If there are still people complaining about the second season not being here and the first one only having 13 episodes: The original Spanish series currently (June 2018) has 15 episodes (part 1: 9 episodes, part 2: 6 episodes), each episode being 70 minutes long! That‘s what you‘re seeing here. Netflix made 40-55 minute episodes out of them, resulting in 13 episodes for the first part and 9 episodes for the second part, so that’s 22 episodes overall. A little confusing, but everything is right in Trakt.tv. There are 15 episodes in the spanisch release and 22 episodes in the Netflix release. And it‘s two parts in Netflix, not two seasons (yet).
The first 9 episodes aired in spain are the first 13 episodes in Netflix and the last 6 episodes aired in spain as a second part, are also the second part in Netflix, but with 9 episodes. It’s that simple ;)
And for those of you being like „Fix it!“ ... Trakt.TV pulls data from other databases (TMDB, TVDB), so that‘s where data comes from. Those databases are community driven, so if there actually would be an error, you could fix it yourself. But there isn‘t, so everything‘s fine! :)
Midsommar is a complicated beast. Those going for something as linear as Hereditary will be immediately disappointed by Midsommars somewhat convoluted plot elements and meandering pace. I sat in the cinema as the credits rolled by, deep in thought about what I just watched, and if it was any good. Nothing really sat well with me, and the film didn't really connect upon immediate completion, but I gave it time to digest.
Ari Asters two movies are very much at odds with each other. Hereditary slaps you with it's excellent presentation, pace, sense of dread and quality of acting on display. Then, upon further inspection, it's woven plot elements and symbolism shine through on subsequent viewing.
Midsommar is very much the opposite. The film almost dawdles in it's presentation and doesn't fully attack you with it's acting chops or narrative (although Florence is simply stunning in her portrayal of Dani). Midsommar more presents it's parts in a very matter-of-fact fashion, and then leaves it up to you to connect the dots of both the plot and what's on display. While there is far too much to unpack in this small comment section, I'd just like to detail some of my favourite themes on display in Midsommar, and why it went from a 6/10 during my cinema viewing, to a solid 8 - 8.5/10 upon reflection.
--- LONG DISCUSSION OF SPOILERS BELOW THIS POINT ---
One of Midsommars central parallels is the individualism/selfishness of Western life and it's stark comparison to the commune we are introduced to. Examples of this are: During the intro, Dani is going through the trauma of a suicidal family member and her boyfriend, Christian, is encouraged by his friends to abandon her in her time of need telling her to see her therapist as it's not his problem. Christian echos these sentiments directly to Dani about her sister, telling her to leave her alone as she is just doing this for attention. Upon arriving at the commune in Sweden, Mark is unwilling to wait for Dani to be ready to take shrooms. Josh, knowing of Dani's recent trauma involving death, subjects her to the suicide of the elders for his own thesis and research. Christian uses the situation to further his own academic efforts, much to the annoyance of Josh. Everyone is acting in their own self interest regardless of the emotional toll this takes on their friendships. This is a stark contrast to how we see the commune deal with distress, emotion and personal issues. When Dani sees Christian cheating on her, the female members of the commune bawl, weep, scream and cry along with Dani, literally experiencing her burden with her to lessen the load. As described by Pelle, the commune "hold" you during your distress, helping you cope and living through those emotions with you. This is further cemented by the scene earlier in the movie, shortly after Dani's sister commits suicide. We see Dani hunched over Christian's lap overcome with emotion, screaming out the pain of the loss of her sister. Christian is anything but present however, his eyes vacant as if he weren't there with her at all. This is possibly my favourite theme of the movie, as it really paints how alone we are in modern society regardless of how many people we surround ourselves with. How many people are actually there for us in our time of need? Sure, they might be physically present, but are they actually there, sharing our pain? It's truly terrifying to think about.
My other favourite theme is who is and isn't a bad person. I've seen many people online say they think Christian is a horrible boyfriend for how he treats Dani. While I can understand their position, I struggle to see how Christian is the bad guy for his actions. Christian finds himself in a dying relationship which he is mentally checked out from but decides to stay to help her through the grief of losing her parents and sister. Christian even goes as far as to bring her on vacation with him to help her through her trauma, even though he wants to split up with her. Would the audience have prefered Christian leave Dani right after she lost her family? That would have been MUCH worse. Do these actions warrant what happens to Christian? I don't think so at all. Christian is so misunderstood in this movie, I can't wait to see it again to draw more conclusions on his character. Is Josh a bad person for wanting to fully envelope himself in a foreign culture? Although we know it is largely for academic gain, Josh does seem to love learning about the culture of these people, wanting to see how they operate and know every intricacy of their faith. Does this warrant his murder for trying to document their sacred texts? Should an outsider be murdered for enjoying and absorbing someone elses culture and customs, or should they be thanked for their interest and passion? (Sidenote, I see Josh's character as a direct reflection of the usual racial stereotypes we see in movies of this ilk. Usually we see the white academic researching the savage native/minority tribe, but Josh is the exactly flip of this, which is a nice touch). Were Connie and Simon wrong for coming into another culture and expressing disgust at their customs? Should they have been so outwardly disgusted and vocal about their disapproval while being welcomed in by the commune? Sure it didn't warrant their ultimate fate, but this small subplot asks an interesting question about outsiders attempting to shape and alter other cultures and customs as it doesn't sit with their ideals.
Other small details:
While it's directly conveyed to the viewer that the red haired girl is attempting to cast a love incantation on Christian via pubes in his pie and runes under his bed, very little attention is given to the fact that Christians drink is a slight shade darker than everyone elses. From the tapestry we see at the start of the festival, we know exactly what the red haired girl has slipped into his drink :face_vomiting: Fantastic subtle horror/grossness.
Pelle talks about how his parents died in a fire and the commune helped him through the trauma of that loss. After the ending, it's pretty clear the fire wasn't an accident, and they evidently died for some kind of ritual.
Artwork above Dani's bed at the beginning shows a girl with crown kissing a bear. While direct foreshadowing to latter events, it also asks the question if this was all fate. Dani's sister's final message reads "I see black now" (potentially a reference to The Black One) before killing herself and her parents. Were Dani's parents 72 and this was the end of their cycle? Was Dani's sister already a distant member of the commune?
Runes are scattered all throughout the film to foreshadow certain character arcs or add more meaning. My favourite hidden rune is the doors to the temple, which when open, make the rune for "Opening" or "Portal". Amazing attention to detail.
Yeah, this movie is much MUCH better on reflection and I absolutely cannot wait to see it again. I really hope Ari's 3 hour 40 minute directors cut is released so there is more to dissect. While not as immediately impressive has Hereditary, Midsommar definitely has the layers and complexity to be a slowburn horror classic.
EDIT: I am now 4 days out from my first viewing and I've not stopped thinking about this movie. I've become a frequent visitor of the films subreddit and have even purchased/listened to the films dread-inducing yet somehow joyous soundtrack a number of times throughout the days. I've been reading up on runes and their meanings, reading up set analysis for hidden meanings and any other small details others can find. A movie hasn't vibed with me like this for a long long time so to reflect this, I think it's only right I bump my score from an 8/10 to a 9/10. When I can get my hands on the digital download/Blu-Ray, I'm sure this might even go higher.
Twilight becomes both much more funny and much more bearable when you are familiar with the genre and take it as the film equivalent of a shōjo manga or otome game, including all the same tropes. Under these criteria, it's actually a pretty fun movie.
Hot Take: If you can tolerate James Bond movies but this one somehow makes you feel weird, perhaps it's because you're more used to or more comfortable with male fantasies of sexual desirability. Either way, I used to hate Twilight because I felt superior to all the stupid girls who liked it. Now I just accept it for what it is: wish-fulfilment. Sure, Edward would be a creepy stalker and borderline abusive if not for story mechanics that tell us he can be trusted because he's a good guy, but that's the beauty of fiction: in real life there's no such thing as "good guys" and "bad guys," but in stories, there is. Similarly, James Bond would be a serial sexual harasser if not for the fact that all the women he encounters are super into him, but again, that's the beauty of fiction: they always are, and we know it's okay for him to be a dick sometimes because he is, you guessed it, a good guy. And yes, there's some weird puritan ideology here about the dangers of male sexuality, but that's still a hundred times better than for instance the subtext of Bram Stoker's Dracula (which, funnily enough, is about the dangers of female sexuality).
So, once more for the people in the back: Twilight is silly, implausible, and often ridiculous. And that's absolutely okay.
That being said, things I like about this film: the great way in which it captures teenage awkwardness (which I find hilarious and at this point have to believe is intentional); the fact that Bella just accepts he's a vampire because it's the most logical conclusion, and there's no drawn out "I can't believe this guy stopped a car with his bare hands, I'm going to tell everyone about it - oh no, no one believes me!"; the quotability of so much of the dialogue (coming close to the SW prequel trilogy in that department); the absolute dead-pan way in which everyone delivers their lines ("It's like diamonds. You're beautiful." - "Beautiful. This is the skin of a killer, Bella."); The way literally no one looks like they want to be there; the fact that Bella does not seem to be able to fully close her mouth; the implication that vegetarians are "never fully satisfied"; Seemingly endless scenes of piggyback rides (now I finally know why they never actually show how The Flash carries people - it just looks so fucking weird); the shot of Bella's father rolling his friend in the wheelchair right in front of the stairs leading up to his house, followed by a cut so that it's never explained how he actually got inside; the fact that Bella just seems absolutely chill with everything ("I don't sleep." - "Never?" - "No, never." - "Okay.").
Things I don't like about this film: how everyone takes it so goddamned seriously. Oh, and that there is absolutely no instance of "What are you?" - "A waitress."
From the comments here I think people are missing out the idea I think is behind the movie and it's actually a good one.
The level below doesn't exist. I think Goreng died at the bottom and threw the Panna Cotta because the rules of not keeping the food should still apply but didn't, as part of his illusion. The little girl couldn't survive the last level and was too clean for the place, also an illusion.
I think she's the Panna Cotta, which found it's way up and we see it in one of the earlier scenes, where the head chef tried to find whose hair is on the dish.
Goreng thought that his message doesn't need a messenger, that it will be clear - but it was missed. The administration, which I think is a analogy to God which is mentioned a few times in the movie and at every level the question of belief is asked, misses the whole point of it and is clueless to the pain and the suffering of the people below (Imoguiri worked for them, didn't know what the people really go through and thought there are only 250 levels).
They make everyone their favorite food of the highest quality and they probably think it's enough for everyone because each one should get his. The people being people, take more than they should or have to and as a result there's only enough food for the first 50 levels and the familiar hierarchy (the rich take most of the food that can be enough for everyone).
[8.2/10] I don’t know why this triggered it for me, but the second we saw Boo’s crying face, I knew that it was Fleabag who Boo’s boyfriend cheated on her with. I can’t explain it, but it triggered it for me, which just makes everything that leads up to the show explicitly acknowledging that feel like a slow, despondent slide.
It’s a slide where the show systematically removes every bit of support and connection from Fleabag. It starts at the “sexposition” where her stepmom’s passive aggressive power move leaves Fleabag serving drinks and humiliated. It continues with her weird, pseudo-philosophical lover guy effectively dumping her, while revealing that she was his mistress the whole time. It continues with an appearance from Harry, who has a new girlfriend that seems to know the stepmom, and who rejects Fleabag’s advances. (By the way, holy hell it seems like the stepmom really upped her revenge efforts here -- she’s not a fighter, she’s a plotter and she’s frighteningly good at it.)
But then the hits really come. Claire is still with Martin, who lied and said that Fleabag tried to kiss him not the other way around, something that Claire believes given what happened between Fleabag and Boo.
Holy hell is that a bomb. It hurts because not only does it sever what is arguably the most important connection in Fleabag’s life, but it’s a reminder that Fleabag herself ruined the other most important connection in her life and that it led to her friend’s death. That’s a harrowing thing to deal with.
Before the show fully and finally pulls the rug out from under her though, it gives one little moment of solace with her dad. I love their little conversation, one that reveals despite the emotional distance between the two, they’re actually very much alike. (And I like the little synchronous nose-wipe as a key to that.) Both of them are smarting from the loss of a woman in their lives who meant the world to them, and both grasped at some kind of happiness and intimacy and ability to move on. As big as the Boo cheating reveal here is, the dad reveal is in some way more significant, showing that they’re both making bad or unhelpful or at least impacted decisions given how much the person they lost is still on their mind.
But even that bit of solace is temporary, as the stepmom rears her ugly (smiling) head and to preserve that happiness, dad tells Fleabag she should go. Her family has taken sides against her and in favor of their significant others, leaving her with nothing and no one.
Or so she thinks. It would be bold for a show like this to end with Fleabag trying to end her life the same way Boo inadvertently ended her, trying to give herself the karmic punishment for the harm she caused to someone who was nothing but a force for good in her life. There’s the suggestion of that with her speech about why she’s so promiscuous -- she feels like her body is the only thing she has, and so she seeks out the contact to get validation for the one thing that she thinks gives her any value or any chance at connection.
Instead, the guy who denied her a loan in the pilot shows up again randomly to prevent her walk into the bike lane. He doesn't have any grand speeches, but he gives her the same kind of message that Boo once did -- that everyone makes mistakes, that people who act out in this way aren’t happy, and that it’s why pencils have erasers. Fleabag did wrong, but she is allowed to be happy, just as her father is. The bank officer redoing her interview is a wonderful dose of sweetness to end things on, with the right bit of humor and an incredible performance from Phoebe Waller-Bridge.
Overall, it’s a great finale that pays off so much so well, and an excellent season of television which brings laughs, drama, and well-observed struggles to life in engaging and occasionally heartbreaking ways.
I am 100% satisfied with this ending. One of the best series finales I've seen and it truly did the story justice. Okay, so first of all; I love love love Bonnie. Always have, always will. Nobody will ever change my mind about this. To see her die (and I blame Frank for it) was heartbreaking. I always hoped she would have a happy ending because she has been through so much. However, I think the way they wrote it was beautiful and it made sense. To have her die like this, alongside Frank (damn you Frank!), in the arms of Annalise, it brought everything full circle. She did her part and now she rests.
I LOVE the funeral scene, seeing moments of Annalise her life with Tegan, seeing Oliver, Conner and Laurel older and CHRISTOPHER! I know some people hoped it was Wes but I like this way better. And that accent! O my god, YES and that he - of all people - is the new professor for that class, being mentored by Annalise... I cried so much happy tears.
For a moment the writers had me concerned that after all these years they would break up Oliver and Conner, thank God they didn't. This was by far the best couple on the show and I never once gave up on them. I'm also very satisfied with how things ended for Michaela, she was selfish from the start and ended up 'alone' which served her right.
So this is the end, bittersweet and I will need a moment - like days - to process this. Fantastic show, always in my heart.
I'm just, wow. I don't really know how to say it and probably there are people out there that already write about this episode better than me, but, holy shit right in the gut. The song before Rebecca got her diagnosis was spot on, and I just, sometimes angry with people that say "You don't need labels honey" like, no. I want to know who else have the same labels like me so I can share my story with them so that I can have someone THAT ACTUALLY going through stuff like me. To finally found someone that says "oh wow, yeah, that's just like me dude", it's priceless, that kind of feeling
And also the stuff with Valencia, I was afraid that she's gonna turn back into her S1 self, but after we learned what really happened, man, it broke my heart. The way Rebecca said that she can't promise it to Valencia, and even herself, that was real. I just, Rachel Bloom keep saying this show isn't that meta, but fuck man, that was real. Because you know if this is another show, Rebecca would say that she promise not to kill herself and then they have a group hug, and "happily ever after". But here, it's not like that. It's constant battle, and it's what makes this show fucking awesome
My thoughts about the story lines:
I feel so bad for Sierra. That poor girl really needs to cut ties with Lip and Charlie at this point. But I'm surprised in a good way that Lip actually wants to rethink everything. I'm one of the people who actually liked to see Lip and Sierra together, but I think Lip made the right decision.
And right after that I had to roll my eyes at the "I am Ian Gallagher" scene. Especially Ian's smug smile just annoyed me. I really hope this story won't drag through all of the next season.
I was really proud of Liam that he gave Frank the wrong code. I always feel kind of bad that no one protects Liam and makes sure he doesn't get involved with Frank, but I'm glad to see the little guy knows what's right.
Glad Fiona got things done with the homeless family, but I'm still confused by this story line. People said she didn't call the police because Gallaghers don't snitch, but she was nearly getting sued for multiple million dollars and she already had a lawyer, so that just seems weird. She also had witnesses that could confirm it's her dog, the family never signed a lease or anything, the whole building belongs to her etc. I really don't know how the law regarding that works in America, but I always thought she had the upper hand here. Besides that I really hope she'll get rid of that douche Ford in the next season. What an obnoxious and arrogant guy.
And the ending made me happy - Carl on his way back to military school. THANK GOD. I was so worried he would drop out. The scenes with Kassidi had so much energy, but I was upset she dragged him down like this.
Overall this season felt slower. I did enjoy it, but it felt different, like the writers had no idea what to do with the characters. I'm also really, really sad to hear that Svetlana will leave the show. Her marriage actually felt like the beginning of a new story line. She's one of my favorites and I'll miss her character on this show.
I wouldn't go out of my way to recommend this show to people and especially not to people who have a hard time with teenagers and drama, but personally I thought it was entertaining. I wouldn't call it high quality or unique, but it did surprise me positively. The first two episodes were kind of slow and lacking something, but from episode 3 on something clicked for me and I enjoyed it.
So all in all I was surprised by a few things and ended up enjoying it and I'm looking forward to an announcement for season 2 :)
This is an episode about life and death. Tony and Carmella talk about Tony getting a vasectomy, about his ability to create more life. And Tony berates and then makes peace with A.J., the life that he created. At the same time, Christopher experiences a vision or a dream or something that makes him think he saw hell, and it prompts everyone to think about what comes next, even Paulie, who takes things so literally that he has his sentence in purgatory calculated and is trying to pay the priest protection money.
It's also an episode where everyone's justifying what they do and what they have to do. Tony sees himself as a soldier and "soliders don't go to hell." Paulie imagines his time in purgatory in relation to eternity. Even Melfi is justifying to herself continuing to see Tony even though she seems to know on some subconscious level that it's a dead end and compromises her "ethically and professionally."
And Tony and Pussy have their "Avon and Stringer on the Balcony" moment together. That and the scene with Tony and AJ were very affecting. Not to mention the looks exchanged by Tony and Carmella where nothing really is said, but despite her moral reservations, Carmella is grateful that Tony avenged Christopher. There's something hanging over the episode - Christopher coming close to death seems to pull the fragility of everything into focus for the lot of them, but it's not enough for any of them to really change. At the end, Carmella implicitly endorses her husband's lifestyle, and the angels are watching, and maybe waiting.
This season in a nutshell.
Charles: I have done by best. My very best, and I am suffering!
Elizabeth: No, you are not suffering. We're suffering having to put up with this! Let me make something clear. When people look at you and Diana, they see two privileged young people who, through good fortune, ended up with everything one could dream of in life.
No one, not a single breathing, living soul anywhere, sees cause for suffering.
Charles: They would if they knew.
Elizabeth: Knew what? They know that you betray your wife and make no attempt to hide it. They know that thanks to you, she has psychological problems and eats or doesn't eat or whatever it is she does or doesn't do. They know you're a spoiled, immature man, endlessly complaining unnecessarily, married to a spoiled, immature woman, endless complaining unnecessarily.
And we are all heartily sick of it. All anyone wants is for the pair of you to pull yourselves together, stop making spectacles of yourselves, and make this marriage and your enormously privileged positions in life work.
Charles: And if I want to separate?
Elizabeth: You will not separate or divorce or let the side down in any way. And if one day you expect to be king...
Charles: I do.
Elizabeth: Then might I suggest you start to behave like one.
Mike drops
THE CORD
-50-
Romero.
Why do you turn your back on an insane killer?
Romero got stupid in the Final season. :(
I'm dissapointed that the recordings of Chick weren't seen or mentioned again...
There was some great potential!
Now it's just a dead end...
And for that a senseless Storyline.
I was looking forward to the research of the police.
Just got little bit's of it in the Episode before (Which was truly great!) and the Final was just a 08/15 revenge Story...
Why?
There was stuff that didn't got touched, which could have made the Ending much better!
Caleb!
Bradley!
But that would have required a "Crime-Scene" Storyline!
And how can Norman come home?
Wouldn't there be police, because they normaly asume that Romero or Norman would come home!
Just saying.
Dylan apparently can only speak to Norman in the kitchen.
Not in another room where, let's just say, are no knifes?!
Or anything at all to get in trouble!
And what's up with the trend of killing of the Main Character in the Final?
I'm mean sometimes it fits.
But I would have loved it, if Norman ended up in a Clinic.
Why?
Because she wouldn't even harm a fly.
In spite of everything the callback to the First Episode (Which I alway like in a Final) and the Final Scene where Great.
When I saw billboard for "Fireflame" I remembered the storyline I was looking forward the most in the second part of the season.... The rumors probably true - Netflix did pull the plug earlier than creators were planning.
But I, personally, always have conflicted feelings about "meaningful endings" vs "life keeps going" ones.
Previous episode was powerful punch in the gut, the pool was a neat Madman's type bow on the whole ordeal... but it would have been too easy. Too poetic. Too dramatic. For the show itself and it's main character.
This one let's you go easier, there are no catharsis (almost) or as writers very subtly called it ''disaster'' this time. But in away it's even more harsh to Bojack this way. Mr. Peanutbutter does "one's step forward, two steps back" routine. HollywooB didn't change, and therefor Bojack will be 99% chance back running in circles, even through he did changed, ironically enough.And finally the last scene was perfect - Diane delivered the gut punch, amazingly, entirely through subtext. And simultaneously made the right decision to cut him from her life. Overall it was the right call to end story here.
This was amazing show that would be constantly rewatched missed.
In addition to just being a god-awful episode that rushes through what could have been a decent if predictable season arc in one episode, this episode pulled the good old rape as backstory. But not just that, gang rape of a teenager. There's nothing wrong with dealing with those tough issues in media, but this show does NOT have the tact and respect necessary for these issues, and it comes across as anything from pandering and misguided, to being unsure how to deal with female characters, to oddly, uncomfortable and almost certainly unintentionally voyeuristic. There's one moment, in a flashback, that shows one of the main characters as a teenager (no exactly defined age, but implied to be around 16) just after being raped, with her breast hanging out of her bra and shown on camera.
This may just be the single most tasteless moment I have ever seen on TV. This is a teenager (in this case portrayed by a 23yo actress, but that doesn't change the text) after being sexually violated by a group of men in what the episode sets up to be her lowest moment...and you feel the need to show us her breasts? WHY? What is the point of that? That was a completely unnecessary shot and there is no justification for it anywhere else in the episode - which is prone to gratuitous nudity in an unusual departure from the rest of the season - either. Just disgusting. The entire way this was framed was disgusting and in poor taste. And while this may not come through clearly in this comment, it will be absolutely clear to you when watching. Just let me reiterate: the problem is NOT the subject matter. No subject matter is off-limits for art. The problem is the framing of it.
I feel like Facebook was just blowing up with thoughts on this documentary for a while there. So, I figured I had to watch it to see if people were being crazy, or if the was actually amazing. Well, kind of in the middle I think. In terms of a documentary, I think this was pretty well done. Now, you have to look at it like it is a documentary set out to make an argument. If you think it is made with every bit of evidence and isn't trying to prove that the police are bad and the accused are innocent, you are really missing a lot here.
A documentary doesn't need to be unbiased (unless they claim to be). They just can't make things up for me to like it. However, I have to admit that I'd have loved the finals episode to be someone from the other side making their case for why this dude is guilty. I keep seeing articles online doing that, and I'll be reading some soon here. Instead I think they did make this a little longer than necessary. I'd have preferred it being only 6 episodes or so and just get through it a little faster.
All in all, very good and interesting. Just don't watch this and assume it is absolutely, 100% accurate. At least look into other sources before you sign a petition.
Was this a series finale? Because it sure as hell felt like a series finale. If it was, it was absolutely perfect, so, in a way, I hope this is where Elementary ended. We already have BBC's Sherlock in the UK, no need for Elementary to cross that line and start to get even more similar to the British series.
These last two episodes were actually quite above average than the rest of the season (which was rather forgettable, to be honest about it). Regardless of this being a series finale, the season ended on a high note, at a point where I already didn't have much hope for this show. I was pleasantly surprised!
I would like to keep watching more Elementary but this ending is just too damn good to go to waste, so...
I just googled a bit and found out that the show will be back for its seventh season next year. There goes the perfect ending for Elementary, there's no way they can top this one. What's worse, I'm sure the crappy episodes will keep pouring in (as it has been the tendency of the last few seasons)... Sigh!
Anyway, this episode was, indeed, written to be a series finale, that's why it really feels like one. This article provides good insight on this season finale (and a bit of what's to come next season):
https://tvline.com/2018/09/17/elementary-recap-season-6-finale-sherlock-joan-move-to-london/
What was annoying with the Coven season was that nobody ever stayed dead. Resurrection is supposed to be one of the seven wonders but there are way too many characters that can do it and everybody keeps being brought back to life. Some were supposed to really be lost for plot reasons... but Michael could still bring them back in this season. Now when Michael kills people he also destroys their soul, so this time they definitely stay dead for realsies. NOPE, because TIME TRAVEL ! Oh! Come! On!
After all this tile, we had to wait until the second half of the last episode to continue where we left at the end of the third. And that was... disappointing to say the least.The confrontation is almost inexistant. They bring back Marie Laveau just for fans service, she's just useless.
And solving everything by time travel just sucks. Specially cause I saw that just one day after a totally unrelated blockbuster that I'm not going to spoil here.
The post end part makes no sense. So Mallory stays in the past ? Why doesn't she come back to her own time ? Does this means that if she had succeded in saving Anastasia she would have stayed there too ? That would have been kinda counterproductive. And then where is her past self ? Is there two of her ? Also doesn't anybody feels that she has the power of a Supreme ? Can two Supremes coexist ?
And then the two kids from the beginning. They were the only one chose for their genes and not wealthy people. So that's why. However, it does not make much sense that they would be needed after the end of the world and the antichrist were already there. We know that Michael went to this outpost because of Mead, so what was this whole interview thing ? Was he looking for them ?
So yeah, the usual abandonned plot holes, like in every season.
