After 2010's M. Night Shyamalan debacle attempt at a live action ATLA movie, I don't blame fans of the original cartoon series for being skeptical of any further attempts to bring such a cherished series to live action life. I too hoped for the best, but, was prepared for the worst, however, in the end, found myself pleasantly surprised at how the producers were able to walk that razor line of producing a compelling story, while essentially having to provide "fan service" for each episode of the entire season, lest they face the wrath of those who will probably never accept anything less than a revival of the original cartoon albeit with some new storylines. This while also introducing those who weren't around in 2010, or, had never seen the original animated version.
While not perfect, Netflix has indeed done a yeoman's job of bringing the animated cast to life, with IMO the only glaring exception being the casting of Elizabeth Wu as Princess Azula, admittedly, because every time the camera zoomed in on her face, my mind immediately conjured up the image of a slightly Asian Maisie Williams channeling Asildr from Doctor Who, or perhaps Arya Stark from GOT, rather than a ruthless conniving psychopath looking for confirmation that Daddy loves her the best.
The main cast however is very much on point as their cartoon counterparts, with Gordon Cormier giving us a very believable and likable Aang, Kiawentio as Katara, and Ian Ousley (with his fabulous jawline) as the Avatarian three musketeers, as well as Dallas Liu and Paul Sun-Hyung as the sometimes conflicted duo seeking to restore their honor and show Daniel Dae Kim's "Fire Lord Ozai" that they are worthy to be in his presence, and perhaps have their own keys to the men's room.
Yes, as aptly pointed out by @zombiebxxk, some of the "spirit world" sequences were a bit off, and, could have been done differently, as, I agree they could have lightened the mood in places as the cartoons did by adding some scenes of Aang goofing off and just being a kid, rather than "the chosen one" with the weight of the world on his every decision. But then, we would probably have had to have a 10 episode first season rather than the eight we got. Not knowing how it would be received may have caused them to not push it, and that resulted in some storyline compression, which, for those who have followed along from the beginning, or even seen the entire series SEVERAL times wasn't really an issue, as, we were able to fill things in from memory. Yet, there were several happifying callbacks, which while not essential to the story flow, nonetheless brought a smile to my face. (cabbages anyone?)
All in all, for me, the series was a worthy complement to the Avatar The Last Airbender's lineage, and, I look forward to continuing the journey next season, as well as the next upcoming animated series, set to be released in 2025, which will be set 100 years after "The Legend of Korra and will apparently focus on an earthbending avatar. Other planned animated offshoots include an adult Aang and Co. film, a movie about Zuko, and two other unnamed shows. Sadly, the original series creators, Michael Dante DiMartino and Bryan Konietzko, who signed on to be executive producers and showrunners for this live-action series, left the project in 2020 citing creative differences with Netflix. Konietzko added that a “negative and un-supporting” environment contributed to their departure. Maybe if the fans throw their weight behind this version and support it, it will give Netflix and the OG creators the impetus to bury the hatchet, and give us more seasons of bending, whichever of the elements they choose to focus on.
So I have some theories about this movie, and I understand they may be controversial to many. Firstly, (not a theory) I had a phenomenal time with this movie. Like genuinely, I really liked it. But I also don’t want to spoil anything, so I will refrain in that regard. But secondly, I think this movie is getting wildly mixed reviews because of the audience it is hitting. In many aspects, this feels like an A24 film. A smidge experimental, a little vague, conceptual with its messages. A24 has never thrived because it’s forced to the mainstream. It hits an audience that is interested in what A24 is. By casting Harry Styles, a One Direction member, as the lead, and the crazy amount of ads for this movie, it’s drawing an audience wildly different than what it is. Thirdly, people are upset because it has plot holes…I don’t think it actually has plot holes. It had intentional ambiguity in a world left to explore. We could see a prequel. We could see a sequel. We could get documentaries about it. There’s so much here that is left for interpretation, but it’s not unanswered. It’s open ended the way many books are. All in all, I HIGHLY recommend this one. Go in knowing nothing and experience it for yourself!
Rating: 4.5/5 - 9/10 - Highly Recommend
Favorite part of the episode is seeing the Razorback in action. That sequences of the UN ship racing after Bobbie and Dapper in the Julie's raceship, and then having Holden's crew come in to save them. This was intense on so many levels. Reminds me of high speed car chases in space. Kinda like the awesome chase sequences in the Fast/Furious movies. On a character basis, watching Bobbie and Avasarala bond in high adrenaline situations, with Bobbie in her home territory (space) just makes me love both even more. Awesome women protecting and supporting each other. Major kudos to the production design time in their vision of the Razorback... that is one beautiful ship, both inside and outside. Also how awesome are the mechanics of the inside. Also kudos to the SFX team for some movie level work, something i'd expect from a major motion picture.
I'd also need to mention the sequence with Amos and the botanist, when he tools come loose during their mission to save the Razorback. One of the most badass sequences ever, inside the ship and outside of it.
Also, it's nice to have Amos have a friend. His developing relationship with the Botanist is a welcomed change for Amos, who is all about fighting and destorying, as we have seen. But with the botanist, he can create things to help the ship stay alive.
So Elizabeth MItchell is now on this cast for S3 and I'm ecstatic about this. Though she plays a reverned, she isn't holding back. In our intro to her, she commands military guards who are beating on protesters to make sure the man he injured gets proper medical treatment after the very same guard mistankenly hit her too, then she heads to the Sec Gen to tell him he's full of shit. I couldn't have imagined a better intro for Mitchell. Also interesting choice in making the Rev a gay woman.
Can I say my new dream is to have Avasarala and the Rev meet.
So they are using the kids to control the protomolecule, cause their illness makes them immune to it... I hope the show gets deeper into how some of this works... but at least we know the botanist's daughter is still alive and being kept safe... for now.
I like that this show doesn't let us forget that Holden is a startegical genius, this is what he spent his life training to do... to lead in battle and out play the enemy... for the good of the people.
And finally Holden and Avasarala meet.... I've been waiting for this since season 1. Also, it's going to be interesting to see Holden interact with Bobbie.
Best episode so far in the second season! Honestly having read the original books, I still think the TV version is way better than the books. Overall my problem with the source material is that most of the main characters are somehow bland, though they improve a bit along the way.
The first season was basically held together by Miller alone, but the thing is that most of the Rocinante's crew can't really manage to keep the show engaging to me. That is why in my opinion The Expanse works at best, like in this episode, when manages to keep a collective narrative, balancing all characters point of view. They should use episode with this storytelling structure as blueprint reference for all the season.
Beside that...Bobbie character is spot on, much more intense and vivid than the books. Hats off to Frankie Adams.
And Cortazar...I was kind of puzzled when he was introduced since I couldn't really get his effective purpose to the story...well basically turned out being what Reinfield character was to Dracula in Bram Stoker book. He remind me so much Reinfield that feels like lifted from the book and shot in the space. Beside the vampire here is the Protomolecule... ;)
Damn this show just gets more complicated with each episode.
Chrisjen finally learns the truth behind Johnson abandoning earth military and joining OPA, turns out Earth is run by bullies who want control of all, willing to sacrifice anyone for their ends. She might be part of the UN Council, but she won't let anyone die if it can be avoided.
Holden, Miller and Johnson are all working toward the same goal: figure out what the ProtoMolecule is and how to stop it, but each has a different idea to get there. Miller buldowses anything in his way, using his detective skills to deceive, getting the info he needs and putting the pieces of the puzzle together; Johnson is a miliatry guy, he's all about strategy and using whatever is presented infront of him to keep moving foward, while Holden is the leader with the vision of a better tomorrow, trying to play by rules that he only follows: honor and truth.
The alien life form is growing and transforming, but into what?
Meanwhile the Martians are in a hold pattern, do they move against Earth and start a war or can they put their restlessness behind them and focus on home?
Objectively quite a good episode, but there is something so tired about the whole season.
I remember how badly I wanted Jimbo to win Canada S1, and now that she is finally getting her flowers on Drag Race, it just... rings hollow. You see it all coming from a mile away with the way they try to edit in drama of "oh no, can Jimbo pull off Joan Rivers?" and "will she ever win a lip-sync, against Silky Balls-to-the-Wall Ganache no less??". Of course she will; she's done both Joan and the baloney ghost character before to great success, and she gets the wins not only because of her wit and talent but because she's banking on stuff that has worked for her in the past.
I'm not hating on Jimbo, I'm hating on production for being so in-your-face with the editing this season. Season 15 was also set up for Sasha Colby to win, but at least they did a good job of giving her worthy competition. Here it's just the Jimbo Show and the rest of the cast is mere window dressing. I'm bored honestly.
Also I'm tired of Ru and the judges making fun of Jessica for her accent. Her roast was funny as hell, Jessica ftw
Ok, feels like it started scared of its own hugeness, with rushed and didascalic conversations to then slowly build up its identity. Hopefully they will dig deeper into the more philosophical aspects that they introduced in the last third of episode!
Starts very well, the way they handle the death of Boseman is very tastefully done (so many well executed emotional beats) and I like the new conflict that they set up, which is a little more grey and intelligent than the usual blockbuster, like the first movie. The new villain is an interesting character, and I quite liked the creativity that went into the design of his powers and world, but for the love of god, never show me those goofy wing boots again. From the second act onwards, the movie starts to get bogged down by the Marvel machine, i.e. the movie slips out of Coogler’s hands. It’s unfortunately forced to function as a backdoor pilot for Disney + shows and used to drive the corporate machine forward, instead of focussing on the development of its own premise and character arcs. The way it rushes through the arcs of Okoye, Shuri and Namor leaves a lot to be desired. Meanwhile, cutting/writing out Riri, Martin Freeman and Julia Louis Dreyfus would improve the overall cohesion and pacing a lot. What doesn’t help either is that the action and visual effects get increasingly worse and worse as the movie goes on, to the point where we again have an ugly third act on our hands, which includes some of the most hideous looking costumes the MCU has ever put out. Moreover, the soundtrack is kinda bland this time around. It’s not like Kendrick et al. were putting out their best material for the first film, but the music here is just so vanilla and forgettable. Finally, I’m not enitrely sure what the script is trying to communicate on a deeper level, besides being a general statement in favour of diplomacy. If it’s meant to be just that, I don’t think this is anywhere as bold as the first movie. Not that it needs that in order to be good, but it’s another layer stripped away from what made the first movie special. What saves the film ultimately is a lot of its craft: the directing, worldbuilding, acting, score, cinematography, costume and set design (underwater world looked great, much better than Aquaman IMO) are all very well handled and stand out in the blockbuster field. It has those strong foundations in place that make it hard to produce a flat out bad Black Panther film, but man does this movie also show that Marvel is its own worst enemy at this point.
5.5/10
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Who would’ve thought Greys would stay on air long enough to get good again lol
Kidding. Well, half kidding.
This was a good episode of tv. Not one of the best Grey’s Anatomy episodes ever(when Greys is good, it’s damn near perfect and while this was good tv, it doesn’t touch any of the top Grey’s episodes). I’ve seen a lot of comments/reviews saying this feels like the ‘old greys’ and while I don’t fully agree, I do think that this was one of the better season premieres GA has had in years.
I’ve drifted in and out of seasons(and episodes)and this was the first time in years I thought this show had something fresh and interesting to say.
I still think ending the show about a decade ago and starting fresh with a spin-off would’ve made more sense(and if anything these new interns proved that the greys-formula works, as long as the script and actors are strong)but I like this new direction they’ve taken and I think they can pull together something great, if they let the newbies shine and don’t rely too much on nostalgia to hold up the show. I mean, there’ll be some nostalgia because such are the times we live in, but I hope old glory doesn’t drown out new potential. In terms of standouts, the actress who plays Simone Griffith was fantastic, and I can’t wait to find out more about her.
3.9/5
[7.8/10] Now that’s more like it! To be frank, this one is a little tidy, with the show jumping back and forth between the past and the present to show how some event in Shirley’s history informed her actions in the here and now. But you know what? It works.
Part of that is just the performance of Elizabeth Reaser, who finds so many layers to Shirley, how she is both loving and unforgiving, gentle but firm, rational but also marked by emotional experiences. She sells a lot of character work that might seem hacky in other hands through sheer force of will.
This episode also benefits from focusing on one character and her particular journey. It uses Shirley as a conduit to explore things in other characters at times -- whether its her parents debating how to do introduce her to death, or the difficulties of treatment with her brother Luke, or the tension with Steven over his career as a writer -- but for the most part it centers on Shirley and that gives the episode a clarity that was missing from the last one.
Again, the metaphors and parallels are pretty on the nose, but I honestly like the continuing vignette about her finding a collection of five kittens, having to see them perish, and exploring the way that framed her view of dying. Despite it being a little overly tidy, I like the juxtaposition of a mortician helping her cope with her own mother’s death and her being impressed at how he “fixed her,” and the way that translates to her doing the same for the little boy whose grandmother died in the present day. And I like the show doing the opposite as well -- showing how upset she was when her mom lied to her about death and what it means, and so resolving to be more honest with her own kid.
At the same time, Shirley’s absorbed a lot of her mother’s lessons, whether it’s her mom decorating the kitten shoebox casket to make it meaningful which connects with Shirley telling her own son to decorate his Halloween mask rather than buying it at the store, or accepting her mom’s reassurance that eulogies and how we lay someone to rest create stories that help preserve them and let them live on, teaching her the importance of how we mourn and memorialize that makes her inclined and sentimental about her business. Again, much of the “this is what makes Shirley tick” material is very neat, but it’s also effective, and I appreciate the well-considered psychology of it even if the jumps back and forth in time could be accused of being too direct.
That said, two episodes in and the horror elements are still pretty underwhelming. Granted, it’s hard to complain about a TV budget, but details like the demon cat or the bugs crawling out of cats’/humans’ mouths were conspicuous CGI that took me out of the moment. And even bits like the banging on the wall or the corpse situp at the end of the episode feel like pretty stock scares that haven’t done much to move me one way or another. I’m not one of those “the horror movie is no good if it doesn't actually scare you” people, but it feels like The Haunting of Hill House is trying to be scary in certain scenes and failing, when it’s surprisingly better off as more of a straight family drama in the early going.
I do like the sense of regret and shock and mourning that pervades the episode. The splicing of Shirley putting makeup on Nellie on her wedding day and at her funeral is an affecting one, and it feels like an understandable moment of Shirley trying to protect her sister at one point in time, and regretting it at another. That’s the best thing about this one -- the way it draws contrasts between the past and present while making both feel comprehensible.
Overall, this one is a serious improvement on the pilot episode, and hopefully portends more individual-focused, character developing installments to come.
The Boys does its job best when they jab at mockery of how the show biz operates. The first thing Vought does then they know that Queen Maeve is bi is to capitalize it: make her sexuality as a performance in their newest movie. But not only that; they need to make Maeve not just a bi, but a lesbian, and her partner - Elena - has to be made to wear men's fashion. Because "lesbian is a bit more easy to sell" and "Americans are more accepting of gay when they are in clear-cut gender role relationship". Companies like Vought, like its real-life counterpart (Disney), cares much more about how something sells than the nuance behind it. This parody is even funnier considering that they have a Jon Favreau look-a-like and a guy named Joss (Whedon?) who handle the Dawn of Seven movie production.
Aside from that, the episode continues the tense relationship between Starlight and Stormfront, and we start to see how Stormfront attempts to pull strings to maintain her position in The Seven.
Two things I notice though: the part where Homelander murdered a bunch of civilian in the public, that turns out to be an imagination feels a bit like cop-out, however it is interesting that it parallels Hughie's frustration when he lost Robin back in the first eps. of Season 1. The way Noir and Butcher confrontation is handled also feels a bit too easy, especially after the big build up about them being Vought most wanted in earlier episode.
Weird season finale. After all the build up, everything feels anticlimactic. Right down from A-Train--the reason all this mess started--to Homelander.
Before we get to that, let's talk a bit about how weird the whole prison sequences play out. The joke, the attempted rescue, the shootout, all feel really weak especially compared to well-directed sequences in prior episodes. First of all there is really no need for some jocular banter that went for about two minutes or more. Not to mention the pauses. It feels dragging. This includes the attempted rescue which continues the joke.
Second, the shootout looks really weird. We've seen Frenchie did his weird stuff when it comes to the Female/Kimiko, but this doesn't seem logical. He is a professional killer, why the hell he keeps on showing up his head to look at Kimiko when getting shot at? Is he looking to die? Not to mention he got shot prior, on the stomach, how the hell he can walk and help Kimiko walk that easily? Hughie getting to shoot randomly while saying "I'm sorry! I'm sorry" and miraculously hit trained soldiers is even worse. Even the Starlight rescue looks like a cheap deus ex machina for the plot to goes forward.
The Boys had been attempting to mock the quip-ridden superhero genre--that is, the Marvel Cinematic Universe--but the whole prison sequences makes The Boys looks exactly like an MCU episode.
Now we get to the supes.
The Deep. His subplot has been standing on its for quite a while now. There seems to be no direct connection with the bigger plot that has been going on. And this episode his subplot stays that way, while still giving him enough screen time to focus on his emotion. I'm not sure if that is something we wanted to see for a finale. It feels like something to be saved for future seasons. Even if that doesn't mean it's bad, they could have cut it way shorter than what they did.
Then the thing with A-Train feels very anticlimactic. He just popped up there out of nowhere. We were previously shown his desire, his post-power syndrome, his attempt to be relevant. Then in the supposedly final showdown, we finally see Hughie vs A-Train head on. But we don't see A-Train. We see an injured A-Train, a traumatic supe in his mental and physical breakdown. Now this still could be an interesting, emotional confrontation between our protagonist with the one who murdered his sweetheart. Not to mention, the presence of Starlight could make this dynamic interesting--is Hughie done for, how would he cope between his past and present emotion? What we get instead, however, is a slow motion capture with very minuscule combat and almost none of emotional engagement. Then A-Train just went, just like that.
I feel like they are saving him for future episodes, but this being the finale--the culmination of all emotion that has been built up so far--makes this confrontation very lacking. It feels like we are still on Eps 5 or 6, but with worse pacing.
Now Homelander. He is our another main driver of the plot. Everything that has happened so far always leads us back to him. His dynamics with Madelyn the CEO has been a bizarre Oedipus complex-like situation, What happened between them in this episode is actually very unexpected, though one may sense that it would eventually came to this point through the clues scattered so far. This result should have provided a surprising reveal. However, as it turns out, there seems to be something hollow in the encounter. Given the interesting portrayal of their faux-mother-son-sexual-relationship in the first half of the episode, the second half seems to speed up the climax. As if they were being chased by some deadline, that they have to cut it short, while at the same time giving enough spaces for Homelander to give his, in Maeve's words in previous episodes, "boring speeches."
It feels climactic and inconclusive at the same time. And I guess the same can be said with many encounters in this episode. Starlight with Meave. Billy with the CIA. Hughie with Starlight at the church. It feels like they have to speed it up--to shove in the dialogues--for the sake of putting the plot forward. It's shaky and unreliable.
Now, the end of the episode leads us to a quite intriguing reveal. It's not the direction we--or at least, I--expected to take in the season. However, with such really weak build up throughout the episode, the ending feels like forced. As if they have prepared them to be this way, but still unsure how they would bring it up to this moment. As such, while the scene itself is (should be?) surprising, there is not much surprise when I watch the event unfolds. It's less of a "wow, so this is it?" than a "oh okay, so this happens, and then?"
Credits where it's due: Anthony Starr as Homelander and Karl Urban as Billy Butcher display terrific performances in this episode. Especially Homelander with his extremely erratic, unpredictable behavior. But that alone is not enough to pardon the sloppiness of this episode.
Perhaps because they, like MCU and other superhero movies, seem to busy themselves to prepare for the upcoming season instead of trying to give audience a closure of the plot. And that exact reason is what makes superhero movies went boring for these past years. They are focusing to build an universe, instead of writing a good narrative. Unfortunately, this episode robs the fresh air that The Boys has breathe for quite some time. While I hope for the continuation of the series, I am less excited.
I totally called the double wedding thing! And I actually loved it. Everyone's vows were really sweet. And I also think that closing the will-they-won't-they part of Oliver and Felicity's relationship will be good for both the show and the shippers. Less stupid drama.
I had to pause the episode for a few minutes when the Professor died because I was bawling too hard. It was so devastating. And Jax letting him go was so painful... I couldn't stop crying. Rest in peace, Martin. I do hope they will bring Victor Garber back eventually, but this was a beautiful send-off for his character.
I wish Barry had killed Eobard. I'm sick of him. But it was a fun contrast to see Oliver just shoot his doppelganger straight in the chest without hesitation. Get wrecked, Nazi. Same goes for Overgirl. Good fucking riddance.
I was happy to see Ray, Nate, Amaya and Zari. I was afraid they wouldn't use them at all in this crossover, which would've been a waste. Oh, and I'm glad Dig showed up too.
This crossover ended too quickly. It was so much fun! I hope they keep this 4-hour, 2-night format next year. It worked extremely well here.
We don't deserve this show. This is so good. I'm addicted to this nonsensical shit. It's a drug.
A Sherlock-like theme was one thing I've been waiting for a long time.
I was so excited to have Rip back with his ex-girlfriend but he's a dick. He fucked up so hard. Rip hates every organization he's been in. He needs to create the Rip Hunter's Bureau, where he's in charge. He just does whqt he wants. I hope he learns his lesson and comes back, this time for good.
Sara has grown so much as a character. She's right. Rip begged for help and then betrayed them. Idiot move. I'm sure he'll prove to be right despite his dickness. "How to be a cold son of a bitch", that was straight up savage and so Quentin-like, Sara. He should've dropped that notebook so that Sara could use it. On the other hand, Rip wouldn't be Rip if he actually gave a fuck about anything.
Mallus' voice was so freaking creepy. It spooked me. Eleanor aka Darhk's daughter was a great addition.
"The Phantom Mollusk. An evil shellfish" lol. Nate killed me. Comparing Ray's holding hands suggestion with Toy Story 3, lol.
Mick reading gives me life. Those glasses were a nice touch. Let him finish his book, dammit! Everyone panicking and he's just "Everyone shut up, I've got one page left!" lol. He's my spirit animal. The best. This is probably the only book he's read from cover to cover. Let's face it. I feel like I need to read Dracula again.
Damn, I missed Darhk so much and he's got his mojo back! "Who stole my watch?" lmao. This is why I love this show. The transition from a dark scene to a comedic one. This show never fails at making me laugh like a maniac.
"Return of the Mack" starts playing and I lost my shit. Never have I thought it would fit as the perfect music for a fighting scene. Tears in my eyes. Best fight scene ever! It looked like Darhk's music video, casually slaughtering agents while drinking and dancing to music. I lost it. That man has style. Neal McDonough is a gift. He's just too good
ET gets a remake! What a great episode! Definitely one of the best ones I've seen! So much cuteness in just 42 minutes and now I have alien goo in my eyes!
"Isn't that adorable!" Ray "cinnamon roll" Palmer is just simply adorable. The more I know about his childhood the more I fall in love with his character. Gumball was simply lovely! That cute little baby dominator! That head-bobbing while watching Singing in the Rain. Gold. I was looking forward for some insight into Ray's childhood and backstory and here it is.
It was surprisingly emotional. I connect with little Ray in every way possible. His words really pierced my heart. Props for the actor who plays young Ray. He made me laugh, he made me cry and he definitely won my heart.
Zari's character development was perfect. She was great. She being supportive of little Ray was cool. She's so much fun and her dynamic with the team was great as well. She's a great addition to the team.
I really loved Stein's interactions with Jax and calling him family, especially know that we know Victor Garber is leaving the show. And he named his grandson Ronnie! Cute.
I love the writers of this show and the big nerds they are. So many E.T. references. This touched my heart. So many emotions. I loved the flying bicycle scene. That was breathtaking.
MiB agents randomly start singing. This is the show! It was a WTF scene but boy, did I enjoy it! I lost it the minute they said "good morning". This just proves that the show can do whatever they want even if that doesn't make any sense. They don't hold anything.
The Mommynator scenes with Nate were just golden. "I'm gonna brush my teeth forever", lol. Nate was great. His Biff Tannen outfit while waxing the DeLorean was perfect. I love BTTF and I hope they do an episode inspired on it.
That scenes with all of them suited-up was awesome. Zari's suit is amazing. I love that it's loosely based on Isis. I loved Rory robbing candy from those bullies. This show is just awesome!
Legends: break the first rule of time travel, meet their past selves, fuck up all of time to the point where there are fucking dinosaurs running around present-day LA
Barry, watching from the sidelines: throws his hands up in disbelief, shakes his head, walks away muttering curse words under his breath
Yup, the level of hypocrisy is staggering. On the other hand, if I had to choose between living in Doomworld and risking the possibility of ending up with a T-rex in my backyard, I wouldn't even hesitate.
Eobard got fucked! Yes! That was so satisfying.
Is Rip gone for good? My guess is that he'll pop up every now and then in season 3. I'm glad he won't be around all the time, though. He said it himself: "This team has functioned far better in my absence than it ever did under my leadership". Preach. Sara makes a really great captain. And the team we've got now is so well-balanced. Everyone contributes something and has their own stories, struggles and character development. That's one of the things that made season 2 so much better than season 1 and honestly, Rip's absence helped with that.
The scene between Sara and Laurel was so emotional and tear-jerking. I'm so proud of Sara for being able to overcome her personal desires and do the right thing.
I can't believe how fun this season was. I had a blast watching each new episode. I'm very excited for season 3. I guess we have 6 months of waiting ahead of us now, huh?
I'm always excited for episodes that explore the "what if" scenarios. Especially when they're as good as this one.
I loved the opening monologue done Eobard-style and the reality the Legion created. It was fun to see vigilante Felicity for a second there. I also enjoyed the bit about Nyssa living a "miserable, closeted life in Ohio". (By the way, when are we going to see Nyssa again? I still ship her and Sara.) Those little moments really remind you how intertwined the four DC/CW shows are, even more so than crossovers.
Rip spending his time baking cakes was absolutely hilarious. And that tiny little Waverider at the end? Adorable!
Amaya, no! Why did they do that? I know they'll almost certainly bring her back when the Legends undo the Legion's mess, but it still hurt. And damn, Leonard, that pun was really freaking uncalled for. Rude.
I sincerely hope that we'll get to see that zombie speedster thing eat Eobard alive or something. Dude has it coming.
If I'm not mistaken, next week is the season finale. I'm totally pumped. The stakes are higher than ever. The Legends will have to find Rip, get the Waverider back to its original size, go back in time, find the Spear, kick the Legion's asses and restore the reality to what it should be, all in 42 short minutes. I can't wait!
You know what the sad thing is? I didn't appreciate Laurel enough when she was on the show. This episode only reminded me what a big hole she left when she died. And damn, it made me emotional.
I actually love the "characters are in a simulation and start to realize that something's not right" storyline. This was really well-done.
I wondered where the newbies were during last night's episode. I'm not that fond of them, but I'm glad they included them here, if only for the sake of continuity.
Kara and Barry's high five in the middle of a fight was just the cutest thing ever. This is one of my favorite relationships in the Arrowverse. They are absolutely adorable together.
Holy cow, that spaceship looked freaking amazing. And I'm happy that the Waverider and Nate made an appearance. I guess we'll see everyone in the Legends part of the crossover. Maybe we'll finally get some actual alien ass-kicking.
Oh, and how could I forget? This is the 100th episode of Arrow! Congrats! It hasn't always been smooth sailing, but I'm still happy for the show. It was great to see all the characters we've lost along the way and remember how much Arrow has changed since the pilot. Some of the changes have been for the better. Some for the worse. But all in all, I still enjoy the show and episodes like this remind me why I fell in love with it in the first place.
I stopped watching halfway through episode 9 of season 7, and the show was one of my top 5 favorite shows on TV still airing, so it is really as bad as you say. This is mainly the fault of Eric Wallace, who is the worst showrunner ever, worse than Guggenheim (Arrow's showrunner).
Season 1: 9/10 (Amazing, one of the best seasons of the entire show)
Season 2: 9/10 (As good as Season 1)
Season 3: 8/10 (Great season but the villain is less cool and there are less good episodes)
Season 4: 7/10 (Good season overall but mediocre ending)
Season 5: 6/10 (Decent first half with Cicada, Terrible second half with Cicada II)
Season 6: 5/10 (Decent first half with Bloodwork, Mediocre second half with Mirror Monarch)
Season 7: 4/10 (The entire season sucks)
If you look at the showrunner per season, it's easy to see the reason why the show got worse over time.
Season 1 was led by Andrew Kreisberg
Season 2 was led by Andrew Kreisberg, Gabrielle Stanton, Aaron Helbing, and Todd Helbing
Season 3 was led by Andrew Kreisberg, Aaron and Todd Helbing
Season 4 was led by Andrew Kreisberg and Todd Helbing
And then Andrew Kreisberg was fired by the production team of The Flash because of sexual harassment accusations, there were even men who accused him, so he was a bisexual predator. I'm not saying that they should have kept Andrew Kreisberg, but they should have at least replaced him with someone who was able to provide the same level of quality as before.
So then, Season 5 was led by Todd Helbing. It was still pretty decent in my opinion, except for the part with Cicada II, but still there were some great parts with the Reverse Flash, which was my favorite character on the show, which Tom Cavanagh played so well.
But then, Todd Helbing had to leave because he felt like the show was preventing him from spending time with his family, he had children and wanted more time to spend with them and his wife, so he quit.
So, for Season 6 and Season 7, the CW chose Eric Wallace, and of course, they had no way of knowing what he would do with the show and it ended in disaster. And now, because of him, the ratings are worse than they have ever been. And there are only some fanboys/fangirls on Reddit who are blinded by fandom so much that they praise him, because most people hate what Eric Wallace has done with the show.
The main problem that the CW has is that it hires bad showrunners sometimes and instead of firing them, they let them stay, no matter how bad the ratings get. I have nothing against gender diversity, sexual diversity, or ethnic diversity, but it should never be seen as a replacement for good writing and a good cast of actors. The best actors of this show are mainly Grant Gustin (Barry Allen/The Flash), Tom Cavanagh (Harrison Wells/Reverse Flash) and Jesse L Martin (Joe West).
Carlos Valdes (Cisco Ramon) and Danielle Panabaker (Caitlin Snow) were also pretty good but their characters are being removed in order to be replaced by worse characters.
And the worst thing is that it doesn't take a genius to write good episodes of The Flash. Eric Wallace could have just given to the fans what they wanted instead of sacrificing quality for SJW politics and everyone would have been happy and the ratings would have been great. With the CGI that they have access to, it doesn't take much to make a fun show that lots of people will want to see.
The main things that are missing this season are (from most important to less important):
1) A good main villain (like Reverse Flash, Zoom and Devoe)
2) Good side villains (like Captain Cold, King Shark, Grodd, The Trickster, Pied Piper, Abra Kadabra, Vandal Savage)
3) A good cast of actors (The original main cast from season 1)
4) Enough episodes that focus on the story, and filler episodes should be at least more entertaining than those that focus on the story. Supernatural did this very well with episodes like "Mystery Spot", "Changing Channels", "The French Mistake", "Scoobynatural", "LARP and The Real Girl", "Ghostfacers", "Fan Fiction", "Yellow Fever", "The Real Ghostbusters", "Bad Day at Black Rock", "Time After Time".
5) Lots of action and only a bit of drama, but not too much so that it doesn't become a soap opera
6) Some progression of the characters, especially The Flash's powers and his speed should be getting better each season like how Clark's speed in Smallville kept getting better and better from season 1 to season 10. And if they are going to give lots of screen time to Allegra, then we should be seeing her using her powers a lot more, she almost never uses them. This show has great CGI that it almost never uses, and it's not like it costs too much because once you have the equipment for the CGI, it doesn't cost more money to add more since it is made from the computer, so they are just being lazy because the showrunner Eric Wallace is lazy.
7) More surprising plot twists throughout the season
8) Less useless dialogue and less cringey dialogue (with 45 minutes of runtime per episode, they should be able to do a lot more, even with their limited budget)
9) More screen time for the characters that people want to see (especially The Flash) and less screen time for side characters
10) More crossover events than just 1 per year. Crossovers are what people want to see, and since all the shows are filmed in the same studio, it shouldn't be very difficult to do it.
My prediction is that if the CW doesn't fire Eric Wallace, they will keep the show running until they start losing money, because although the ratings are bad, if they are still letting him run the show, it must be because they are satisfied with the profits, because the production of TV shows is always about making money, not necessarily pleasing the consumers, unlike in other industries, where public opinion would matter more.
Many people are so picky about the shows that they choose to watch that they will say that everything that the CW has ever made is bad, but the truth is that although it cannot match the level of quality of HBO or AMC shows, the CW is still able to make great TV shows on some occasions when they have a good enough showrunner. People often use Arrow and The Flash as examples to mock the CW but they forget that it's the same network which also made Smallville and Supernatural, both of which were extremely successful, so it's not the network that is to blame, it's the showrunners that the network picked. But even big studios like Warner Bros make that mistake a lot by hiring people like Zack Snyder or Joss Whedon to direct their movies, which makes them end up with bad ratings. I think that is because it is impossible to predict how well a showrunner will be, because even if you look at their history, it doesn't guarantee that their future work will be as good as what they made in the past since there are only a few directors who are able to maintain the same level of quality over many decades (guys like Quentin Tarantino).
I really wish the show either gets fixed or cancelled so that everyone can finally get what they want or just move on. And I am especially curious as to what will be Grant Gustin's next acting job after The Flash because he has a really good level of acting talent and he has a great singing voice too.
So... let's just assume Hunt's gone... the character wasn't going anywhere, or in other words he's come full circle: starting off with flashbacks to his wartimes and and leaving guilt-ridden and with flashbacks. What's suicidal Megan going to do now?
I like Hayes - I'd have liked to see him with Meredith, I just hope he knows about her being involved with what's his name in Minneapolis (see, really bad at names).
Pleeeease, resolve that ridiculous Link-Amelia-Jo-researcher mess. I really like Link, I also like the Amelia-researcher (sorry, still didn't catch the name yet) dynamics... but Jo, all of a sudden discovering her being in love with Link, just ruins this plotthread.
New Bailey-groupie... hm... him learning how his attendings do things? Okay...
Now, the Webber-method... who didn't see this coming? Residents who think themselves so mega-capable killing someone? There's a reason why it's called supervision and "attending". Remember that episode in season 6 when Teddy sat reading a newspaper during a surgery where Cristina almost messed up? She didn't interfere, she didn't even really pay attention - but she was there, as support and essentially to jump in when things get messy. And remember that episode where Meredith and Lexie mess up that brain aneurysm-surgery because (in this case) Lexie thought she could do it herself? Yes, sometimes people mess up. But these residents need supervision. And did you notice that none of those "new" residents were so far in any way portrayed as geniuses like Meredith and Cristina (and even the others of the original 5) were? Would you actually like to have one of them operate on you without supervision (especially given the situation in-series with them not having had any surgical experience for a year)?
If this film is a cake, then it’s got the best possible frosting you could wish for. The cake itself, however, isn’t great.
I’ve always had a strange relationship with these films. I don’t really care for the Raimi films (I think they’re overly cheesy, poorly acted and dated, though don’t expect anyone from around my age to admit that), the Webb films are fine (really like the first one, second one’s a mess) and I’ve really liked the 2 recent ones (not as much as Into the Spiderverse, but still good in their own right).
Compared to the previous 2, this one pretty much ditches the John Hughes aesthetic as it goes along, and it goes into full on, operatic superhero mode.
Unfortunately, it is another one of those project that puts nostalgia and fan pandering over story and character, the kind of blockbuster we’re seeing over and over again in a post Force Awakens world.
This story is completely hacked together, consisting of so many contrivances, conveniences and established characters acting out of character that it becomes a bit of a shitshow ( Doctor Strange, a genius, is being tricked by teenagers; Peter not knowing about the consequences of the spell is a very forced way to set the plot in motion; Ned being able to open portals is quite ridiculous when the Doctor Strange movie made a point about how hard that is to learn; why is Venom in the universe given how they set up the rules of the multiverse, and the list goes on ). The problem is that they needed to take that bullet in order to make the film they wanted to make here (or rather, the film fans wanted to see), but that doesn’t make it the right choice by any means, because it leads to a nonsensical film with a rushed pace.
Look, you can nitpick this film to death ( why would a university publicly admit that MJ and Ned are rejected because of their connection to Peter? ), but that’s not even my point. It’s heightened and not meant to be taken that seriously, I get that, but you at least need some form of internal logic, you cannot just do these unearned things because the plot demands it.
It’s not all bad though, Holland’s Spider-man still has a very good arc with some great emotional beats in it, and they make some very bold choices towards the end that I hope they stick with. It’s very similar to the first Fantastic Beasts, so I hope they don’t pull a Crimes of Grindelwald by retconning everything .
The acting is great, Holland and Zendaya give their best and most mature performances yet, and the villains are all good. I really like that they toned Dafoe down a little bit.
It looks fine. It has some of the best cinematography out of the trilogy, but some of the action looks very animated (again, stop touching up the suit, just let it wrinkle ffs) and unfinished, which is probably because this thing was rushed out, as we know.
For instance, there are some really wonky shots in the scene where Spider-Man fights Doctor Strange, the close-ups with Benedict Cumberbatch look like a weather forecast on television.
The references to the previous incarnations are a bit of a mixed bag. I like that they progressed some stuff and did interesting things with the things they referenced ( for example, you really feel like time has passed with Tobey and Andrew, they’re not giving a copy of their original performances, which is also a great excuse to tone down the awkwardness and lack of personality in Tobey’s version. Also, the banter between them is very nice, of course ), but most of it plays like a pandering greatest hits compilation. I don't need Dafoe to say you know, I'm something of a scientist myself again, it is nothing but a cheap attempt to trigger my nostalgia button.
Finally, it also has some of the worst tonal balance and comedy out of the trilogy, especially with some of the lines that are given to Benedict Cumberbatch.
5/10
In summary/TLDR: great idea for Sony’s bank account, but the seeds for this needed to be planted much earlier in order to make it a good film.
Recently, I read this interview with Kevin Feige where he said that the Academy Awards have a bias against Marvel movies.
If you ever wonder why that is, look no further than the first 20 minutes of this episode.
You get this long 10 minute scene between Pugh and Steinfeld which hits a lot of important emotional beats for the plot, and the writing is actually not too bad.
Sure you have Pugh doing that awful Russian accent again, and Hailee Steinfeld’s making weird faces as if she’s Kate McKinnon in an SNL skit, but that’s besides the point.
Look specifically at how they shoot it.
Besides the bland looking apartment, you cannot shoot such an important and lengthy scene doing nothing besides shots and reverse shots and then expect to get an Oscar (or in this case Emmy) for it.
It is literally the laziest and most uninspired way to approach a scene like that.
So, what do they do to mask the poor filmmaking and weak story choices (because let’s face it, Marvel has once again put out something with a messy and unfocussed plot)?
Just take a quick look at some of the other comments, and you’ll get the idea.
It’s like they’re dangling a ball in front of a cat, and it’s kinda embarrassing to see how effective that is.
Unpopular opinion: I was not a big fan of this episode. It was too obvious for the killers to be the Dimases, yet they ended up spending an entire episode going down that theory again. So, in the end we don't have any new information. We are onto the 9th episode and we still don't have a minor clue who would be the murderer.
The ending saved this episode because of the twist. This sends the investigation into a whole new direction, and I'm hoping for something interesting.
If Jane is dead I won't be mad, she may be right but is still so annoying. I think she's been stabbed but will survive.
Who in the building has connections to the police? How are the police involved?
Why would Theo take Oliver and Mabel to show them the place where they dispose bodies? He could have got his father down to the basement. And how did Theo manage to tie two people up all by himself?
Was that a good “shit, fuck, fuck”? Martin Short deserves to win an Emmy for this show, he provides like 90% of the humor. He was on fire in this episode.
“Reverse helpful” is getting added to my vocab.
The reaction to this movie has been a “love it” or “hate it” outcry. I think the dividing line of responses is whether or not it fits the Marvel mega-action template and if that is okay or not. Just to deal with that question out of the gate, this does not fit the Marvel cookie cutter. There are a variety of differences. It is diverse in both casting and subject matter. The cast is international, multinational and multi-ethnic. We have our first openly gay superhero. We have our first hero who is deaf. We have our first hero to struggles with their mental health. All artfully and beautifully presented, in my opinion. This is not a single character’s origin story. It is 10 characters’ origin story spanning over 7,000 years, plus the introduction of 3 distinct and new species: Celestials, Eternals and Deviants. It also acknowledges superheroes from other universes, like the potshots at DC’s Superman. There are also some Marvel staple components, humour, brilliant CGI, fight scenes and world weaving. This film is also beautiful, in its casting, cinematography, graphics and music. The story is rich and the immense timeline is artfully woven into small bites. There is also a deeper treatment of relationships and some mature but tasteful scenes. The draw for me was Marvel and the stellar cast, especially Gemma Chan, whose career I’ve been following for a long time, now (do yourself a favour and binge her filmography). I have to confess that when I left the theatre I wasn’t sure how I felt about the movie. Then, I heard Rotten Tomatoes gave it the lowest of all ratings for a Marvel movie (49%) and the critics who saw early releases were brutal. But, I also read the positive reviews by ordinary theatre goers and in writing this, I’ve decided to give this film an 8 (great) out of 10 and, personally, I look forward to seeing it again. [Superhero Action Adventure]
This is an honest, spoiler-free review coming from your average fan (not a critic):
I just saw this new marvel film, and I have to say... it's no where near as bad as the critics make it out to be.
Yes there is a lot of dialogue. But it gives the characters a chance to shine and for scenes to breathe.
People call this film dense. I would disagree. Yes there is a fair bit of plot and history told, however I would say that other mcu films have simply much simpler plotlines most of the time.
There are moments when things are just about to become exciting, and then it is interrupted with more dialogue which instantly kills the suspension.
There are a number of plot twists in this film, and some unexpected things happen that I wouldn't have seen coming.
This film has a slow burn, but sometimes that's a good thing. Would I have liked more action? Yes. Was I unhappy with the action we do get? No.
I will admit, going into this film I was expecting a masterpiece, and while I wouldn't quite call it that, its definitely a well-made film, marvel or not.
Oh. And expect to have to do some reading at the very beginning. Kinda reminds me of a classic Star Wars opening crawl.
[7.2/10] This was fine. I’m not very versed in Matt Fraction’s run on the Hawkeye comic, which this show is supposed to be at least partly based on, so some of the nods and bits of foreshadowing are lost on me. But it does what it needs to do as a first episode, even if it’s closer to a single than a homerun.
This is mostly an introduction to Kate Bishop who, spoiler alert I guess, will almost certainly become the new Hawkeye. Her backstory here is fine. I like the idea that she lost her father in the Battle of New York, but inherited his sense of protectiveness in general, and for her mother in particular. Her seeing Clint Barton’s heroism during the fight with the Chituri is some nice clockwork plotting amid the cinematic universe to explain why she’d choose to take up archery along the way. It’s all a bit tidy, as such character introductions tend to be, but it’s all sound enough.
I also appreciate her as a bit of a troublemaker, and a resourceful one at that. Her bell-ringing/tower-destroying stunt is amusing enough as to how she’s clever but can still get in trouble. And the way she manages to infiltrate a secret rich guy auction for illicit goods shows some of her chops as a budding hero.
I’m not enamored with the actual character work, though. Her relationship with her mom and putative stepdad starts out as boilerplate. There’s some class issues at play, which I can appreciate, but the show only gestures toward them here in the beginning. Maybe we’ll get more on why she feels out of place in the world of the wealthy (and why her mom feels so comfortable there despite seemingly putting up some resistance to it in the cold open flashback). But it’s hard to invest in any of these generic relationships and tensions in the early going.
All that said, I found myself surprisingly compelled by Clint Barton here, who’s never the Avenger I’m most invested in. I appreciate the way he’s still grieving Black Widow, not skimping on the emotional impact of the human costs of Endgame. By the same token, I appreciate his discomfort at the way he and his colleagues have been valorized by the world. The idea that after you’ve been through something hellish and at times life-destroying -- seeing the way it’s been gussied up and turned into a Broadway musical, or how people want selfies, or how well-meaning restaurateurs treat you more like a paragon of virtue than a person -- would be a lot for you to take. The distance between the popular image and the reality would be mentally taxing, and I like the show exploring that idea.
I also like the setup that Kate might be, if not a replacement for Natasha, then someone who fills the same space in Clint’s eyes (and the audience’s). She’s another badass normal, one who uses conman schemes to get past surly wait staff managers and sneaky parkour to get into places she’s not supposed to be. There’s a setup that Clint training her is as much about him processing Natasha’s death and seeing her legacy carried on as it is Clint possibly filling in the role of a father figure that Kate does not want filled with her cruddy-seeming soon-to-be stepdad.
THere’s potential in all of this, the execution is just a little off-the-shelf. Visually, the episode is surprisingly bland despite the “Xmas in NYC” setting. The fight scenes are indifferent and over-edited, leaving Kate’s coming out party as an ass-kicker seeming murky and dull. The only real excitement despite a heists, showdown, and wine bottle skirmish, comes from what we don’t see. Clint kicking some random thieves’ behinds on top of a car, where we just see the aftermath, sells the butt-whupping prowess better than any of the actual fight scenes we get to see, which isn’t ideal.
I’m likewise not especially invested in the murder mystery, even if Armond Duquesne was the most entertaining performance in this episode. So much of these initial episodes has to be setup, and the plot machinery being moved around didn’t do much for me.
Still, again, this was fine. It doesn’t set the world on fire, but it does what it needs to do in terms of introducing the characters, the character conflicts, and something plotty for our heroes to concern themselves with over the course of the show. Hopefully with that throat-clearing out of the way, there’ll be better things to come, but this is a series premiere that gets on the board more than it hits right on target.
I'm actually glad that we're back to one episode a week. It means that I can enjoy the show for a bit longer.
Harold was the most interesting part of the episode. He's really willing to do anything at this point, which is a completely new side of his character.
It's been a week since I had to say goodbye to the love of my life. I miss the real Root like hell, but The Machine with her voice is great. When She said She'd loved Root, I couldn't help but smile. And the way She experiences love is fascinating.
I know a lot of people weren't satisfied with Shaw's reaction to Root's death, but to me, it was all perfectly in character for her. Shaw wouldn't cry, she'd go out there and shoot people, which is exactly what she did in this episode. But it killed me to see her spinning on the roundabout. Why is this show constantly making me suffer?
Since Harold went rogue in the previous episode, they had to give the rest of the team something to do, leaving us with pretty much another case-of-the-week episode. The storyline was interesting, but I'm kind of disappointed, to be honest. I can't explain it. Maybe my standards were impossibly high after last week, or maybe I'd thought that the last three episodes of the series would focus entirely on kicking Samaritan's ass. But overall, it was a great episode, as always, and I'm excited for next week.
After going through all the emotions in my head of shock, anger, depression, and countless others, I think it's time we address just how extraordinary this episode was. The writing, the shooting, the dialog, the emotions, everything about the episode was perfect to the dot. Amy Acker's performance was spectacular and made even better with that beautiful smirk of hers. Finch's monologue seemed to be also directed to the show in some way... Because the show is ending and so is the machine... With all that being said and all the amazing scenes the episode had given us... I am still not over Root's death. I don't condemn it, nor do I think it gave the show more edge or more suspense... Even though I am a huge fan of Root, this is not coming from my biased opinion of her. I truly believe that Root is a major and probably dominant part of the show... And I do realize that the writers wanted her to be more than she is and more than just an asset which is why the machine chose her voice... In a way they wanted Root to live on after death... To give her an opportunity to protect the others through the machine... But I still think they lost half the show by killing off Root. Especially now that there's only 3 episodes left. I just don't see myself watching the show without having Root there...
That feeling when you have to go to school, and you can't watch the episode until you get home in the afternoon... Well, dear teachers, if you really expect me to put Maths or History ahead of one of my favorite shows' final season, you're seriously underestimating my obsession with fictional characters. I swear, tomorrow I'm getting up at 5 AM just to catch the next episode before classes.
The beginning of the episode was amazing. My multilingual baby Shaw in a cowboy hat? This is the stuff that dreams are made of.
Root with a big-ass gun is my new OTP.
ROOT AND SHAW! I'm screeching like a dying pterodactyl right now! Both actresses absolutely nailed that scene. Amy Acker's eyes are just inhumanly expressive. It's hypnotizing to watch. They should have their own award category. I wish that Person of Interest and its exquisite cast got more recognition because they absolutely deserve it. It's sad that even the show's own station doesn't appreciate it.
"The one person I couldn't kill... was you."
Everything hurts, and I'm crying. It's a good pain, though. The kind of pain that makes you feel alive.
The Voice was a compelling villain, and the plot twist was as unexpected as it was incredible.
The shootout at the precinct was an awesome scene.
Elias and Harold had a lot of good scenes too. Elias blowing up The Voice's car was great. I totally thought they'd really let him go, which would have been stupid, but that's how Harold rolls, so I would've understood it. Still, I was pleasantly surprised that they didn't just let the bad guy get away.
Fusco knows! Finally!
The whole team at the end made me cry even harder. Is this show trying to kill me?
4 episodes to go. I can't deal with this.
The hospital storyline was thrilling, but it got overshadowed by Shaw's escape. That was a wild ride.
I legitimately laughed when Shaw shot Lambert. He really had it coming. Confronting Shaw without a bulletproof vest or backup was one of the stupidest things I've ever seen on this show. Maybe even the stupidest since the list of dumb stuff on Person of Interest isn't very long. It's one of the best TV shows I've ever had the pleasure of watching, after all.
Root only had a handful of scenes in this episode, which was kind of a disappointment after the previous one. On the other hand, we got Root in glasses and a lab coat, so I won't complain. Can Amy Acker please stop doing that thing with her face? You know, the thing where she's so goddamn stunning and perfect? I can't handle it.
It seems that I've developed trust issues, and even though I'm 99.9% sure that this time Shaw really got away from Samaritan, a part of me is still afraid that there'll be some cruel plot twist. I can't wait for next week. Hopefully we'll finally get a Shaw/Root reunion. It's about damn time.
Do you guys realize that there are only 5 episodes left? How am I supposed to live after this show ends?
