I am part of the misunderstood minority who was quite pleased with how the show ended, back in season 8. But getting some more Dexter Morgan is genuinely something I cannot say "no" to! I really missed him and his Dark Passenger.
I was expecting Debra to replace Harry and I wasn't disappointed. Looking forward to see how much of a moral compass and influence she'll be to Jim — sorry —, to Dexter.
Having our favourite inconspicuous serial killer living a peaceful, normal life in a small town is absolutely lovely, and it makes for a really good setting for when things will start to go sour (because we all know they will, we've watched Dexter before). Seeing Dexter wrapping a room in plastic, just like in the old days, gave me a comfy and warm nostalgic rush, as if everything is now in its right place. However, the setup to the killing and the killing itself felt all bit clumsy, and I don't mean it in the sense that Dexter is out of practice. Something about the scenes and the dialogue didn't feel quite right... Still, I guess it fits the tone of the show, given its current context.
Also, a quick shout-out to this episode's soundtrack, which was really enjoyable, taking into account both the tunes I recognised and the ones I didn't.
This was a solid season opener, Dexter's still got it, and I am bloody excited to devour this new season of the man giving in, once again, to its primal urges.
[8.9/10] Another great one. I liked each element of this one, so let’s take them one by one.
For one thing, I loved the sheer comic setup of Claire’s awards presentation. Fleabag tooting in the elevator in response to her sister’s admonitions not to steal the spotlight may be my favorite fart joke ever. (A lofty achievement, I know.) Claire dropping and shattering the award, sending her scampering, is delightful. And Claire’s “sex on the brain” responses to everyone, coupled with Fleabag trying to be demure makes for a great comic setup. It’s a semi-zany sitcom-like premise, but it works like gangbusters.
I also really like what it reveals about Claire. This is one of Claire’s moments to shine, and as much as she has her life nominally together with a family and a good job and this type of success, she feels like she’s a failure because she can’t command a room or make everyone laugh like her sister can. It’s a great “the grass is always greener” moment. It’s easy to see Fleabag as the black sheep, but Claire envies her sister in certain ways, at that reveals a certain vulnerability that’s really interesting. Also the line “we’re not friends, we’re sisters” is quietly devastating, and ties in nicely both with the season’s themes and with the closing scene.
But before we get there, we have to have the awesome conversation Fleabag has with Belinda! I’ll admit, this is probably the most didactic and writerly that Fleabag has been, which means I should be rolling my eyes at it, but I genuinely loved Belinda’s speech to Fleabag. The idea of women being born with pain while men seek it out is a rich one, and her sort of blasé, self-assured attitude is a breath of fresh air for someone like Fleabag. This basically feels like a visit between Fleabag and her future self, or at least someone she could be. The advice, the stalking/”martial arts” exchange, the “can’t be arsed” response to Fleabag’s advances are all glorious. The repartee is delightful, and I almost hope they don’t bring Belinda back because this was almost too perfect to tamper with.
Her major advice though is to go out and flirt, because it’s the one thing that’s harder when you get older on Belinda’s account. So Fleabag takes her advice to heart and goes to flirt with the priest. Again, their chemistry is off the charts, so every scene they share is a delight. (I got a particular kick out of the Priest’s weird phobia of foxes.) I hadn’t really connected that both of them have taken a certain type of vow of celibacy, albeit in different ways, but maybe for the same reason. That adds an extra layer to their already rich relationship.
The Priest basically tells Fleabag that he knows what she’s doing, and that it’s not for him, or really for either of them, but that he wants to be her friend. I like the idea that for all Fleabag is out hunting for romance or connection on those terms, friendship is something she’s missing in her life, and maybe someone who understands her without that element coming into play is what she needs.
But my favorite part of the whole thing is when the Priest realizes that she’s breaking the fourth wall. It’s such a clever way to signify that he sees her, or perceives her and her needs in a way that other people don’t. The scene in the therapist’s office communicated the idea that the audience is basically the closest thing Fleabag has to a friend, that it’s a coping mechanism. Having the Priest recognize that shows a perceptiveness and a connection in a really clever way, and I love it.
Overall, another outstanding episode.
The first season of The Morning Show explored the consequences of covering up sexual misconducts. The collateral damages were far reaching, affecting many not involved in the coverup. The scandal destroyed many but also opened up opportunities. Cory was widely seen as an opportunistic mastermind that relished the unfolding disaster. This episode reveals all is not what it seems. Cory dug a hole far deeper than he anticipated, with a secret boiling up to ruin everything he has worked for.
Just about everyone on the newsroom are miserable, from the worst least miserable:
Daniel is in it deeper than anyone. Since joining The Morning Show, he has been the token black guy, getting the short end of the stick. He threw a lucrative anchor deal from a competing show, only to cover segments no one cares about. After this episode's outburst, his reputation and leverage are further eroded.
Like Daniel, Chip gave up his comfy job as a producer of a local news show to produce Alex at The Morning Show. He now learns that just about everyone despises his return, both openly and behind his back.
Yanko is a lovable weather man that respects those around him and generally plays by the rules, but whether it's relationship (season 1) or his career, things have ways of not working out. He's just tragically thrown into a string of one bad luck after another.
Again, Mia is in a thankless position of saving the sinking ship without any tools. She is aware of all the hypocrisy and dirts, but powerless to do anything about it.
Mitch deserves all that he got and more. Hiding in Italy, would-be epicenter of European COVID-19 outbreak, he likely has the virus as well as his new documentary filmmaker friend, Paola Lambruschini. The season 2 reveals the hypocrisy of the #MeToo movement. Not the victims like Hannah, of course, but those using the movement to further their career or pocket book. He is beginning to see all that and in an ironic twist, probably the only one who can truly right the wrongs.
Stella is an amazing addition to the show. A precocious head of the news program who learns the hard way that everyone in the organization is beyond redemption. It's her job to pull strings to somehow make everything work.
On the surface, Alex is in a good place. Everybody (but the cohosts) seemingly loves her and opportunities are brimming. But buried within are secrets -- her relationship with Mitch and other dirts her rival Laura Peterson might know.
Bradley is morphing from a hard hitting small time journalist to mainstream watered down talk show host. She wants to have a cake and eat it too, but she must choose. She's learning that she cannot achieve her goals through hard work and good looks. She must play the game and leverage everything at her disposal. But can she do any of that? Or is she being used by others, especially Laura?
All in all, a knockout episode that encapsulates and articulates what mess The Morning Show and UBA are in.
“I’m fucked!”
“Without a drop of lube.”
The best comedic acting on Shrinking: Gaby when she catches Harrison Ford's getting laid by his doctor - GOLD. Comedic gold! Jessica Williams and Harrison Ford screen comedic chemistry is :100:.
Liz incorrectly correcting Jimmy’s grammar.
“That's all we get, but it was so fun.” - This line and Jimmy getting to the end of the scrapbook and realizes there will be no more pages added to him and his wife’s memories together and accepts it, crying. Growth is devastating and necessary. That was the saddest thing this entire season.
Each new episode of Shrinking reminds me just how much we need to see healthy depictions of grief on the screen.
“Academia is the fifth circle of hell. It goes babies, musicals, magic, kale, academia.”
While it was sweet that Paul canceling his award to go see his grandson and I understand her point and all but I think Paul’s daughter is so aggravating, it’s kind of silly how she reacted on hearing about him getting the award. She can be mad at him for calling her about work thing but it is also a big thing that she could've been bit happy about or understood that he wants his family to be there on his special moment.
I'm still feeling underwhelmed. Maybe it's because the premiere was such a banger, but this show is currently not living up the expectations it set up on this season's first episode.
I couldn't care less about Kelsey and Marcel Zane. And apparently now the guy who plays Quentin on The Magicians (epic show btw) is gonna get thrown into the mix. I'm having a really tough time seeing him as anything other than painfully awkward Quentin Coldwater. And seriously, I'm bored with this plot line already.
The Pauline breakdowns every time someone asked about her marriage also got old fast. And her little speech to Charles near the end of the episode was completely OOC. Who even was that resentful, condescending, angry woman? I can only hope her arc is now over and we won't have to see her as often anymore.
And Charles's little blow up at Liza was also ridiculous. Just like Kelsey's was when she found out. I don't get why everyone keeps making Liza's life choices about them. Girl just wanted to be given the opportunity to get back into the workforce. And really, why is her being older than people thought such a big deal? She's still the same person, regardless of her age. I thought Charles would be smarter and more rational about the whole deal, at the very least talk it out with her. Instead he's acting like a child. I'm disappointed in him.
[7.5/10] While it’s not the focus, I think the part of this episode that interested me the most is Amy’s story. This show feels like it occupies a similar space to BoJack Horseman (see also: the “thoughts and prayers” gags from the season premiere), and that’s the only other show that I can think of that’s done such a frank but still irreverent take on a woman deciding to have an abortion. Dan still being a shit, but also being as considerate as a “dad not to be” like him is capable of is an interesting look. And Amy’s rebuke of the protestors, bit on how she can’t relax, and worries that she made a mistake all help to humanize a choice that the show manages to wring both humor and pathos out of.
I’ll also admit that I got a lot of enjoyment out of Mike’s story. I’m inevitably (and probably revealingly) amused by stories of complete dopes fumbling their way through things. The running gag this season of Mike being completely in over his head with his new media job, and yet inadvertently breaking big stories and blowing up Selina’s spot is very funny. The “fat guy/hat guy” distinction, and his misadventures on “study buddies” were good for a laugh out of me.
I’m also enjoying the continuing misadventures of Jonah’s complete inability to be, you know, a human being. The show has thankfully been pretty subtle when it’s commenting on Trump, but Jonah’s interlude at a sensitivity training course feels like the most direct its been in critiquing him this season. The sense of Jonah being completely unable to learn how to view other people as people and not just fodder for insults, or understand why his words would be hurtful, walks the line between satire and indulgence, but largely comes off okay since the joke is always on Jonah. (And it’s nice to see Katie Aselton joining this show’s roster of awesome guest stars).
And I did enjoy the main story too. The off-the-cuff “non-negative” pledge from Selina in response to her ex-husband’s misdeeds works as a story engine. Having her try to use Tom James as a stalking horse, only to have him turn around and use it on her, only to have Kemi turn it around on both of them is a nice set of turns in the story. And I like the subtle idea here that what’s putting Selina ahead in the end is her rebuking Kemi like she rebukes her daughter, capturing an anti-millennial vibe which is the closest thing to truth a practiced, calculating politician like Selina can muster. There’s a definite vibe of truth (or some version of it) inexplicably getting her through these things, and I’m intrigued.
In terms of odds and ends, Richard succeeding a dog as the mayor of his home town is a good bit. (Though I hope it doesn't mean we lose him from the regular cast!) Ben and Kent’s repartee is still delightful. And Catherine and Marjorie’s support/attraction to Kemi is an interesting thread.
Overall, another solid episode in what’s been a solid season so far.
Boy the wah wah wah factor continues to rise during the streaming era, the amounts of complains about this movie that are getting those thumb ups are astounding since this movie was honestly pretty damn good. People are far too picky these days, I always dodge reviews with words like "Cliché" and "Dull" in them because too many times they end up just being people who have seen thousands on thousands of movies and have just grown bored with anything and everything new.
This movie worked on every level it intended to, and reminded me of those classic movies you'd watch back in the day a dozen times because they were fun to watch and were movies that were easy to understand but deep enough to not be cartoonish. It's why films like Independence Day were so watched and so many people could recite the lines, and still remember the scenes, but then you'll have some shitty 3 and a half hour long samurai movie from the 50's in the "top 20 movies of all time" on the imdb list. Internet critics and actual paid critics have the same thing in common, a complete burn out from watching too many things, and not enjoying the very enjoyable movies like this one that come along because they follow a formula or don't send a woke enough message. Go watch whatever artsy fartsy new crap is out and get outa here whiners.
Sometimes, cliché as it may be, a movie is just good, and this movie is just that.
7.5/10. A little better than the season premiere. The absolute highlight is Jane giving her "lesson" on General Custer to the camp's schoolchildren. Her conversations with Martha, and the way she delivers her story to the kids shows the ornery sweetness of the character, who is certainly a few "fucks" short of dignity or sophistication, but who was such an endearing way about her that it's hard not to love and root for the character, even as she's being self-destructive.
Her old running buddy, Charlie Utter, had the scene of the episode. When Joanie tells him about her self-loathing and suicidal tendencies, Utter responds that Wild Bill saw himself in the same terms, and if she thought him a good and worthy soul independent of how he saw himself, she ought to allow herself the courtesy and appreciate the fact that others think quite highly of her. His subsequent hand-holding in the context of the speech was a very touching way for him to declare his intentions, and the scene itself was an interesting look at how people view themselves versus how others see them, and how that contributes to our views of our own self-worth.
There's also great work from Jim Beaver in the episode. His quiet but clearly both hurt and angry response to Alma's spoken wish that Sophia be left in Seth Bullock's care in the event that she dies told the story without him ever having to deliver the exposition on that front. I'm not especially on board with the Alma story here, if only because it seems like a sort of contrived drama (though given what we know about Alma's medical history, maybe it makes sense). That said, I do appreciate how it throws a monkey wrench into the growing affections between Seth and Martha Bullock. Their little conversation about how Seth likes his tea and his gentle caress show how the two have become closer after the death of William, and the idea that old ghosts are popping back up to undercut that is interesting.
Again, I'm less interested in the Al-Hearst conflict. I do appreciate the blocking and framing of the scene of their confrontation. The visuals convey how Al is outmatched here, or at least facing a challenge, in the way that Hearst looms over Al physically. Al's smart-mouthed resistance to Hearst, even after he's been pistol-whipped by Hearst's hatchetman shows Al's propensity to, as he put it last season, take some pain, stay standing, and plan to give some back, and him trying to brush the whole thing off in public afterward adds some intrigue. Overall though, I'm just not that moved by the two of them butting heads.
Tolliver's bit with Andy is more precious overacting from Powers Boothe that does little for me. Not really sure why he or the character are still around, but his anti-religious antagonism directed at Andy would be interesting coming from Al but flounders with Boothe's delivery.
The election speeches themselves were pretty uneventful otherwise. As a Jew, I found Farnum's clear attempts to undermine Sol based on his faith amusing in their bluntness. There's some of the show's political commentary at play, where in public, people are making tepid, sometimes bigoted speeches about why they should assume elected office, mostly to disinterest from the crowd, while the real conflict for power, between two big businessmen who aren't afraid to murder their way to success, happens behind closed doors where that jockeying for position is hidden when both are in the public view.
A minor improvement from the last one, but still nothing to blow you away just yet.
Giving Kelsey a major stake in the company? Worst freaking decision ever! She's proven time and again to be childish, arrogant and irresponsible. She messes up and then throws tantrums when her mistakes catch up to her. She was willing to get back in bed with Quinn for f*cks sake! She may have an instinct for books, but her business instincts suck. She's gonna bring nothing but drama and trouble, just as she has been so far. Bad decision Charles. Bad, bad decision.
And I hate Zane's character so much. His obnoxious, arrogant, cocky behaviour gives me full body shivers of disgust. He's basically everything I hate on a guy perfectly crammed into one person. I just can't with him.
Also, I low key cringed when Charles proposed cause as much as I love him and Liza together, girl is NOWHERE near there. She's not in a marriage mindset, and honestly, I don't think their relationship is quite there either. The writers keep bringing up the whole Josh thing, but Josh run off and got married to another girl. And had a baby with her. I love him, but he's not right for Liza. I feel like her and Charles have more of a connection and deeper understanding of each other.
