless: “I Only Miss Her When I’m Breathing” Review **SPOILERS**

Shameless is my favorite television watch for a reason: It’s relatable, raw, unapologetic, hilarious, and powerful all in one fell swoop. Everytime I tune in to the mischiefs of the Gallagher clan, I find it very hard not to root for them when they rise, and feel for them when they’re down. There’s also something special about this specific depiction of the South Side that resonates with my life and the perspective I’ve learned to see the world through, which makes each week and each new episode an opportunity to indulge in an experience that has always seemed like it was destined for me to watch.

However, my personal praise doesn’t elevate it above the best that television truly has to offer, and it has occasionally featured stretches (like last season’s disappointing final act) that go against the reputation it has built for itself overall. Certain characters are given fresh story arcs that help continue to define them further as the series wears on, and some of the show’s egregious themes are constructed with an awe-inspiring level of care and ingenuity. Other individuals or aspects that it has tackled fall under more scrutiny, with bland, unappealing or even repeated results that don’t ring true to the show’s usually expected level of quality.  Shameless, in my opinion, is a captivating viewing unlike any other, but it’s also a flawed one unlike any other. It’ll make you laugh and cry here, then frustrate and let you down there. That, folks, is perhaps the best way to describe Season Six’s premiere, “I Only Miss Her When I’m Breathing”.

This wide range in caliber is most apparent in the Gallaghers, themselves. For example: The routine of Shameless‘s family dynamic is almost an eternal part of the series’s DNA. Something about Fiona waking up in the morning and brushing everyone else off to school or work has become nostalgic, and Frank consistently being shamed by the likes of his own kin never gets old. Shameless simply isn’t Shameless to me without these integral elements, and tonight’s season premiere is a firm declaration of a family that I actually wish I knew in real life for some strange reason.

Yet this season’s premiere, like the rest of the series itself, goes deeper than this. So much has happened internally to this family over the years that the dynamic between them has started to feel challenged in nature. Carl’s faced a prison sentence; Debbie’s now pregnant; Lip’s finding himself as a teacher assistant and is sleeping with his English professor; and Ian’s bipolar. These are the hurdles they’re currently striving to jump through, and the episode makes quick work of establishing their current status relative to their respective situations.

 

 

Some of this material is handled extremely well. As much as I am bothered by Ethan Cutkosky’s portrayal as Carl, there’s an inherent darkness and maturity to his story arc that never reared its head last season. I like the little instances that exemplify this, including his return home on his lonesome without so much as a single notice to Fiona. When he brings his troubled (by which I mean “really f%$#&d up”) friend over the house to sleep over, I see a young boy who’s both willing to protect his “homies”, and negligent of the potential chaos he’s inviting to his own doorstep. The disregarding response to the family celebration Fiona designs for his being released from prison is the show’s way of saying that this may soon no longer be a household that’ll be spiritually coherent enough to celebrate together. Hell, even the actual release from prison and the new hair style suggests a bleakness we’re not prepared to witness. It’s grim stuff, but given how assuredly Carl’s grown into his juvenile delinquency, and the background he’s been born from, these moments feel justified. We are finally seeing one of the show’s most underdeveloped family members come to life, and it’s rightfully sad.

Most of how I would describe Carl’s situation almost perfectly illustrates Debbie’s as her adolescent advancements have helped paint an even bleaker picture. Of all the curved outcomes towards the end of Season Five, the startling reveal of Debbie’s pregnancy rose alone as the only true development that Season Six would actually need to flesh out further, and I’m glad it is. The results of her efforts to mature into a woman are nothing to smile about – the show doesn’t even attempt to formulate a single gag out of it – and it’s disheartening to see one of Shameless‘s most beloved characters continue to spiral.

Worst of all, that downward trajectory is threatening to destroy the fabric of her relationship with Fiona – one of the strongest remaining connections from the beginning of this series. When Fiona takes it upon herself to drag Debbie to the clinic to confirm – or dissafirm – the pregnancy, only to have Debbie deny her presence alongside her with the doctor, you feel Fiona’s pain as she starts to realize that her association with her siblings is waning. The deceit that follows – Debbie lying to Fiona about the pregnancy being false – mixed with Derek’s parents showing up at the conclusion of the episode to guarantee that Debbie’s bearing child all hit home hard, clarifying that the sisters’ relationship may even collapse into a state of mutual abhorrence. All in all, you simply cannot ignore how Debbie’s initial urgency to have sex has played a large role in her current dealings, which makes the pregnancy a powerful reminder of how this society can strip away the innocence of any child, especially those who are too blinded by the instant gratifications growing up has to offer. This is where Season Six plants the seeds for a potential conflict that could destroy the complexion of the Gallagher clan for good. So far, it’s off to an emotionally riveting start.

 

 

Lip’s proceedings at school are still relatively difficult to decipher, but at least it ran through some much need character building. The lightbulb moment he has as the teacher’s assistant, followed by the humbling discussion with that student over a blatantly plagiarized essay, are some of the dark horse highlights of this episode. Through these scenes, we finally see the difference that Lip’s dedication to advancing his education are beginning to have, and the fantastic potential that lies in store should he choose to tap into it. When Shameless ignores the intricacies of college to delve into the intricacies of the kid who’s actually experiencing it, the show reaches new heights, and I can’t begin to describe how invested I was when Lip expressed himself here.

I’m still hoping that the show figures out exactly what it’s trying to do with Lip’s affair with Helene. There’s no real emotional weight to it as of yet, and Lip’s physical encounter with her son stresses his affection for this woman without justifying it. I keep thinking about how arbitrary her influence has been to Lip, and that impression strongly remains.

Speaking of arbitrary influences: is there any way we can possibly forgive Shameless for (almost) writing off Ian and Mickey’s relationship last season? Through “Miss Her”, the glaring writing mistake is nearly cleaned up completely, with Ian’s currently tempered mental state casting plenty of doubt over him having a definitive idea of where he stands with his former(?) partner. And thanks to Svetlana’s bribe, we got to briefly see him speak to Mickey again, in a wonderfully-scripted scene where both Cameron Monaghan and Noel Fisher wore a flurry of emotions without exactly expressing them. Very rarely has so much been asked from a simple request as “Will you…wait for me?”, and the uncertainty of Ian’s “Yeah” in response is profound enough to make you choke up almost.

“Miss Her” has plenty to smile about as a viewer, but almost equally enough to upset as a fan. Fiona’s sleeping around with Sean has not yielded the results I wished it did. That swirling wave of bedlam that hung over their “will they, won’t they?” phase from last season isn’t present anymore, which has totally dried up the intrigue of their relationship. The episode tries to inject some conflict between them by having Fiona be reluctant in accepting Sean’s offer as assistant manager (considering: A) other, long-time employees are more deserving, and B) she’s really getting the offer because she’s sleeping with him), but I was never invested in that. The chemistry is there between the characters – but so what? We’ve seen Fiona in love with Jimmy/Steve, and Mike, and Gus. Even if the promotion boosts her financial status, it’s impossible to avoid the realization that the show is running her in circles, thrusting her in the arms of a new man each and every season and keeping her character development in neutral. And since we know how the rest of those sex-crazed emotional endeavors have wound up, there’s no point in caring about these two, especially not right now.

 

 

Frank’s plight concerning the loss of Bianca can be a true turning point for him, but after tonight’s events, I’m not entirely convinced. Remember: Last season, shortly after recovering from the new liver he received, Frank went off on the same old drunken binges and tired acts of squalor we’ve witnessed from the beginning. This is not a man who’s automatically going to change, regardless what hardships life throws at him. Unfortunately, this version of Shamless still hasn’t figured out a way to make him at least a tiny bit endearing like the U.K. version did over time. This Frank is still just a scumbag, and although the montage with him trying out different religions is meant to prove otherwise, I’m not ready to embrace his new, more heartbroken demeanor. A large part of this has to do with the show relying too much on having Frank do horrible things in public, sacred spots. Him humping a grave spot, and insulting old women in catholic churches, have lost their comedic flair, but most important; they draw him out more as a person for which you have no sympathy. At this point, I need to see a real, tangible difference in Frank as a human being.

 

 

The Verdict:

This is Shameless‘s sixth season, and if you’re not personally involved in the lives of these characters – especially the Gallaghers – at this juncture then you’re watching this program for all the wrong reasons. The messages, themes, and underpinnings of the show runs through them, and “I Only Miss Her When I’m Breathing” constitutes this ideal from the minute it commences. Thankfully, such an ideal still works to this series’s advantage, and right away we are provided with enough juicy material from each part of the Gallagher family to carry us over to the end – even though some of it stumbles out of the gate. It remains up to Shameless itself whether or not it will explore these particulars to the end (or draw up white flags like last season), but for the moment I really, really like where it’s going here.

 

 

 

RATING: 8.3

 

+ Debbie & Carl growing up in all the wrong ways

+ Lip’s brief teaching moment

+ Ian and Mickey’s heartbreaking conversation

-Fiona’s story arc losing steam

-Frank being Frank

 

 

Shameless: “The Ballad of Bonnie and Carl” Review **SPOILERS**

*Hey, followers! I’m back doing Shameless reviews after a brief hiatus. For those who were anticipating a review for “Hope Springs Paternal,” I deeply apologize for not posting one up. As you already know, I mix my blog with TV reviews and fantasy baseball articles, and the former won out a bit within the past week. But, I’m back to getting dirty on the outskirts of Chicago, and dishing out all my thoughts on all-new Shameless from here on out.*

Before I get started on this week’s episode, I’d like to sum up my thoughts on “Hope Springs Paternal” just in case you’re wondering. Last week’s proceedings basically eased up on the tone of the previous episodes, return to a more comfortable vibe with the cast and crew. That being said, the quality of the varying plotlines were just as sharp as the best this season has had to offer so far, with plenty of surprising developments that have oozed onto this week’s installment. For instance, Sammi’s secret real estate knowledge became a huge step towards collecting the necessary cash to bail out Frank’s dying liver, and was another nice use of this extra Gallagher, considering she basically sold off furniture from a house she didn’t even own. Robbie made a brief return, so now we know he’ll be back in some form, and Amanda’s clinginess to Lip came straight out of left field, but bears mentioning since their fling isn’t over yet…

Now, let’s get to business, shall we?

In a way, the title for this week’s episode sort of left me a bit disappointed in the fact that Carl’s shenanigans with this newly-acquainted Bonnie weren’t the main focus. It’s a minor quip, and not one that would steer my attention away from everything else that was handled, but still…

At least it was amusing, and it goes to show how true love in this show can be found in the most unlikely of sorts. This isn’t the first time I’ve mentioned the importance of Carl maturing and getting an expanded role as the series wears on, and it won’t be my last. Bonnie, the detention-prone love interest, is the perfect significant other for Carl, and her obscene level of juvenile delinquence just might open the floodgates for something special for the character this year. Their eagerness to unapologetically break the rules fuels a medley of stunts no normal pair of twelve-year-olds would get away with in real life. To say that the corner store robbery is highly unrealistic would be a complete understatement, but in a way that sort of thing is a microcosm of what this show has always been. The concerned look on Carl’s face before it ever did happen, though, is what I truly find fascinating. He seems poised to do whatever it takes to fall in love with this girl, but is he willing to go against everything his elders (Frank excluded) lobby for? Fiona just did get arrested for leaving coke out in her living room for Liam to snort, and Lip has had to take a lot of risks to ensure that this family doesn’t fall apart. That’s just the way I see it, and maybe this little escapade only goes as far as their imagination will take it. But Bonnie’s inclusion to the show is unlikely just a trigger for s#!*s and giggles. Nonetheless, nothing’s better than having a love interest who admires your vulgar spray paintings of the school principle on other people’s lockers, and hopefully we see a lot more of this tandem.

Unfortunately, I see no end in sight for Debbie’s attraction to Matt, which has now gotten to the point of mere writer-enforced insanity. In an attempt to enstill jealousy and win over the love of her “friend,” she finds out that he’s seeing someone and plots revenge on the new girl he’s dating. I’m all for a girl her age learning the hard way about boys, falling in love and then having that love fall apart, but all the great cliches of late-90s straight-to-DVD teenage RomComs were ever present. From late night phone call threats to her workplace, to a snake in her car, Debbie’s vengeance drew nothing more than the hope that we can get back to the rest of the show. I sort of predicted this kind of backlash on her part, but what I never understood was the insistence. Why is Debbie REALLY this much in love with Matt? They barely hit it off when they first met, and I always believed that their chemistry was barren and the whole thing a little painful to sit through because of that. We’ve yet to be convinced that she wants him this bad beyond the simple fact that she just does, and the suspension of disbelief I find myself in over it continues to build. I just wish she’d accept Sammi as a mother figure or something. They got along so well last week, and I miss seeing Debbie just air out her problems to someone who understands instead of acting on them.

Speaking of Sammi, she’s still exercising the furthest options available to secure Frank’s seat at the table of life. So much so, that she’s sucking off “resident” hospital doctors and lighting scented candles in his bedroom to help heal him. I’m beginning to lose count of how many morality-bending decisions she’s made for this man, but it demonstrates how willing some daughters are to have their deadbeat long-lost fathers in their lives. The funny part is that it makes the emotional stuff all the more convincing, especially the one scene where she breaks into tears yelling about how she doesn’t “want him to leave.” One of the more touching moments this season also happened within this storyline, as Sammi decided to quite literally bring the Alibi to Frank by having Kev and crew over for one last (non-alcoholic) drink. The combined look of joy and sadness on Frank’s face as he was seated on the stool, drinking with his old bar friends was a subtly poignant way to wrap up Sammi’s efforts this week. Another thumbs up to Emily Bergl for again portraying the good-hearted, extra Gallagher who’s grown on me, and for yeilding the brief signs of weakness that allow us to understand such exaggerated attempts to please her father as this one.

We must not forget that she’s a single mother who’s never truly had parents to support her over the years, so the inclusion of Shiela’s return home this week instantly opened up the possibilty of a family she’s always wanted. Thankfully it did, as not only Shiela’s insistence to marry Frank–a ploy to get custody of Roger Runningtree’s children while he’s on the run for collecting false reparations–involves Sammi as the projected bridesmaid, but it would legally turn her into Shiela’s stepdaughter. Not to mention the fact that they would both share a similar level of lunacy towards domestic aid, which should play off nicely in regards to saving Frank’s life while he’s cooped up in his bed. If the cards do fall in their favor, and the wedding goes as planned, we may be looking at the most dysfunctional second family in television history. But as long as Shiela gets this opportunity at an important story arc, I think we can all agree that it’d be worth the journey, with plenty of laughs along the way.

Ian’s return to the family has caused quite the stir for Mickey and his marriage with Svetlana, but that’s no excuse for Mickey’s negligence over his newborn son. I’m not willing to bet on a character turnaround anytime soon, but the threat of Svetlana calling up his father from jail seems legit enough for him to start coughing up some baby money. Still, if there’s anything this episode justifies about Mickey, it’s that he cares more for Ian and his drugged up state than his wife and kid. Ian’s night out with him (which consisted mostly of exposing rich gray beards for cash and credit cards)sort of spells out where Mickey’s priorities lie, which is sad because I expected nothing less than a total lack of responsibility. He’s even living in the Gallagher’s house to avoid his family, for crying out loud! For those of you who fondly remember the charity-strung, warm-hearted version of the character from the British series, chances are you’re going have to settle for this more intense adaptation as the show continues. Besides the fact that he’s still blatantly trying to hide his sexuality, there’s really not much of a connection between the two, but I must admit Noel Fisher’s interpretation is much more fitting. For a show that puts life in the slums under a microscope, it’s a little surpising there aren’t any other ironic degenerates. So, having Mickey along for the ride a bit more this season has been quite the treat thus far. And, hey, maybe it clicks in that Mickey has to look out for his loved ones, since the end of the episode has him run into a wife-beaten Mandy in the bathroom (long story I won’t get into this week,) but then again I’d probably be getting my hopes up.

Just like the drama surrounding the Minkovich family, Lip’s college life has also recieved a jolt of intrigue with Amanda’s excessive flirtiness. However, I wasn’t sold on her complete 360 over him last week, so it was great discovering that it was all a ruse to lure him into meeting her parents and forcing them to lose their minds. They still do get along just fine, and Amanda’s clinginess to Lip leans more and more towards the “helpful” side than that of the annoying, overbearing chick we expected. Posting a pre-determined schedule full of classes and bathroom breaks is creepy for any roomate to do for another, but since Lip has had so many issues with time management before this came off more as a nice gesture from her. I will admit that Ron walking into the dorm with her naked in front of Lip led to a tad bit of a disappointing reaction, but this episode made it up with Mandy’s boyfriend chasing Lip down campus for seeing her.

I had to save the best for last, which was undoubtedly Fiona’s endeavor to find a job, post-conviction. Whether it was the obviously failed job interviews, the sprint back home before 6:00 (which is her house arrest curfew,) or another guest appearance from Regina King, there was a lot to love here and all of it very real. I could only imagine how tough it must be to search for work with any shred of criminal history, but Fiona’s optimism going in seems to have blinded her from the realization that her prior mistakes now have a significant impact. Nothing will change the fact that she nearly killed her infant brother regardless of a lack of intent, and the rest of society can’t help but ignore that. Her trip to the Worldwide Cup was obscenely disrespectful, and was treated as such by Mike’s sister, who confronted her in front of Fiona’s former colleagues. I for one couldn’t believe that Fiona was plotting to get her job back, while asking Connie to lie to the federal government about her discharge as a lowering in position. Mike would certainly be proud of how Jane vehemently lashed out on her for even showing up, and then proclaimed how Fiona should worry about destroying her own family instead of theirs. The final scene involving Robbie lived up to the speculation that this affair wasn’t over, and if the scenes for next week’s epsiode are any indication, Fiona’ drug-inducing days are far from over.

The Verdict:
“The Ballad of Bonnie and Carl” is more about the bridge and the verses than the actual refrain, as Carl’s age-defying exploits with his new crush played second fiddle to a host of different story arcs. Thankfully, everything here got its just desserts, and there’re definitely more hints at what’s in store than we can chew. Although I tire of repeating it, this was yet another awesome episode cementing what has been an outstanding overall season thus far.

Rating: 9

+Well, the ballad of Bonnie and Carl
+Frank’s last Alibi (see what I did there?)
+Jane be like: “F U, Fiona. You ain’t eva workin’ here again.”
+Mickey’s still an a**#@!&
-Debbie’s STILL tripping over Matt???

Shameless: A Jailbird, Invalid, Martyr, Cutter, Retard, and Parasitic Twin Review **SPOILERS**

This week of Shameless carries a bevy of distinctions as we acknowledge Lip’s growing role as the unofficial guardian of the Gallagher household, and Fiona’s polarizing court case. First of all, the episode title bears mentioning. It’s so long I had to abbreviate it to a slight degree of satisfaction. However, it’s importance is a little more compelling, as it highlights the difference between the family we grew up with four years ago and the one we are witnessing these days. “A Jailbird, Invalid, Martyr, Cutter, Retard, and Parasitic Twin,” or “J.I.M.C.R.aP.T,” sort of is the best way to describe who the Gallaghers really are if you sum them all up right now. And if you think about it hard enough, it’s funny as well because of how accurately they unintentionally represent all the deficiencies, disadvantages, and impoverishing struggles that everyday blue collars are currently experiencing within the outskirts of America.  If you’re like me and you have a comfortable bed to sleep in every night and you’re parents are hard working, honest folks instead of drug-festering, alcoholic degenerates, this episode is a constant reminder that you simply cannot take anything in this life for granted.

       This is a symbolic message that screams through the heart of every Gallagher we watch in this episode, but more importantly, it encourages a swift reality check in unexpected places. For example, when you start a relationship with someone you’ve become intimately involved with and then you’ve become a part of the reason for their mental collapse, you have to take responsibility for the s#*+ storm you’ve created. Mandy may be forced to work at the Waffle Cottage for lack of a college education, but at least she’s on top of her crap. The same couldn’t be said for Mickey until this week, who she prompts to go out and find Ian before he ends up killing himself. Their little hidden fling could not have ended on worse terms, and it certainly looks like all of Ian’s shenanigans since has been a huge middle finger to Mickey for how he turned his back.

     During various parts of the episode, I wondered if Mickey was starting to reflect on that. His homosexuality  has always been blatantly evident, and it was a nice touch seeing all sorts of people poke at it this week. Kev knows better than to use soap for deodorant because of pubic hair, and the manager at the White Swallow wouldn’t touch Justin Bieber with a ten-inch pole after admiring Mickey’s get up. It’s something that’s becoming impossible to hide, but Mickey continues to establish his manhood in plenty of great ways. His composed, mobster-like attitude with the manager was enriching, and his trip to the new gay bar Ian moved to made it very clear to the rest of us that he doesn’t care how gay he is so long as he can save his friend from an empty, drug-riddled void. Their encounter alone was equally magnifying. Imagine being in Mickey’s shoes, having to hear your old lover call himself “Curtis” while pent up in ecstasy and then require money and a lap dance just to talk about your day.  Shameless is a show that thrives on the bizarre and the ridiculous to an extent most shows don’t dare to reach. This scene was a masterful demonstration of that.  Thanks in large part to Noel Fisher and Cameron Monaghan’s impressively grounded performances, their short time together supplants most of what this show has had to offer all season long.

     Going back to the point of taking things for granted, Frank continues to wallow in denial and self-indulgence as he starts his own blog and experiments with Sammi’s oxy and heroin. All under her approval , I might add. It’s incredible how far he’s willing to go to avoid accepting defeat rather than realize that he does indeed have limited time in this world. Had Frank truly cared for his family or wanted to right the ship, he wouldn’t overdose on heroin in the bathroom and religiously take the oxy. It’s such a shame that Sammi is carless enough to let it happen, even though she simply wants to play nicey-nice with daddy. I feel for her lack of parenthood throughout her life, but endorsing her father’s reckless behavior just to avoid his criticism and give him what he wants is a spectacular stretch. William H. Macy and Emily Bergl continue to play out their dynamic with the same levels of mental insanity I fondly remember in Paul Dini’s Batman cartoon series with the Joker and Harley Quinn. It’s immensely complex, and unlike anything I’ve seen in a live action drama in a long time.

      Even though the rest of the Gallaghers didn’t evoke drama of the same caliber this week, the significance of their personal struggles were all on similar levels. Carl can’t stand how those two kids at school are ridiculing him over Liam’s cocaine overdose. Just ask Mongo and Lloyd. But unfortunately, a physical approach to scrutiny won’t fix the fact that his little brother could potentially be brain damaged.  He also finds out that it’s not Liam who’s retarded in this family,  thanks to an internet survey. I’ve always appreciated the fact that there’s been a more inquisitive, loyal and loving side to the character as opposed to seasons past. Carl’s love for his siblings has evolved tremendously these last few weeks, and even though he may be mentally retarded, the writers have figured out how to make these things work towards answering some longtime questions. I always criticized the fact that Carl was all about destruction and insults before, but it’s starting to make sense now considering that it took him this long to mature somewhat.

      Debbie’s “friendship” hit a wall this week as Matt has officially placed her on his friend zone. Ouch. After going to him for support following her brief indifference with Lip, she can’t seem to understand why he’d shut her down for taking things to the next level. This whole thing has been a typical teenage phase for Debbie, and it won’t go quietly in her mind. Thankfully it was handed as such: I’d hate to watch these two go out to dinner and do couple’s stuff, regarding the circumstances. I’m starting to warm up to Matt for the first time now that he’s put his foot down. He may still be a creep for inviting the idea of hooking up with a thirteen year old, but it’s about time that he realizes he should be interested in girls his own age. More importantly, we can move on from all this and Debbie could be involved in something more interesting. Maybe something like committing the worst, most amusing emo wrist slip ever. 

       Lip refuses to let what happened on Fiona’s birthday be something that could reoccur, even if that means bringing Liam along with him to school when he’s not home. I know that his decision to leave him with Amanda, Ron’s bitchy girlfriend, was a poor moral decision considering everything he’s went through already, but I think we were meant to see it happen to show how little he trusts his sister. We also got to see him connect with Amanda for the first time, mostly thanks to Liam’s presence.  I was beginning to tire of her non-influenced hatred for Lip, so hopefully this means they’ll finally get along. Lord knows Lip could use all the friends and support he can get with the weight he’s carrying right now.

      With Child Services making a visit any day now, he also has to maintain a level of general modesty throughout the Gallagher household. With Frank and Sammi’s behavior becoming too much to handle, he makes the ultimate decision to kick them to the curb while Fiona stands to watch. I loved this end to the episode, specifically because it’s emotional intensity was sparked from Lip’s argument with Fiona.  Another point I introduced at the start of this review was the idea of people in this series facing a reality check, and Fiona needed one now more than ever. Even after she finds out that she’ll only face house arrest and probation time by pleading guilty to the cocaine incident, she intends to remain content on proving otherwise and potentially facing jail time if she can’t (five years of it to be exact.) Lip absolutely disagrees with the notion, going so far as to say that she’s guilty and she did what she did that night regardless of it happening by accident or not. His verbal explosion was most certainly the icing on the cake, as he literally and figuratively throws all of Fiona’s selfishness right back in her face. Their argument was bound to happen at some point in time, and it was fantastically written and brilliantly acted by these two leads. The combination of anger and underlying disappointment in Lip’s face once he makes his point, and Fiona’s desperate cries for support, were all perfectly displayed by Jeremy Allen White and Emmy Rossum. It’s moments like these that have proven either one could take over an episode for extended periods of time and entertain at a consistently high level.

      Funny how I almost forgot about Kev and Veronica’s misfortunes this week. In an episode that dug deeper and deeper into the darker elements of the show, their series of unfortunate events went by with a bit more playfulness, which was relieving. Its too bad that the Alibi got robbed and Veronica lost one of their triplets during her current pregnancy, but I think it was worth seeing the way it was addressed as a means to balance out the emotional work with the comedic play.

 

The Verdict:

It’s been a long season for the Gallaghers, and “J.I.M.C.R.aP.T.” didn’t shine much of a light at the end of the tunnel. Thank goodness I can’t say the same for the rest of us, as this episode tackled a plethora of different plot lines all at once and nailed each and every one of them. Great writing, a world of excellent performances, and a wide array of laughs all culminate into one of the greatest, most cohesively layered and well put together chapters in the entire series. The Gallaghers still have a lot on their plate, as do others, but with two weeks to go ’till we get back on the El, this is the perfect 50 minutes of entertainment to re-watch while we wait.

 

Rating: 9.6 

+Lip and Fiona’s argument excellently performed, perfectly written

+Frank and Sammi’s father-daughter exploits finds new ways to fascinate

+Mickey’s journey to find Ian and fix the mess he’s (indirectly) made

+Kev and V, Carl, and Debbie’s side plots all well handled 

Here are some hilarious lines from this episode as well:

“Enjoy your coffee, f#$%@*! hole standers.”

“Hipsters, very good!”

“I’m sure you have some kind of, ah, sorority, cheerleader, mensa, vagina meeting or something.”    

“There’s a guy out there who’s here because he threw bleach on his baby mama.”

“Oh, please, don’t answer. God forbid you do something meaningful with your lives.”

“Anything with balls in it is good.”

“Gary broke up with me because his parents didn’t want him to have a baby, so I cut myself.”

“‘Smoking a coke-laced bowl of weed is the best high ever?’ Amateurs.”

“Relax Shaft, I’m leaving.”

Shameless: “Iron City” Review **SPOILERS**

Upon reading the Shameless message board on IMDB over the last week following “There’s the Rub,” I can’t help but to start this review off with some perspective on Liam’s sudden Cocaine overdose and Fiona’s arrest. It’s amazing how much of a fallout it has created, as well as how much anger it has flamed up inside the hearts of many towards Fiona’s irresponsibility. Throughout most of “Iron City,” we’re left hearing Kev and Veronica’s side of the story, stating they didn’t even remember seeing Liam before he found the coke. Here’s my opinion: In any responsible living environment, possession and/or use of any particular drug such as crack cocaine should automatically be prohibited, especially in the presence of children or minors. As much as Fiona and others believe it’s not her fault, wasn’t she snorting the cocaine with Carl and Debbie partying with her? What would she have said if one of them, both already aware of the effects of the drug, had voluntarily overdosed like Liam did? It’s difficult to call her out as the villain here, and as a fan of the series since its inception I simply can’t undermine all the contributions she’s provided for her siblings. However, even despite the potential influence of the cocaine laying on her coffee table, her actions were a direct, albeit brief release of care and awareness for others similar to that of her father, Frank. If this season continues to test Fiona’s willingness to maintain instant gratification, we could be witnessing a brave departure from the clan leader we all rooted for in the beginning. Interesting stuff, Shameless. Interesting stuff.

If there’s anything about Emmy Rossum we should be rooting for right now, though, it’s her performance here. She was simply outstanding, portraying a weaker, more shameful version of Fiona we haven’t seen before. I don’t care who you are, watching her breakdown in that prison cell while changing out of her street clothes was tremendously sad. One can almost feel her urgency to find out how her brother was doing, and her uneasiness to keep calm. Truly a one-of-a-kind episode in terms of emotions, Rossum capitalized on every one feeling she was meant to display.

And how ’bout another round for Jeremy Allen White, continuing to throw more fans on the Lip bandwagon. From the tense phone call with Fiona, to the two brief moments he spends alone with Liam in his hospital bed, this character is just right for his talents. I can’t remember the last time I saw Lip be bitter, callous and sensitive all in one episode, but White coasts along with the varying tonal degrees of the script with ease. However, the marked improvement he continues to make with his grades at college will most certainly interfere with his priorities. It’s tough to see that he’s starting to figure it out on campus at the same time his family starts to struggle mightily at home. Still, if he does indeed become the next guardian in line for Debbie, Carl and Liam then I’d be the last to call foul.

The end of the line seems to be closer than we’d assume for Frank, as his liver disease is now calculated to take his life in a matter of weeks. According to Dr. Zabel (Scott Grimes,) the sweat lodge that Frank instituted last week almost took his life, and now he’s been recommended to a hospice to spend his last living hours. Of course he takes exception to the prospect of dying under the same roof of a couple dozen sedated old folks, but for the obvious reason that he yearns to get back to the bottle. If Sammi can’t convince him then no one can, and she couldn’t. It only makes matters worse that she’s (finally) starting to question Frank’s appreciation of others, asking him about the night he hooked up with her mother (all of which included a washing machine for reasons too objective to point out here.) So long as Frank prolongs his health concerns and disappoints his kids, William H. Macy will continue to nail his role. Always able to make a dire situation into an hilarious venture, Macy shoots off some very funny lines in this episode with an alarming bluntness and carelessness of how they may make others feel. You can’t help but hate him, but you can’t help but love him as well.

There are a few more points I wanna make before I sign off here. Lip going to Mandy so soon for comfort involving Liam was a nice touch that may have gone unnoticed to many. Their failure to hold grudges against each other no matter what their previous squabbles were about entails that they could possibly be getting back together in a matter of time. Kev and Veronica sitting in Fiona’s kitchen was also a great scene because it allowed them to back up and think back to Fiona’s birthday. And Kev is right about the Gallaghers: as much as he wants to help them and bail out Fiona, they’re not his concern at the moment with four kids on the way. He’s even setting high expectations for them once they arrive (one of them is projected to be president.) Lastly, there’s the inevitable court case, where Fiona was tagged with an $100,000 bail due to Liam’s condition over at the hospital. It officially creates a bridge between her and Lip, while developing an uncertainty over how things will be handled at home. It also marks the last time we may see Mike, as he eventually ends up paying the required 10% of the bail that releases Fiona. I think having Carl make the call to alert him about the situation was a subtle plot decision, as it indirectly shows his character’s constant growth throughout the season. It’s nice to know that behind all the rambunctiousness lies a pre-teen who’s learning to look out for his family at the end of the day.

By the way, what’s going on with Shiela? Now she’s running off with runningtree (no pun intended) for a couple weeks because she hates being alone? There has to be some sort of scenario or story arc for her to be used more properly, or else she’ll end up being a waste of a character. Joan Cusack has done such a great job, and I just hate watching her get little next to nothing to work with.

The Verdict:
Luckily for the Gallaghers, they were able to find Frank and get him to the hospital in order to release Liam, as he was required to be present. The striking contrast of the last scene in “Iron City” was really moving: seeing the whole family crowd around a health(ier) Liam at the hospital, while Fiona returns home by herself with no job and no one around to acknowledge her release. Liam’s potential brain damage from the cocaine overdose, as well as Matty’s return will all be extra things to pay attention to as the season veers into the second half as well. All in all, “Iron City” was a nice slow burn from the incredibly heavy “There’s the Rub,” and while the humor was in spurts it still amused while the drama hit home hard. And in case you’re still wondering, Mike definitely does not want to see Fiona again.

Rating: 8.8

+Fiona in prison
+And Mike bailing her out of prison
+Frank’s health creating serious uncertainty with his life span
+Another stellar performance by Jeremy Allen White
+A bevy of nice little scenes on the side
-Shiela becoming a waste of a character, and fast