Best Walking Dead Episode Ever!
They'll just build a new one... and make the White Walkers pay for it.
"Everyone! Remain calm! The Crypts are perfectly SAFE!!!!! I repeat, the CRYPTS ARE SAFE!!"
“Just to know ! Does this season has woke stuff?? So i can skip like the other season”
Last season was about the AIDS epidemic. Gay people do not equal woke. I highly suggest you figure out the correct use of the term or stay far away from everyone.
Dear Arrowverse writers. Keep this format for crossovers ALWAYS. It worked perfectly. BEST CROSSOVER EVER!
When they try to squeeze Mon El/Kara moments in there to distract us from the obvious chemistry between Kara & Lena lol
I officially do not give a single shit anymore for any of the characters.
The problem with this show is that anytime something eventful happens, it doesn't really feel that impactful. How many times can we see criminals escape from the GCPD? How many times can characters be shot only to be fine. How many times can characters be killed or thought to be dead, only to then come back? The first season of this show was so good because everything was just happening for the first time. But by the time we were half way through season 2, we had already seen so many characters escape death countless times and the GCPD be taken over multiple times too.
I really like this show, but at the same time I despise it. There are lots of good little pieces, but nothing works out well overall. So much of it is just laughable. The last few epsidodes have been a bit better than anything since season 1/2, but I'm not confident it will continue into season 5.
I just hope season 5 can go back to its roots and be better.
"I don't want a Chinese doctor"
"Oh okay, then you're gonna want to follow this green line to the parking lot"
YAS! You tell that racist!
If I had an alter ego who smiles creepily at me I’d shit my pants.
Midge on the Gordon show felt like watching your own kid living their dreams out and at that moment it was just so beautiful. I'll miss this show to no end especially Midge, Lenny, Susie and at times Abe. I never cared for wanting to watch in person stand up but now I look forward to seeing someone as funny as our Marvelous Mrs. Maisel.
I'm glad they didn't totally forget about Lexa and her legacy. It was a short but sweet moment between Abby and Clarke acknowledging their love too.
The 'enemy' they face now is pretty damn daunting. Struggling to see how they're going to best this one at all.
Finding it hard to have any sympathy for Jasper. His whining has gotten really old and honestly would have made for a more hard hitting storyline if he'd managed to kill himself like Kal Penn's character in House.
I'm happy to continue watching the show and supporting the cast. But one whiff of Bellarke and I'm out!
A normal show takes events like what happened in this episode and includes it in a conversation that lasts 2 minutes. Not The Walking Dead shows though, they make entire episodes out of absolutely nothing happening, make their characters make absurd decisions, and end up right back where they started 43 minutes later.
I'm done with this trash and it used to be my favorite show. Thank you for ruining it, Marlene.
Supergirl is finally back, which means that I'm back to getting up at 4:30 AM just to bring you these dank-ass reviews that you guys love so much (sarcasm alert) before I have to go to school.
I think the writers finally remembered that Kara is the title character. This episode focused more on her and put her at the center of the story instead of sidelining her like the last few episodes did.
I just have to say, Roulette certainly knows how to make an entrance. And going from running an underground fight club in National City to running intergalactic slave trade on another planet? That is impressive. I mean, I don't condone her actions, but you gotta admire her talent for business.
I hope that we'll get to see more of Kara the Reporter. Working at CatCo used to be such a big part of her storyline, integral to her growth as Supergirl, and now she's barely ever there. If Cat Grant were here, she wouldn't stand for this.
And she most definitely wouldn't stand for the whole Man-Hell mess. They're trying to make him a more likeable character because they want the audience to jump aboard the Karamel ship. Well, how do I put this politely? You've got to be fucking kidding me. This guy was a selfish, immature jackass right from the get-go, he was just plain rude to Kara on multiple occassions, he didn't want to have anything to do with the superhero business until the plot needed him to. Honestly, it would've been so much better if he had stayed Kara's clueless little brother. She even compared him to her cousin at one point, so how can you not get creepy incest vibes from this relationship? I know I do.
(Sidenote: I feel like the writers saw Katie McGrath and her magical inability to play a straight character, realized that a lot of people shipped Kara and Lena, and scrambled in panic towards the writers' room to get Kara together with the first male character they could think of because we already have one (1) LGBT character on this show and now Kara has to be an Outstanding Heterosexual or the homophobes would lose their minds.
Sidenote #2: I didn't really ship Karolsen in season 1, but goddamn it, I'll take it over Karamel any day.)
I liked Winn's storyline. Jeremy Jordan nailed all the emotions that our beloved computer geek had to deal with after his brush with death. And his excitement when he managed to overcome his fear and defend himself was adorable.
Alex and Maggie were happy and domestic, Maggie was wearing Alex's shirt, Alex's heart eyes were out of control and I fucking died. Then the angst came, but fortunately, it was resolved pretty quickly. And damn, Maggie was sporting such a gay look in that last scene. Amazing.
"- Plus, the glasses don't help.
- I always said that too. It's kind of ridiculous."
Oh, thank God. At least one person's noticed how lame Kara's disguise is. I knew that Maggie "I'm a Detective, Agent Danvers, I detect" Sawyer wouldn't let me down.
i hate seth with a burning passion and i hate that the boys took up so much screen time away from the girls
[9.0/10] The Marvelous Mrs. Maisel already answered the question in some ways. How far would Susie go for Midge? How much will she push to break through those “brick walls” (or glass ceilings)? Is it just business between them, or is there something deeper, more personal that merits going further than she would for anyone else?
The answer came, in so many ways, in “The Testi-rostial”. But it doesn’t hurt to see it again in the present. Midge and Susie have tried everything they can to get Midge booked on The Gordon Ford show. Midge nudged Danny Stevens in such a novel yet funny direction that he tried to poach her. Susie staged a coup to get Mike the producer slot. Here, Midge even pens a sketch for Princess Margaret herself that is tasteful but funny, and absolutely kills in a must-win night for the creative team. And it’s still not enough.
So she makes the titular “plea” to Susie -- use your history with Gordon Ford’s wife, Hedy to get me on the show. Midge doesn’t know what she’s asking exactly. She knows it’s an end run around the gatekeepers who would hold her back from stardom. But she doesn’t understand why this is such a big ask for Susie, and in her defense, Susie doesn’t explain and doesn’t want to explain.
In the end, though, she acquiesces. Susie goes to Hedy and asks her to convince Gordon to jettison his rule and book Midge. She talks to the person she least wants to speak to in the world, someone who hurt her, someone she absolutely does not want to owe anything to, let alone ask for a personal favor from. Hedy herself acknowledges how hard this must be for “Susan.” And by god, the last thing Susie wants is the indignity of having to brook Hedy’s suspicions that her relationship with Midge is something more than professional.
But she does it anyway, because it is more than professional, though not in the way Hedy might think. Susie loves Midge. She wants to support Midge. She wants to break down those barriers together. This is her way of expressing it, in doing something much harder than “hopping over dicks” or haranguing talent bookers. It is, more than fixing Midge’s future Hawaiian wedding, the ultimate sign that when push comes to shove, Susie would do anything for her client, or at least this client.
Because she recognized something in Midge, something that Abe is just now starting to recognize in his daughter. When he sits down to dinner with his pal Gabe, and two more men of letters, Arthur and Henry, he is morose, shaken, unengaged with the Algonquin Table banter and intellectual debate of his contemporaries. His world has been shattered by the simple realization -- he’s done it all wrong.
It’s a long, writerly scene, filled with the kind of introspective and philosophical dialogue that could be ponderous in less deft hands. But the crux of it is simple. Here are four older white men, born of the 1800s, rattled by the constant change around them, trying to make peace with it all and realizing, to their creeping horror, that they may have had the wrong view of the world, of their lives, of their children, this whole time.
It’s a bracing thought. We too live in a time of what feels like epochal change to us in the same way it feels to every generation. There is still something harrowing about Abe’s epiphany, one steadily shared by his dining companions. Here are the educated cosmopolitan men, those expected by 1960s society to not only understand how the world works but be the masters of it. It is their jobs, in the eyes of the community and social hierarchy, to be the builders and caretakers of this great civilization.
Only, to Abe’s hollowing dismay, he sees his granddaughter upsetting all of his biases and expectations and, to his credit, it rocks him. He took his son Noah to Columbia, and never considered doing the same for Miriam. He acknowledges that she bought the place that they now live, borne on the backs of her courage and determination. He recognizes a fearlessness in her that he not only didn’t nurture, but doesn’t understand where it came from. (And even in the throes of his realization, can't countenance that she may have gotten it from his Match-Making Mafia combatant of a wife.)
There is an order, a way the world is supposed to work, that has been passed down from Abe by his father and his father and his father. But not to the daughter who disrupts that and makes him understand how the entire system upon which he’s built his life, the entire dynamic and dichotomy that undergirded his worldview, can be dead wrong, and his brave, persevering daughter, who succeeded despite him not because of him, is the living proof.
In the early stretch of Mrs. Maisel, one of the breakthroughs came in Abe understanding why Midge couldn't go back to Joel. It was the beginning of Abe seeing his daughter. Truly seeing her. And now, through her daughter, he sees her ever more clearly, so clearly that, in Tony Shaloub’s best performance on the show, he’s disturbed and disquieted to think about what he missed, and how he got this whole damn thing wrong.
A visit back to her alma mater with her old college comrades sells how close Midge came to sinking into the life her father would have constructed for her. The collegiate scenes are as vivid and fun as any in the show, with witty bon mots and rapid-fire gags as fit for any table. But they’re also a reminder to Midge that, as much fun as these old friends are, as fondly as she remembers her college days, as much as her former pals admire what she’s accomplished, they’re still a part of that world and don’t quite get that stand-up is her career now, not just a detour until she returns to orbit.
That's what she says to Susie in her Grand Central plea to leverage her relationship with Hedy Ford. She accepts having been the good soldier and trusting the process, but wants to make the final push. She acknowledges that it’s a little selfish, but that she wants more. In truth, Midge is a little unfair. Because she agrees that Susie has gone to the mattresses for her time and time again, but questions how far they can go together if Susie won’t go to the absolute limit to help her succeed.
It’s a little more understandable, though, both because Midge doesn’t know the gravity of what she’s asking of Susie and because we’ve seen what happened at the Jack Paar showcase. Susie protests that if Midge does succeed, she won’t want it to be tainted by having had to call in personal favors. But Midge has tried playing fair. She’s tried working twice as hard and being twice as funny for half the money. And it still hasn’t gotten her where she wants to be on talent and hard work alone. So if the playing field is titled against her for reasons beyond her control, why not use whatever arrows are in their quiver, fair or not?
Because most of all, Midge doesn’t want this to be something she did for a few years before settling back down into the staid life her mother and father had been preparing her for all those years. The show teases some of the good times between her and Joel, and as sweet as those were, as fondly as they both look back on them before things went sour, Midge wants more than that now. And in a way her father is just now starting to understand, she has the courage of her convictions to go out and get it.
When Midge opens up a “Letter to her future self” that she wrote in college, it contains only one word -- “don’t.” Maybe we’ll get the context in a flashback in the series finale, something to put a capstone on the thematic throughline of an unexpected boost into feminist rebellion that began the series. Or maybe we won’t. But for now at least, there’s only one other place that word is used.
When Hedy compliments Midge on the sketch she wrote for Prince Margaret, Midge is deferential, accepting her role as the impetus for the idea but crediting the rest of the writing staff for making it funny. Hedy admonishes her with the same word. Don’t. Don’t eschew credit. Don’t cast aside your laurels. Take them. Take them in a world where even the people who love you, well intentioned though they may be, won’t acknowledge them otherwise.
Don’t sell yourself short. Don’t settle for less than you are. Don’t give in to the expectations to simply play the part that's expected. Don’t stop until you’ve done what you set out to do. Maybe it’s just some teenage pablum scrawled into an old coke bottle. Or maybe, somewhere deep down, Midge already knew.
New favorite episode this season. Hands down.
Alex going rogue and just beating the shit out of Cadmus people was so good to watch. I loved every second of it. And don't you dare tell me that she did it for the wrong reasons. Alex Danvers is the biggest Slytherin to ever Slytherin. At the end of the day, family comes first. That's just who she is. And it doesn't make her a bad person or a bad agent.
Maggie was on my screen for more than 20 seconds! Merry fucking Christmas to me! She's apparently gotten much better at pool, too. And she wanted an actual flash grenade for winning? What a dorky badass. I'd die for her.
"- I wish I had what you two have.
- Go away, Brian."
Am I still laughing? Yes. Yes, I am.
Also, Alex is Maggie's "ride or die". They are such a good team, working together seamlessly, kicking ass and supporting each other through everything. My little gay heart can't handle Sanvers. And Alex would definitely make an excellent arm candy.
Look at that, Kara had her own storyline! And a moral dilemma! And it was about journalism! So much yes. I'm super mad about her getting fired, though. Snapper had better hire her back soon. Remember when working at CatCo was an integral part of Kara's storyline and she said she couldn't be Supergirl without her job keeping her grounded? Good times.
Kara biting her lip while talking to Lena? Supergirl saving Lena and carrying her in her arms? I'm not saying it's gay, but it's so gay. And it's also an interesting, healthy, respectful relationship. Do the writers really think we'd rather see Karamel happen than Supercorp?
"Maybe being Supergirl and having you is enough."
Okay, here's the plan: we go home, we vomit. Then we book the next flight to Vancouver, get into the writers' room and ask them what the fuck they're doing. They should ask themselves "What would Cat Grant say about this?". Because she would definitely disapprove.
But yeah, aside from that one garbage moment this episode was awesome. And that scene between Kara and Alex when they were trying to stop the alien ship was raw and epic, and absolutely, utterly spectacular. This is the kind of content that we should get every week.
To anybody asking themselves "why display the green environment, even if just for the few moments before they die":
Well, so they'd clean the lens of course. A simple and cheap trick so nobody unpunished has to go outside to do so...
Just wondering, is the Winchesters half brother still in that cage?
I really don't care anymore about anyone on the show... Just end this please.
Yeah Mia, tell your co-worker when she is about to have a breakdown where her missing baby is. Great idea!
Oh great writers, bring back Mon-El so the whole show is about him again. Finally Kara was feeling better after last week’s episode and now she’s fussing over him once more and losing her personality in the process.
Wow. Is it just me or are the stories becoming monotonous and boring.