Top Movie Trilogies

I did something for the first time and went to the movies on Christmas. I was looking to kill a couple of hours and what better way than at the multiplex. Of course Christmas is a big release date for many movies, especially for films looking to contend for Oscars (Unbroken, American Sniper, Selma). I wasn’t in the mood for a heavy drama, so is settled for The Hobbit: The Battle of the Five Armies and all of its visual effects. Overall, it was pretty much what I expected.

I would have to say that the final installment to The Hobbit trilogy is the worst of all of director Peter Jackson’s ventures to Middle-earth. You could argue that the relatively short novel would have been better as one or even two movies, but it wouldn’t be Hollywood if a franchise wasn’t milked and dragged out for as long as possible. Some cases work better than others, although it’s always nice to have more opportunities to see characters and stories that we enjoy. Maybe I’m just bummed that I don’t have any more Peter Jackson movies about Middle-earth to look forward to.

So what makes a quality trilogy? Many times, the second film is better than the first, and the series is closed out with a strong third film. Other times, a good concept is just beaten to death and takes away from an exceptionally good first film (did we really need two sequels of The Hangover?). Obviously the three films have to link together, but it also helps if each film can stand convincingly on its own.

I originally wrote and compiled the following list after seeing The Dark Knight Rises in the summer of 2012 before I established this blog. I eventually posted it on its own personal page that earned little to no web traffic. I have made some minor adjustments in the rankings and have added additional commentary where necessary based on current events. Despite any changes, the core of the list still holds true since I compiled it two years ago. Although they were all decent and entertaining movies, unfortunately The Hobbit series didn’t make the cut. But agree or disagree, here’s a take on the top ten movie trilogies of all time.

Honorable Mention: Alien, Die Hard, The Evil Dead, Mad Max, The Matrix, Rocky, Spider-Man, Superman, X-Men.

All of these film series have provided us with memorable characters (Ridley, Ash, John McClane, Neo, Rocky Balboa), and could be considered in an argument of cracking the top ten of movie trilogies. In most cases, one film in the series does not live up to the other two (Alien 3, Spider-Man 3, Superman III, X-Men: The Last Stand, both Matrix sequels), but are worth mentioning and were taken into consideration.

10. Terminator

One could argue that this series belongs in the honorable mention for the reasons I just mentioned. Terminator 3: Rise of the Machines is a sub-par film compared to its predecessors, and is missing both James Cameron’s direction and Linda Hamilton’s aggressive presence as Sarah Connor. But it is still a decent film. The original Terminator is a sci-fi film before its time, and introduced Arnold Schwarzenner as an action star. Terminator 2: Judgment Day is one of the best movie sequels ever and an overall great action movie. The series went on to spawn 2009’s Terminator Salvation and the short lived television series Terminator: The Sarah Connor Chronicles, becoming one of the most influential movie series of all time. Its impact is still being felt with next year’s Terminator Genisys, which will reboot the series and bring Arnold back to the signature role. And with Khaleesi Emilia Clarke as Sarah Connor, I’m all in.

9. The Bourne Trilogy

Twelve years ago in the wake of such films as The Talented Mr. Ripley, The Legend of Bagger Vance and All the Pretty Horses, could you have envisioned Matt Damon as an action star? Me neither. But he pulls it off as Jason Bourne, everyone’s favorite rouge assassin suffering from a bad case of amnesia. For spy films, these movies have it all; fast-paced action, suspense, and some pretty ridiculous car chases. You can’t go wrong with any of these films.

  8. Back to the Future

You can’t come across one person who grew up in the 80s that dislikes these films. Robert Zemeckis’s saga brings action, adventure, comedy, romance and loads of fun as we follow Marty McFly and his travels through time, played with brilliant charm by the always delightful Michael J. Fox. You might ask yourself why a teenager that is aspiring to be a rock star is hanging out with a crazy wild-eyed scientist in the first place. Who cares. Pick up a copy of the twenty-fifth anniversary edition, sit back and enjoy the ride.

7. The Dollars Trilogy

The plots and characters in A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly are not connected in any way. The only exception is Clint Eastwood’s character, considered the “Man with No Name.” Even though he has a different name in each film, he wears the same clothes and portrays each character the same way. And he’s always out looking for a way to make a buck, no matter how dangerous. What they did do was introduce the “Spaghetti Western”, a genre based on Sergio Leone’s much imitated directing style that changed cinema. They were also the first leading roles for Eastwood, helping him reach his eventual superstar and tough guy status. Even though they’re not considered a trilogy in the traditional sense, these films will be linked together forever, and have a lasting impression on modern cinema.

6. Toy Story

These films might be catered towards a younger audience, but there filled with creative storytelling and loads of fun. The original Toy Story was the first all computer generated film brought to us by Pixar, and was a ground breaking achievement in animation. The sequel is equally good, and even though Toy Story 3 wasn’t released for another 10 years, it was well worth the wait, bringing a resounding and warm conclusion to the trilogy. The voice work on these memorable characters is spot on, and these films should be treasured for many years.

5. Indiana Jones

I’m referring to Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade. It’s unfortunate we have to associate Indiana Jones and the Kingdom of the Crystal Skull with its predecessors, but we still have the first three to fall back on. Harrison Ford strikes gold as Indiana Jones, the whip-wielding, Nazi foiling archeologist. Bringing in Sean Connery as Indiana’s disapproving father and River Phoenix as a young Indiana Jones in Last Crusade gave it more a comic twist than the previous films. But Raiders is a classic and the best of the three, and it’s evident the more times you watch it.

4. The Dark Knight Trilogy

Christopher Nolan’s films provide the best portrayal of Batman onscreen in any format thus far, while also surpassing every other superhero trilogy. These films also delve the most into the psyche and determination of Bruce Wayne, played to perfection by Christian Bale. Beginning with the excellent and underrated Batman Begins, we experience the full background of what motivates the billionaire playboy to don the bat suit, which is only touched upon in Tim Burton’s Batman and Joel Shumacher’s Batman Forever. The action continues from the opening frame all the way through the ending credits in The Dark Knight, highlighted by the late Heath Ledger’s academy award winning performance as Batman’s psychotic arch nemesis, The Joker. The epic force that is The Dark Knight Rises vaults this trilogy to this position. We learn the final fate of Batman as he meets the ultimate rival in Bane, the mercenary terrorist hell-bent on bringing down Gotham City, and the ending does not disappoint.

3. The Godfather

This was a tough choice. I almost put Batman here, and the main reason is for the unwarranted The Godfather III. But when two of the three films are two of the top movies of all time, you have to show some respect, especially to the Don of all mob movies. The Godfather and The Godfather II are epic films that both won best picture, with some arguing that the sequel is better than the original. Regardless, the saga of the Corleone family is the mecca of crime stories. Based on Mario Puzo’s best-selling novel, they’re family dramas as much as they are movies about the mafia underworld. Filled with stellar acting, beautiful scenery and brilliant directing from Francis Ford Coppola, these films are cornerstones of American cinema.

2. Star Wars Episodes IV-VI

The series that took us to a galaxy far, far away, George Lucas’s visionary saga changed filmmaking history. The original Star Wars enthralled audiences upon its release in 1977, only to be topped with The Empire Strikes Back, with Darth Vader becoming one of the most sinister villains we’ve ever seen on screen. All of our questions are answered in Return of the Jedi, definitely the weakest of the three films. Jedi has a strong start, until the Imperial Army armed with laser guns and blasters are defeated by a group of walking teddy bears using sticks and rocks. It was apparent Lucas had other money making notions on his mind when ending his trilogy. And it worked. Star Wars has become one of the most influential trilogies in not only film history but in popular culture, spawning the prequel trilogy along with numerous books, toys, comic books, and multiple animated television series. The franchise is in good hands with J.J. Abrams, who has done a quality job with the Star Trek reboot. Only time will tell if Abrams's trilogy will someday earn a spot on this list.

1. The Lord of the Rings

J.R.R. Tolkien’s epic tale of good versus evil is the first great work of fantasy literature. Without it there might not have been villainous characters such as Darth Vader and Lord Voldemort. Director Peter Jackson’s does a spectacular job of bringing Tolkien’s story to the big screen, providing dazzling effects on the backdrop of breathtaking scenery. All of Tolkien’s memorable characters are brought to life by a perfect ensemble cast. The friendship and bonds that were developed between the cast members over the year of filming in New Zealand is translated onto the screen. The only weakness is that The Return of the King doesn’t feel like it’s going to end, but it’s the emotional appeal in these films that ultimately vault them to the top spot.          

My 20 Year Old Playlist

It's hard to believe that the end of 2014 is upon us. What’s harder to believe is that this year marked the thirtieth anniversary of Ghostbusters, the Macintosh personal computer, and one of the greatest NBA drafts that featured Hakeem Olajuwon, Charles Barkley and Michael Jordan. It also marked the twentieth anniversary of the last work stoppage in Major League Baseball, the O.J. chase, and the Nancy Kerrigan/Tonya Harding scandal. Although 1994 was marred by these events, it was a huge year for rock music.

Back in April I wrote about the impact of Kurt Cobain twenty years after his death. In that post I emphasized how 1991 was unrivaled in its rock releases, which included Nirvana's Nevermind, U2's Achtung Baby, and Metallica's "Black Album." If 1991 spawned the grunge era and gave us the birth of alternative music, then 1994 was its multi-talented offspring.

Don’t’ get me wrong. By 1994, hip hop had also cultivated into the main stream and was rivaling rock in its popularity, and that year saw its share of quality releases. OutKast came on the scene with Southernplayalisticadillacmusik, and Nas’s Illmatic and Notorious B.I.G.’s debut Ready to Die are considered by many to be two of the greatest rap albums of all time. But that is an argument and topic for a future column.

Why bring all of this up? Earlier this year Rolling Stone listed the top alternative albums of 1994, calling it “the year where the losers finally won.” Recently Weezer released the song “Back to the Shack,” where Rivers Cuomo sings about “rockin out like it’s ‘94” and that we should “turn up the radio” and “turn off those stupid singing shows.” I must say I wholeheartedly agree. 

One of the points brought up in the HBO series Sonic Highways, which chronicles the Foo Fighters making their new record of the same name, is that many recording studios are failing. These days artists can produce music at home on a laptop, and don’t choose and support a studio just because of the way the drums sound in a specific room. It’s sort of a dying art. The show also provided an in depth historical account of American music, and shows that the history of the culture is important not only for educational purposes, but for inspiration as well. It all has put me in a nostalgic mood, and this was simply a topic I’ve wanted to tackle for some time now.

In 1994 I entered my senior year of high school, and it was not only important time in my life, but that of many other young people. The music at the time was the soundtrack to my life, and most of it still is now. Just put these albums in a playlist and throw it on shuffle. The music still holds up today. So let’s take a trip down memory lane and revisit one of the last great years in rock. I hope it spurs some fond memories. I know it has for me.

Alice in Chains, Jar of Flies

Release Date: January 25, 1994

Considered an EP, the grunge masters of despair and addiction gave us this release of acoustic numbers. Although stripped down, it is still omnipresent with the late Layne Staley’s gloomy vocals, and shows the depth of guitarist Jerry Cantrell as a songwriter. A bridge between their best album Dirt and what would eventually be their last studio album with Staley Alice in Chains, it’s a quality set of somber songs. Highlighted by the radio hit “No Excuses” and the underrated “Don’t Follow,” Jar of Flies is an unorthodox but pleasant surprise from the otherwise alt-metal rockers.

Meat Puppets, Too High To Die

Release Date: January 25, 1994

At the time brothers Curt and Cris Kirkwood were best known for their guest appearance on Nirvana's MTV Unplugged special, sitting in to cover three of their own songs. The truth is that the Meat Puppets had been around since the early 80s, with eight records already under their belt when this album was released. Too High to Die is a mix of hard rock ("We Don't Exist"), blues ("Roof With a Hole"), and even country ("Coming Down"). They scored a radio hit with "Backwater," but the records finest moments come in the ballads “Why?” and “Shine.” To this day the Meat Puppets are still touring and putting out quality music, but Too High to High can be looked at as one of their finer efforts.

Green Day, Dookie

Release Date: February 1, 1994

When “Basket Case” hit the airwaves, this album picked up steam and never slowed down. Delving into the monotony of adolescent culture, Green Day’s major label debut gave us a solid collection of three-chord power anthems and a punk revitalization. Along with “Basket Case”, the record produced other singles “Long View”, “When I Come Around” and “She.” The band’s performance at Woodstock that summer was the highlight of the weekend, and also helped vault their status. In spite of their rambunctiousness, Green Day are quality songwriters, exemplified in their rock operas American Idiot and 21^st Century Breakdown. The undervalued ¡Uno!, ¡Dos! and ¡Tré! were overshadowed by Billie Joe Armstrong’s onstage meltdown and admittance to rehab at the end of 2012. But it all goes back to Dookie, which is not only Green Day’s best record, but one of the top albums of 1994.   

Beck, Mellow Gold

Release Date: March 1, 1994

Do you remember when “Loser” was lighting up the airwaves? I sure do. Besides the popular radio hit, the rest of Beck Hansen’s premier album is a mix of stoner rock, psychedelia, country, and even rap. There’s nobody better that blends musical styles as Beck, and Mellow Gold provides us a sampling of what would eventually come from him over the course of his career. Although some of the production is primitive, it still holds up as not only one of Beck’s best records but a one that defined alternative music.

Nine Inch Nails, The Downward Spiral

Release Date: March 8, 1994

I never was into this band, but this album is worth mentioning. Nobody at the time was producing the sound that innovator Trent Reznor and Nine Inch Nails had come to master, at least not anybody that you ever heard of. NIN introduced industrial music to the mainstream, and The Downward Spiral was the catalyst. Even though it not as influential as their debut album Pretty Hate Machine, Reznor’s tortured anthems “Closer” and the haunting “Hurt” became synonymous with the angst-ridden music associated with the time period. Reznor has gone on to compose music scores for movies, even winning an Academy Award for The Social Network. His roots will always be with NIN, with The Downward Spiral vaulting him to the pioneer that he is today.  

Soundgarden, Superunknown

Release Date: March 8, 1994

Most bands have a signature album that defines them, which is usually their best. Think of Dark Side of the Moon, Led Zeppelin IV, or The Joshua Tree. That record for Soundgarden is Superunknown. The grunge masters followed up the excellent Badmotorfinger with the even better set of heavy riffs and arrangements, capped off by Chris Cornell's signature howl. The mainstay on MTV was "Black Hole Sun," but this is a record that can be listened to straight through without any blemishes. Soundgarden never reached the popularity heights of their contemporaries Nirvana or even Pearl Jam, but Superunknown can hold its own with anything that came out of the Seattle grunge movement during that time, if not all of rock.

The Offspring, Smash

Release Date: April 8, 1994

The punk revolution continued on The Offspring’s third studio album, and the title lives up to its up-tempo power chords and delinquent themes, making it a great selection for your workout playlist. The radio hits “Come Out and Play,” “Gotta Get Away” and “Self Esteem” vaulted the record to the top of the charts and the band into the mainstream. Selling six-million copies, Smash is still the top selling independent label record of all time. As of 2012 the band was still releasing new material, but nothing will top the success and influence of Smash.   

Hole, Live Through This

Release Date: April 12, 1994

Violent guitar riffs. Anguished lyrics. Enraged, screeching vocals. What else would you expect from Kurt Cobain’s wife Courtney Love? Released a week after Cobain’s death, Live Through This is one of the last great, explosive grunge albums. There were even rumors that Cobain wrote most of the material on the record, which wouldn’t surprise me due to the fact that the Smashing Pumpkins Billy Corgan is given writing credits on Hole’s follow up album Celebrity Skin. These rumors were later discredited by multiple sources, including Love. She has admitted that she was competitive with Cobain and wanted to be better than him as a songwriter, and her efforts show here. Live Through This is a mainstay of the grunge era, and belongs amongst its more well-known Seattle peers.

Live, Throwing Copper

Release Date: April 19, 1994

I owned the 'cassingle' for the song "Selling the Drama" and listened to it in my buddy's car on the way to school before Throwing Copper took off. After the first single, this album went on to produce three more definitive hits in "I Alone," " Lightning Crashes" and "All Over You." This might be the most underrated album on this list for being a solid rock effort, and there's not a disappointing song on the whole album. It's unfortunate the band never went on to duplicate its success. Singer Ed Kowalczyk left the band in 2012, and the remaining members have pressed on without him, even releasing a new album this year. Rock fans still have Throwing Copper to fall back on, and it should be considered one of the better releases of its time.

Weezer, Weezer (Blue Album)

Release Date: May 10, 1994

The nerds of alternative rock exploded on the scene with their debut album filled with catchy hooks and power pop tunes. Although the record is filled with loud guitars, Weezer stood out from other bands at the time, not succumbing to the doom and gloom topics of their grunge contemporaries. Along with the radio hits "Undone (the Sweater Song)" and "Say it Ain't So," the highlight of the album is "Buddy Holly," enhanced by its unforgettable iconic video that submerged the band into Arnold's from Happy Days. My personal favorite is "In the Garage," a relatable song about singer Rivers Cuomo's geeky hobbies and personal comfort zone. Whether you love or hate Weezer, there's no denying that "The Blue Album" was a defining record of not only 1994, but of the entire decade.

Beastie Boys, Ill Communication

Release Date: May 23, 1994

Like some of the other albums on this list, I was at Newbury Comics, a local record store in the Boston area, to buy this album the day it came out. "Sabotage" was already a hit on the radio and MTV, and this was a release I was eager to get my hands on. When I got it home I must have listened to the opening track "Sure Shot" multiple times before really listening to the rest of the record. Although Ill Communication isn't your typical rock album, the Beasties have always toggled the line between alternative and hip hop. Similar in style to its predecessor Check Your Head, the tracks on Ill Communication go back and forth between the band jamming on improvisational instrumentals and their signature emceeing. Adam “MCA” Yauch lost his battle with cancer in 2012, so the days of the Beastie Boys are behind us. Ill Communication remains a solid contribution to the otherwise exceptional catalogue of these rap pioneers and Rock and Roll Hall of Fame inductees.

Stone Temple Pilots, Purple

Release Date: June 7, 1994

Stone Temple Pilots were another band that reaped the benefits of the grunge movement thanks to the success of their excellent and raw debut Core. While their sophomore effort Purple has a more polished sound of where the band was heading, it still shows signs of its hard rocking predecessor. “Vaseline,” “Interstate Love Song” and “Big Empty” were all over the radio and are staples of mid-nineties rock. STP continued through the rest of the decade, highlighted more by singer Scott Weiland’s addiction issues than the music they were producing. After Weiland’s stint fronting the super group Velvet Revolver, STP reunited for their welcoming 2010 self-titled album. Although the most recent news is continued friction between Weiland and the other band members, there’s no denying that Purple was an iconic success for one of the biggest bands of the 90s.

Oasis, Definitely Maybe

Release Date: August 30 1994

The debut album from Oasis was released to critical acclaim in Britain and eventually caught on in America the following year with the help of singles “Supersonic” and “Live Forever.” As one part of the ever feuding Gallagher brothers, guitarist Noel brought us a set of songs fueled by power chords and molded out of classic British rock. The band’s sound evolved in their sophomore release (What’s the Story) Morning Glory?, introducing keyboards and ballads that lead to further praise and success. Although at times the band made headlines more for their antics than their music, they continued to make albums for more than a decade, with their last studio release coming in 2008. Through all of their turmoil, there’s no doubting that Definitely Maybe is one of the finer debut albums we will see from any rock band.  

Liz Phair, Whip Smart

Release Date: September 20, 1994

Although it wasn’t as much of a commercial success as most of the other albums on this list, the second release from this indie artist deserves to be recognized. Phair is no stranger to controversial material, beginning with personal relationships and sex. Whip Smart isn’t on the same level as Phair’s critically acclaimed debut Exile in Guyville, but the shocking lyrics that made Phair so influential are still there. Plus tracks like “Supernova” and “Whip Smart” are catchy enough to play on a continuous loop in your head. The album didn’t leave as much of a cultural impact as Exile in Guyville, but is still a quality record for its time.  

Dave Matthews Band, Under the Table and Dreaming

Release Date: September 27 1994

Before college kids across America jumped on the Dave Matthews Band summer concert bandwagon, the band released this major-label debut. The blend of acoustic guitars, horns and string arrangements were unlike anything in popular music at the time, drawing fans to their unique instrumental sound. Off of the singles “What Would You Say” and “Ants Marching,” the band’s success took off and never slowed down. Even with a number of additional studio albums and live releases under their belt, the band has never able to match the elegance and splendor of its roots in Under the Table and Dreaming. 

R.E.M, Monster

Release Date: September 27, 1994

After Out of Time and the exceptional Automatic for the People turned R.E.M. from a cult band in the 80s to a mainstream success in the 90s, the godfathers of alternative rock put down their mandolins, plugged in their guitars and cranked up the feedback. Mixed with singer Michael Stipe’s distorted vocals, Monster was an unconventional rock record highlighted by themes and darker lyrics that are a far cry from “Shiny Happy People.” The anguish is exemplified in the haunting “Let Me In,” where Stipe implores to save his late friend Kurt Cobain. After drummer Bill Berry left the band in 1997, the remaining members continued until they officially disbanded in 2011. The height of their commercial success ended with Monster, only reaching multi-platinum status one more time in the U.S. with their 1996 release New Adventures in Hi-Fi. R.E.M. is one of the most influential bands of our time, with Monster being their deepest and most underrated album of the band’s thirty-one year tenure.     

Nirvana, MTV Unplugged in New York

Release Date: November 1, 1994

Arguably the best unplugged special from the MTV series, the surviving members of Nirvana released their acoustic set roughly a year after it originally aired on the network. The album included two additional tracks that were not shown on the original broadcast, totaling fourteen songs made up of six covers and a minimal number of hits. The result is a beautiful and elegant set of stripped down numbers that displayed the complete capabilities of the band. With the help of special guests the Meat Puppets, Nirvana covered three of their songs and made them their own. The same goes for covers of David Bowie, the Vaselines and Huddie Ledbetter. Although we only witnessed a microcosm of Nirvana’s potential, it’s almost fitting that this is one of the last memories we’ll have of Kurt Cobain. MTV Unplugged in New York is not only a remarkably fitting set and an emotional performance, it’s a chilling reminder of what might have been.

Tom Petty, Wildflowers

Release Date: November 1, 1994

This has to be my favorite record on this list. After working with producer and fellow Traveling Wilbury Jeff Lynne on Full Moon Fever and Into the Great Wide Open, Petty teamed up with Rick Rubin to release what is technically a solo album. The result is a set of stripped down and more laid back tracks than some of Petty’s more recognizable stadium rock anthems, and it’s a pleasant change from his two previous albums with Lynne. The record had its share of hits, but it’s the breezy jewels like “Wildflowers,” “Time to Move On” and “To Find a Friend” that are the record’s brightest moments. Petty is still going strong, releasing the excellent Hypnotic Eye this year and supporting the record with a North American tour. Wildflowers still remains one of the best efforts from one of America’s all-time great songwriters.

Pearl Jam, Vitalogy

Release Date: November 22, 1994

The only other band that rivaled Nirvana in popularity during this period was fellow Seattle rockers Pearl Jam. Without a radio single or video, their sophomore album Vs. sold almost a million copies in its first week of release in October 1993, setting a record that held for five years. Where Vs. has a punk feel to it at times, Vitalogy is a heavier rock album, even in its ballads. It provided the popular tracks “Corduroy,” “Immortality,” and “Better Man.” This was also the time that Pearl Jam waged its war against Ticketmaster, which caused the band to play a limited number of shows in the U.S. over the next couple of years. This put a hindrance on the band’s future album sales, and currently Vitalogy is the last Pearl Jam album to reach multi-platinum status. Still the band has a devoted fan base, and continues to produce music and tour. Vtialogy is one of the last reminders of the early 90s grunge era, and a record that capped off this historical year for rock music.  

'Sons of Anarchy' Takes its Farewell Ride

After seven seasons of lies, madness, mayhem, blood and tears, Sons of Anarchy has come to a resounding conclusion. After much anticipation, we learn the final destiny of Jax Teller and the rest of the outlaws that make up Sons of Anarchy Motorcycle Club, Redwood Original (SAMCRO). Like most of the series, it didn’t sell out or disappoint.

If there’s something to be said for Sons of Anarchy, stemming from the show’s creator Kurt Sutter, is that it’s daring and provocative. I can’t think of another television series that killed off as many main characters over the duration of a series, and all done in dramatic fashion. Donna, Half Sack, Deputy Chief Hale, Agent Stahl, Otto, Piney, Clay, Eli, Tara, Bobby, Juice, Unser, Gemma. The list goes on and on. There was none that was more shocking and devastating than Opie, Jax’s best friend and family man that is sucked back into the outlaw life after doing a five year stint in prison for the club. Since rejoining the Sons, events in Opie’s life start to spiral out of control, beginning with the shooting of his wife Donna by another member of SAMCRO in a case of mistaken identity. A fan favorite, Opie ends up sacrificing himself to save Jackson. It was a brutal scene to watch, but Jax knew deep down that Opie was looking for a way out since the Donna's death, which Jax would later admit to the rest of the club. It was a moment that showed the extent that Sutter was willing to go for the sake of the story, and that no character was safe.

From the beginning, the show could be viewed as the legacy of the Teller family. It was a Shakespearean tragedy on Harleys. Early on in the series, Jackson finds the writings of his late father John Teller, who was a co-founder of SAMCRO. In his journal, JT expresses that the club had lost its way from its original purpose of brotherhood, mainly since the Sons had delved into the gun-running business. It becomes Jackson’s purpose to fulfill his father’s vision to legitimize SAMCRO, only to see his efforts bring the club further into transgressions, deceit and bloodshed. As the series progressed and Jackson dug the club deeper into turmoil, the episodes became more in depth, longer, and overall the show became better.

This last season saw Jax hell bent on seeking revenge for the murder of his wife Tara, leading a trail of chaos and bodies in his wake. As an audience we all knew it was the matriarch Gemma that killed Tara in a fit of rage, thinking Tara had made a deal with the district attorney to rat on Jax. Little did Gemma know that Jax was willingly turning himself in for the sake of Tara and their two sons. It was probably the first decent act by Jackson throughout the series, and it lead to the untimely death of his wife. It’s when Jax learns the truth about his mother and the eventual events triggered because of her lies that leads to his last selfless act. As the final scene of the finale shows, Sutter also had a knack for choosing the perfect song for the many musical montages throughout the series.

Charlie Hunnam as Jax Teller

Unlike other antiheros similar to Jax in recent television dramas (Walter White, anyone), Jax comes to a realization about himself and what he must do to as his final resolution. “I’m not a good person. I’m a criminal and a killer. I need my sons to grow up hating the thought of me,” he admits Jimmy Smits’s Nero, Jax’s friend and business partner. At Jax’s insistence, the club votes unanimously for him to meet Mr. Mayhem. When Jax makes one last visit to District Attorney Patterson to tell the truth about Tara’s murder, she asks him what’s going to happen at the end of the day. “The bad guys lose,” is his only response. He then in Michael Corleone fashion, he finalizes all club business before taking his final ride.

One of the underlying questions going into this season was what was going to be Jax Teller’s fate. Also, how was he going to leave things with Gemma when he found out the truth about Tara? The final scene between Jax and Gemma was something we all expected. Even Gemma knew it had to happen. There was no real surprise there. Although ultimately Jax didn't fulfill his father's wishes, he finally understood who JT was and what he was trying to accomplish. He didn't legitimize the club, but he made things right for SAMCRO and more importantly, his two boys. The way he went out could be viewed as over the top, but for an entire series that was known for its outrageousness, it was a fitting way for the wild ride of Sons of Anarchy to end.

There's Always Next Year, Part 5

Sunday, October 24, 2004

           

For the first time in almost twenty years, The Red Sox were heading back to the Fall Classic and would be facing the St. Louis Cardinals, and the effects were felt all throughout the city of Boston. The story was all over the local news, on the radio, and it was being talked about everywhere. Fans were exuding a mixed sense of confidence and jubilation. The catch phrase was the same everywhere you went: Go Sox! It was a great time to be a part of the city of Boston.

My Uncle Ray and I were heading to the bleachers for game two. Game one had been on Saturday night, and my father went with Josh. I didn’t have many opportunities to go to games with my uncle, but I appreciated it when I did. I thrived off his passion for the game, which was always in full display. He always increased my enjoyment of the whole experience of attending a baseball game.

I missed most of game one because I had to attend a wedding. I spent most of the night running between the reception hall and a separate bar that had the game on. The Sox were up 7-2 early, but allowed the Cardinals to tie it up in the sixth inning. Thanks to a late inning home run by Mark Bellhorn, the Sox would go on to take game one 11-9.

           

I had a much more positive attitude compared to the Yankee series. The way I felt about the rivalry with the Yankees over the years was that they were the bullies of the playground, and the Sox were a constant victim having their lunch money stolen. There was a lot more tension in the ballpark during those games, and when they were over I always felt drained. But now the Sox had stood up and defeated the bully, and with the roll they were on, they appeared to be untouchable.

.          

Schilling was starting for Boston. I wasn’t sure how he would be able to follow up his performance in New York, but he was up to the task. He pitched six innings, allowing only one unearned run. The Sox pitching was too much for the Cardinals to handle, and the Red Sox took a 2-0 series lead with a 6-2 win as the series headed to St. Louis. Sox fans, including myself, could feel what had eluded them for decades finally within their grasp.

Wednesday, October 27, 2004

           

Alan and I once again decided to go out near Fenway, this time meeting friends at Tequila Rain on Landsdowne Street. As we walked down Landsdowne, many fans were lined up at the other bars and clubs that occupied the street located behind the Green Monster. I was worried that we weren’t going to be allowed into the bar because the place was already going to be full.

           

Once inside, we made our way towards the large back area, which opened up to a long bar along on one side of the room with numerous large screen televisions on the wall behind it. Tables were packed in all throughout, and we were able to find a seat relatively close to the bar. It was a great venue to watch any type of sporting event.

Game three of the series was on Tuesday, and the Cardinals couldn’t figure out Pedro Martinez, who pitched seven shutout innings. St. Louis would score their only run in the bottom of the ninth, but it wasn’t enough to beat the Sox, who took game three 4-1.          

Derek Lowe started for the Red Sox in game four, and was just as masterful as he was in game seven in New York, giving up only three hits and no runs in seven innings. The Sox scored three runs early, and were holding onto the 3-0 lead as the game rolled towards the later innings.

           

As the ninth inning approached, I was standing next to the table that my friends were occupying. Reminiscent of Coogan’s only a year before, I found that I couldn’t sit. I was brewing with nervousness, excitement and anticipation. I didn’t know how I was going to handle a wish that I had been holding onto since I was a child finally coming true.

When Red Sox pitcher Keith Foulke made the final out of the game, broadcast announcer Joe Buck said the words that will reverberate in my mind forever.

           

“Red Sox fans have longed to hear it. The Boston Red Sox are World Champions.”

           

As the bar went crazy, so did the players on the field. The Red Sox all rushed towards the pitcher’s mound, jumping on top of each other. The leaps of joy turned into embraces as the cameras worked their way between the players. They all received World Series hats and t-shirts, and eventually moved the celebration from the field to the locker room for toasts and champagne showers.

The party in the bar made its way out to Landsdowne Street. Everyone was cheering, exchanging high fives and hugs. Alan and I shuffled through the crowd, following droves of people heading away from the park towards Boylston Street. For a long while we joined fans strolling up and down the middle of Boylston, reveling in the festivity.

As the crowds began to thin out, Alan and I headed back home. I was too amped to even think about sleeping. I continued to watch the celebrations on television, switching between the team’s highlights in St. Louis and the stragglers who were still hanging around the streets of Boston. Eventually I forced myself to turn the television off, and was able to find some sleep.

Saturday, October 30, 2004

           

I met a group of my friends behind my office early in the morning and we began walking up Commonwealth Avenue towards Kenmore Square. It was the day of the rolling parade, where the Red Sox would ride on Duck Boats through the city, saluting fans and showing off the World Series trophy.

           

As we arrived on Boylston Street in the Back Bay, people were already lining up on the sidewalks to claim a front row seat. We decided to duck into Whiskey’s, one of the several bars across from the Prudential building, which was already starting to fill up. A beer at 9:00 in the morning never tasted so good.

           

The parade began around 10:00, and hit Boylston Street shortly thereafter. As the Duck Boats rolled by, the reality of what I had experienced over the past couple of weeks really hadn’t sunk in yet. I still couldn’t believe they had won. But they had finally done it. A group of self-proclaimed “idiots” had defied the odds and had broken a curse that had been hanging over the organization for eighty-six years. They had done it not only for me, but for Red Sox fans young and old all over the world.

I later found out that on the night they won that my father and my uncle were on the phone with each other at the end of the game; my father at his home in Massachusetts and my uncle at home in Florida. My uncle had taken my grandfather’s ashes off his mantle, and was holding them on his lap during the final out. My uncle even flew up from Florida to attend the rolling parade. For many around Boston and New England, the win meant more than just the breaking of a curse and trophies. It bonded family, friends and generations, and we gladly thanked them for it. For my family, the years of agonizing and torment we subjected ourselves to had finally come to an end. More importantly, fans no longer had say those words that had haunted them for decades: “There’s always next year.” Next year had finally arrived for Red Sox Nation, and it will hold a special place in our hearts and memories forever.

There's Always Next Year, Part 4

Friday, October 8, 2004

           

The Red Sox ended up with the Wild Card playoff spot and drew the American League West Champion Anaheim Angels in the Division Series. Being the Wild Card and not winning the division, they had to open on the road in the best three out of five game first round series. The bats opened up for the Sox in Anaheim, outscoring the Angels 17-6 to take the first two games. Game three was home at Fenway, where the Sox would look for a sweep of the series.

           

One concern for the team was the status of Curt Schilling. After leading the team with twenty-one wins during the regular season, Schilling was called upon to pitch game one in Anaheim and set the tone for the rest of the rotation. He pitched a solid game, allowing two earned runs over 6 2/3 innings, but he re-aggravated a right ankle injury from earlier in the season. It was being diagnosed as tendinitis and Schilling was scheduled to make his remaining scheduled starts for the rest of the playoffs, but it was a little concerning to fans and something to keep an eye one.

           

The Red Sox would be sending Bronson Arroyo to the mound to attempt to close out the series, and the Angels would be countering with eleven game winner Kelvim Escobar. The Sox faced Escobar once during the regular season in July, where he we was outdueled by Pedro Martinez in a 4-2 loss.

           

My dad and I took our normal route to the park for the 4:10 start. October weather was similar to early April; you needed layers, especially when the sun went down. With the winter months looming the night air tended to be more brisk.

           

The level of excitement from attending a regular season game was multiplied a hundred times over for a playoff game. The amount of fans walking around the ballpark before the game seemed to magnify, giving off a positive buzz with the anticipation of winning the series.

           

If there was any drawback of not having season tickets for a full season, it was that we were relocated to the bleachers for the entire post season. The seats were further off the field, and being more outside the action and surrounded by more people, there were tendencies for more distractions from the game. Plus most of the seats around Fenway were not built for the average size adult, being cramped on top of each other with not much leg room. I could usually follow multiple conversations of people sitting around me. But there was a totally different atmosphere in the bleachers, where most fans had two beers in their hands at all times during the game. I always had a blast, despite the diversions and the loud fan sitting behind you. We ended up in section forty, a small triangle of seats right behind the Red Sox bullpen. It was a good vantage point close to the field and straight back from the pitcher’s mound.

           

The game could not have started out any better. The Sox opened up a 6-1 lead after five innings, and Arroyo pitched a solid game, striking out seven Angels and allowing only two runs over six innings. It appeared they were on their way to an easy victory until it unraveled in the top of the seventh. After three walks and a single, the Angels scored a run and still had the bases loaded with their slugger Vladimir Guerrero coming to the plate. On a 0-1 pitch from Sox reliever Mike Timlin, Guerrero hit a towering shot that looked like it was going to clear the atmosphere.

           

“It’s coming right at us,” I said.

           

The Sox right fielder Trot Nixon made an effort on the ball, but it was no use. It cleared the wall in right center field for a grand slam. An engulfing groan was heard throughout the crowd. The game was tied at six. I couldn’t help but provoke that familiar sinking feeling in my gut. Was this all going to unravel right before my very eyes?

           

Our prayers were answered in the bottom on the tenth. With a runner on first base and two outs in the inning, Boston’s “Big Papi” David Ortiz hit the first pitch he saw off Angels’ pitcher Jerrod Washburn over the Green Monster. The ball park exploded. The team’s signature victory anthem, The Standells’ “Dirty Water”, was drowned out by the massive cheers.

           

The ballpark emptied out into the streets, where the cheers and energy of the crowd continued. As my father and I circled the ballpark, fans were calling for the Yankees, who were still dueling with Minnesota in their first round series. But Sox fans knew the inevitable, and with a potential rematch of 2003 looming, they wouldn’t have it any other way.

Tuesday, October 12, 2004

           

My buddy Jeff and a couple of other friends were picking me up at my apartment in Watertown. We were going to a concert out in Worcester, a city in the central part of the state about an hour from Boston along the Massachusetts Turnpike. I was looking forward to the concert, but I would be paying a price. The Red Sox would also be opening the American League Championship series in New York. I had bought my ticket for the concert months in advance, and unfortunately the timing couldn’t have been worse.

           

Overall I was pretty confident about the game. Curt Schilling would be taking the mound for the Sox in game one against the Yankees’ twelve game winner Mike Mussina, who was 1-1 in three starts against Boston during the regular season. This was the type of game that the Sox acquired Schilling for, and fans were expecting him to step up. Mussina on the other hand had been a thorn in the side of the Red Sox since signing with the Yankees in 2001. That same year, he almost threw a perfect game in September at Fenway Park. In game seven of the championship series in 2003, he pitched three stellar innings of scoreless relief, holding the Sox at four runs that allowed the Yankees to ultimately rally back in the game. It had all the makings for a classic matchup.

           

We made it to the arena in Worcester, but in the back of my mind I couldn’t help thinking how I was allowing myself the miss the game. Why on earth did I buy a ticket for a concert in the middle of October? My friends were in the same predicament, but it didn’t seem to bother them as much.

           

It turned out I didn’t miss much of anything. About halfway through the show I made my way to the concourse to fill up my beer. One of my friends was already in line, and I caught him just as he was hanging up his phone.

           

“Any word on the game?” I asked him.

           

“They’re losing 6-0. Schilling got shelled,” was all he could reply.

           

On the ride home we listened to the late innings in the car. The Sox were able to pull within one run in the top of the eighth, but the Yankees scored two more runs in the same inning. I was confident they had one more rally left in them, but up by three with two outs in the eighth, New York brought in Mariano Rivera to close out the game. Rivera didn’t actually arrive to Yankee Stadium until the second inning, flying directly from Panama after attending the funeral of two family members. It didn’t deter him from doing his job. After forcing first baseman Kevin Millar to pop out to end the eighth, he pitched a scoreless ninth to earn the save, a routine that Yankee fans had grown accustomed to in October.

           

The biggest concern for the Fenway Faithful was the status of Curt Schilling. His ankle injury appeared to be more serious than originally anticipated, and the Yankees took full advantage. He had ruptured the membrane surrounding a tendon, and his outlook for the rest of the postseason was doubtful. Talks of surgery in the offseason were already being discussed.

I couldn’t believe this was happening. The one guy the Sox brought in to help them over the hump and break the curse was going to succumb to an injury. It appeared the repeated nightmare of falling short to the Yankees was coming true all over again. With the luck of the Red Sox and what I’ve experienced in the past, what else was there to expect?

Saturday, October 16, 2004

           

Alan and I left Watertown on the afternoon of Friday the 15th and began driving into the city to attend game three until the radio told us that the game was postponed due to the weather. Watching the rain come down on my car, I was a little relieved we didn’t have to brave the elements. We turned around and headed home.

           

Saturday turned out to be a decent day and my dad and I headed to the game. Bronson Arroyo would be pitching for the Sox against the Yankees Kevin Brown. Boston was in a 0-2 hole coming back to Fenway, losing a tough pitcher’s duel in game two. Pedro Martinez allowed three runs over six innings, but it wasn’t enough. The Sox bats were stifled by Jon Lieber, who allowed just one run over seven solid innings. Boston desperately needed to win game three to put themselves back in the series.

           

Back in the bleachers for the 8:10 start, the atmosphere had a heightened sense of anticipation from the Division Series. During the regular season, Yankee games were always special events, and the crowd is fired up from the first pitch. In the postseason, this attitude was amplified. Knowing how important this game was, fans also were restless.  

           

When the Yankees started the game with three runs in the first off a Hideki Matsui home run, my heart sank into the pit of my stomach. This was turned around with the Sox scoring four in the second, with a little help from a Trot Nixon home run. Alex Rodriguez led off the third with another home run, and the Yankees scored two more runs in the inning. The Sox answered with two more runs of their own, and the game was tied at six after three innings.

At this point both starting pitchers were out of the game, now having to rely on their bullpens, benefitting from the extra day of rest from the rain. In this offensive slugfest, I could only wonder who was going to yield first. Which bullpen would step up and shut down the other team’s offense over the next six innings?

           

Unfortunately, it wasn’t the Red Sox. The Yankees scored another eleven runs, and the Sox were trounced in game three, 19-8. When the game was pretty much in hand, my dad and I said goodbyes to some of the fans sitting around us, and headed for the exit. Looking dejected, my father made one thing clear to me as we left the ballpark.

           

“I can’t come back here tomorrow and watch the Yankees sweep us. I just can’t.”

           

I could only nod my head in agreement. As much as we tried to remain optimistic, it was tough to shake the same old feeling that we’ve grown accustomed to. History was not on our side either. No team in Major League Baseball had ever come back from down 0-3 to win a playoff series. If the franchises’ past and Schilling’s injury was any indication, it looked like it was going to be the same old result for the Red Sox; they would suffer yet another humbling defeat at the hand of the New York Yankees.

Sunday, October 17, 2004

           

With little argument from me, my father gave the tickets for the game that night to my cousin. I was very content with sitting in my warm and comfortable living room and watching the game on television. Plus I shared the same sympathies with my dad; if the Red Sox lost, I didn’t want to be there in person to witness it.

           

Alan and I settled into our recliners and prepared for an evening strenuous television watching. The Sox were giving the ball to Derek Lowe in an attempt to salvage a win, while the Yankees were countering with the “El Duque” Orlando Hernandez and his high pitching leg kick.

           

Lowe pitched a decent game, lasting into the sixth and surrendering only three runs. El Duque was equally effective, also allowing three runs over five innings. With a 4-3 lead, the Yankees called upon Mariano Rivera once again in the eighth inning to earn a six out save. Rivera did his job in the eighth, and the Red Sox were down to their final three outs.

           

I was sitting on the edge of my chair, my heart in my throat as Kevin Millar made his way to the batter’s box to begin the ninth. The camera panned through the crowd at Fenway, showing faces of fans clasping hands in front of their faces, hoping for any sort of life from their team. Their prayers were answered when Millar drew a five pitch walk just as the clock struck midnight at Fenway. Cinderella wouldn’t be going home from the ball just yet.

           

As Bill Mueller approached the plate from the on deck circle, Dave Roberts came out of the dugout to pinch run for Kevin Millar. Roberts was a speedster, who stole thirty eight out of forty one bases during the regular season. Right away, he stretched out to a big lead off of first base.

Rivera threw over to first three times to draw Roberts back to the bag, but it didn’t matter.

           

“He’s going,” I said. We both knew it. Rivera knew it. Everyone at Fenway Park knew it.

           

When Rivera finally delivered to home plate, Roberts took off. The pitch was high and outside, but it was in the vicinity that Yankees’ catcher Jorge Posada could make a throw to second base.

           

In that split second, all I could think of was the worst. Roberts was going to be out, and the Sox were going to squander their first base runner of the inning on a stolen base attempt. I almost didn’t want to watch, but my eyes were seared to the television. I held my breath as the throw made its way to second.

           

Roberts slid on the right side of the bag as Derek Jeter covered the base. The throw was close, but Roberts was able to sneak his left hand on the base before the tag could be applied. Safe!

Fenway erupted. I let out a sigh of relief as I sank back in my chair.

On the very next pitch, Mueller drove a base hit right past Rivera up the middle into center field. Roberts was on his horse, and came around to score the tying run. Fenway exploded again as the Sox were back in the game.

At this point I was physically and emotionally exhausted, and wasn’t sure how much more drama I could take. But nobody was heading to the exits at Fenway, and I wasn’t about to call it quits either.

The Fenway Faithful were rewarded for their patience, and it was well worth the wait. In the bottom of the twelfth inning after a Manny Ramirez single, David Ortiz was the hero again, hitting a home run to right field. The Sox dugout emptied as Ortiz made his way around the bases, and Fenway erupted one last time. After five hours and playing into the wee hours of Monday, the Sox had forced another game that would be played later that night. And I needed to get some sleep.

Tuesday, October 19, 2004

The Sox had brought the series back to Yankee Stadium for game six. Game five was another marathon, clocking in at just less than six hours. It went into the fourteenth inning and required more late inning heroics by David Ortiz. After hitting a lead-off home run in the eighth inning to help tie the game at four, Ortiz singled up the middle in the fourteenth to score outfielder Johnny Damon and win the game 5-4. Big Papi was turning into Mr. Clutch, willing the Sox to victory when they needed it the most.

Game six was a different story though. It was announced that Curt Schilling would taking the mound for the Red Sox, even on his injured right ankle. He would be pitching with a torn tendon in his ankle, which was being held down by three stitches. Jon Lieber would once again be starting for the Yankees. Wild horses couldn’t have dragged me away from the television.

Alan and I assumed our same positions in the living room. It was a cold, raw night in the Bronx with a light mist in the air. Neither team scored a run through the first three innings, and Schilling looked like he was on his game.  In the fourth inning the Sox opened up for four runs with the help of a home run from second baseman Mark Bellhorn. They would hold on to win 4-2 to force a game seven.

The story of the night was Curt Schilling, who was simply masterful. When he took the mound in the first inning, blood was already seeping through his right sock, which the broadcast kept focusing on throughout the game. He allowed only one run through seven innings and silenced 55,000 New York Yankee fans. For me, it was the gutsiest performances by a Boston athlete since Larry Bird. The bloody sock, and the win, would be a part of Red Sox lore for many years to come.

Wednesday, October 20, 2004

Here we go again. For the second straight year, the Red Sox and Yankees would need a deciding game seven to determine who was going to win the American League Pennant. I couldn’t help but feel positive about the game. The momentum was all in the Red Sox favor, and I thought they had an edge in the pitching matchup. The Sox would be relying in Derek Lowe, who pitched well in game four. He would be facing Kevin Brown, who only lasted two innings in game three at Fenway.

Alan and I decided to head to Boston Billiards to meet some friends and to watch the game. Right down the street from Fenway, it was a great place to mingle with other fans that would have an animated atmosphere. We arrived there early enough that we were able to score a great seat in front of their big screen television. The main bar, shaped like a giant horseshoe, was right behind us. Past the bar was a giant room, lined with rows of pool tables. As the first pitch drew near, the tables and the standing room between our seats and the bar filled in all around us.

The game couldn’t have started any better. The Sox put two runs on the board in the first inning off of a David Ortiz home run. This was followed in the second by a grand slam to right field by Johnny Damon, who had been struggling at the plate throughout the series. The bar was in mayhem as the Sox took a 6-0 lead, and the level of confidence in the room jumped through the roof.

All I could do was revel in the enjoyment of the rest of the game. Derek Lowe pitched a gem at the right time, allowing only one run through six innings. Johnny Damon hit another two run home run in the fourth inning. The Sox not only beat the Yankees, but they embarrassed them. Fans in New York could only watch in disbelief as the Red Sox finally turned the tide on the Yankees, winning game seven 10-3. The Sox were finally making their way back to the World Series.

The celebration in the bar spilled out onto Brookline Avenue. We slowly maneuvered through the cheering crowd towards Fenway and Yawkey Way. All the other bars in the area were emptying out into the streets. Fans were climbing on top of cars, and some were even scaling light posts. Everyone was in unison enjoying the moment, and nobody was ready to go home.

           

Although the Sox still had four more World Series games to win, they finally did it. They passed the biggest hurdle of all, topping the mighty New York Yankees. What made it so special was the fashion they came back to win the series. I was ready to count them out, but the team never gave up. The accomplished the greatest comeback in sports history, and they were riding the momentum into the World Series.