What an absolute perfect ending, and I say this while admitting this ending didn't go the way I expected it to. Like honestly, how many of us actually thought Picard was going to survive this episode? I didn't, but I'm damn sure glad he did, even if we never see any of these TNG characters ever again, which I honestly doubt we won't given the ending. This was an emotional final send off however for this crew that honored and respected each of them throughout the season, every single one of them got their grand moment to shine, Riker with his asteroid, Geordi with his ship, Worf with his rescue, Crusher with her contraction discovery, Data defeated Lore, Troi rescued them in the end with her love for Riker, and Picard saved his son. And how about that borg queen, holy absolute hell was she horrifying looking or what? Anyway, what a beautiful ending that they all deserved, and one last poker game for the sake of it all. Am I excited about the future with Q showing up to tease the next series with the Enterprise G? Sure, but not as happy as I am that the old timers I grew up with got their swan song and somehow, someway, all survived. And if you didn't burst into tears when Riker and Worf decided to stay back to find Picard, basically sealing their death, then damn it I don't know what will satisfy you in life. Was this show perfect? Fuck no. Was the 3rd season without flaws? Bahaha, no! But if you can't appreciate what this really was meant to be here, I don't judge you, I just feel sad you couldn't feel the raw enjoyment the rest of us felt, because this was fucking awesome.
Another outstanding episode.
Of course, Tommy escaped. Now the question is what the hell he's going to do. Will he go for Catherine? Will he try to run off with Ryan? Does he have something he needs to do for the Knezevics? Exciting. I'm half-convinced that he's going to end up killing that PE teacher at some point. Joanna's body in that suitcase was horrific. I want to know how the pharmacist even got her in there and moved the case aside.
I was sure that the PE teacher would deck the pharmacist when they had that incident with the cars. One of the girls recording it had me so sure.
Ryan... you little twat. Did he even say a word in this episode? I don't remember him saying a thing. He just kept avoiding eye contact with everyone and looking moody.
I was utterly shocked that the more well-put-together Knezevic was also the one who ended up being unhinged and violent. The other one looked way scarier and like the crazy unhinged type.
Still unsure about Neil. He seems like he's a good guy, but I feel like there's still something to be revealed there. Loved the part where Catherine told Clare to shove her misplaced do-gooding up her arse.
There are so many moving parts and little plots that need wrapping up, and there are only two episodes left. Makes me feel like a lot of it is going to end up being connected and resolved simultaneously.
Hoping they stick this landing.
EASILY one of the best shows this year and this thing is flying under the radar as far as I can tell which is a shame. The first five episodes in the hospital are incredibly transportive due to the cinematography, set design, and performances. Every actor embraces their role so well and everyone feels so real. This is probably the most grounded show this year while also being able to draw so many emotions out of you. I felt anger, fear, anxiety, endearment, and overwhelming grief and sadness in the first five episodes alone. Episode 5 in particular stands out as one of the most emotional and heartbreaking hours of TV I've ever watched. The only emotion that seemed to be missing was happiness or joy. It is really lacking in levity, but at the same I'm not sure that adding levity to a true story like this would be the right thing to do. I bet that any feelings of levity were severely absent for the real life doctors and patients of this story, and therefore the tone of this show feels like a faithful thematic adaptation. My one complaint was the juxtaposition between the first five episodes and the last three. The first five episodes in the hospital produced some of the most engaging and emotional television I have ever watched, and I just don't think the final three episodes was able to match this. The final three episodes are by no means bad, but they feel like they comprise a completely different of show and inherently the legal aftermath section of the show just isn't going to be as engaging or enthralling as the first five episodes actually in the hospital. Because of this the show dragged a good bit in these last episodes. Once we get to the final three episodes the show also narrows in on continuing Anna Pou's story, but most of the other characters get little to no screen time after being major parts of the first five epodes. I had gotten attached to those characters and there was a harsh cutoff for most of them after the fifth episode. I do, however, think that the final three episodes do a great job of adding complexity to Anna Pou's character and the entire situation at the hospital, as well as adding well-written new characters. Overall, even with the harsh transition after episode 5 I still found this show as a whole to be incredibly engaging and emotional. One of my favorite limited series.
2022 TV Shows Ranked --> https://trakt.tv/users/justinnumerick/lists/2022-tv-shows-ranked?sort=rank,asc
Overall, I think that this was a pretty good season, much better than season 3 for sure. I did have a few problems though:
Why was Harry's medication only addressed once? They made it seem like it was going to play a bigger role.
I think it’s fair to say that the Muldoons are a family without a moral compass, so I'm surprised they admitted to the Lambs that they killed Bo. It seems out of character considering how terrible they are. The storyline of Percy's guilt would've still worked even if they didn't tell them.
I think it would've been nice to mention Bo about two or three episodes prior instead of just once. I feel like it would've had a bigger impact.
I do not like the fact that Meg got off Scott free like that. She helped covered up Percy's crime, so why didn't she get in jail or something? Instead she was free to communing with nature.
What happened to the scared Spanish speaking lady with Brandon?
I'm glad I was wrong and Harry didn't die. However, I was hoping for a more definitive resolution to his arc. That final moment, where he is kneeling down by the bluff is very suggestive about his future. But I think there were hints in the finale that he would be just fine. It seemed his nod to Percy's question if he could “see another way” to deal with his guilt indicated that he'd made peace in a sense where he wouldn't take his life.
POOR MYTHROL!
Another fun episode following Mando and the Child back to Nevarro. I've got to say: I like how Nevarro has changed. Not only has Cara Dune cleaned up the town, but they've established a school in place of the cantina! How awesome is that?
Baby Yoda's (the Child) shenanigans were fun. First Mando gets him to help rewire the ship (I'm surprised he didn't die from the electric shock) and later steals some macaroons from a kid at school. Just all-round hilariously cute!
This episode also gave us some insight into Moff Gideon's plans. He's got some weird science experiments going on and when Doctor Pershing says "M-count", I'm guessing he was talking about Midichlorians. I mean, they're stealing midi-chlorians from Baby Yoda and injecting them into other people?. Is Moff Gideon trying to make force-sensitive super-soldiers?
My only complaint about this episode would be the conflict. Although the episode delivers a crap ton of new mysteries, our heroes kill stormtroopers way too easily, with the sense that there wasn't any tension and I never felt they were in any peril.
Overall, it's a fun episode, with new mysteries that I can't wait to find the answers to in future episodes. Also, I haven't forgotten about Ahsoka! PLEASE, SHOW ME AHSOKA!
IT'S GOOD TO BE BACK ON NEVARRO.
TECHNICAL SCORE: 7/10
ENJOYMENT SCORE: 8/10
Honestly not sure what I was getting into starting this movie. Obviously I am one of the many that are drawn to this because of its stacked cast haha. This movie has a lot of ground to cover; not only is it based off of a book (which is already a challenge in general), it also spans the course of 20 years with like, six separate arcs. It's not surprising that some characters seem a bit shallow compared to others just because of the need to cram as much as possible into a two hour movie. While it's disappointing not being able to dive deep into these characters, the actors do a stellar job at giving us a glimpse. I think every casting choice was perfect, to be honest. Tom Holland leaves behind the dorky cuteness of Spider-Man to fully shine as a twisted protagonist caught in a pressuring, depressing environment. Robert Pattinson blew me away. What the HECK was that accent. I loved it. LMAO.
What really gets me with the film isn't just its overall depressing themes— it's how all those themes tie back to God and religion. Be warned this tackles tough stuff head on: extreme violence, murder, sexual assault/rape, animal abuse, & suicide are all in there. It's frustrating seeing all these characters justify their hypocritical actions with religious intent. It's depressing seeing the more good-hearted characters be gaslit with twisted religious reason. Please do not get me started on Pattinson's character arc, HA. What's worse is that all of these messages that are spread under the guise of the grace of God/God's will/what the Bible says, is that it's not really dramatized. This crap is coursing through Christianity to this day. I was constantly extremely uncomfortable throughout the movie. I started to go down a spiral of just wanting Tom Holland to kill everyone and get it over with, similar to the descent into madness you feel in the Joker as you either cheer Joaquin Phoenix on or wince as he laughs and cries. Either way, this film is definitely a think piece. Does it toe the line of just being trauma porn? Yeah. I think it depends on who you are as a person and how you view it as to whether or not it crosses that line. Catch your pastor preaching about this movie next week lol.
But uhh....BACK TO GENERAL STUFF. The score is absolutely phenomenal. I adored the music. The cinematography is subtle and gorgeous, and the set and costume design seamlessly build this small town world where everyone is related to everyone...ah, gotta love white people. While it is a slower film, I didn't find it to be boring. The suspense and tension built little by little serves for some great showdowns and climaxes between characters. It's a good watch for the cast and if you're into much darker pieces, but it's definitely not for everyone.
This is truly good TV! I've just finished the third season, and can hardly wait for the fourth. This series is based on the CARDINAL book series, by Giles Blunt, who "has received many awards from highly reputed associations for his writings. The first two novels of the John Cardinal series fetched him the British Crime Writers’ Asociation Silver Dagger and the Crime Writers of Canada’s Arthur Ellis Award respectively. He has proudly been compared with the likes of Ian Rankin and Cormac McCarthy and has been nominated for the Dublin IMPAC award two times." (https://www.bookseriesinorder.com/giles-blunt). Beyond really good writing, the series has fine performances by :flag_ca:Billy Campbell and :flag_ca:Karine Vanasse. The screenplays are evenly paced, the characters are credible law officers and solving the crimes is balanced with great character archs. This is a Bell production in partnership with :flag_ca:CTV (which will mean something to Canadians who will be able to catch it On Demand or through CTV's app) but internationally, it means you can expect beautiful :flag_ca:locations. I highly recommend this series and rate it a 9 (superb) out of 10. [Crime Drama] {Just finished the fourth and final season and found it a little slow and the soundtrack was horrid, but, Billy Campbell and Karine Vanasse fill the silence between the very limited dialogue. This season dropped to a 7 (good) for me. Everything else in my original review stands.}
:broken_heart:
What?! I had no idea this was not just the season finale, but the actual series finale until I read the comments around here! I'm shocked and totally unprepared to say goodbye to The Magicians... I knew Syfy wanted to pull the plug on this one, but I thought season 6 would be it. I can hardly believe that one of my favourite shows of the last decade has met its demise...
How will we know what Penny and Julia's kid will turn into? When will the Moon finally forgive them and stop acting up? When are we getting that Visigoths storyline I've been craving for since they first appeared a few episodes ago? How will we hopelessly continue to expect Q to come back to the show? When will Marina get a proper hairdo back? How will I be entertained by Alice's huge rack, huh, I mean, by Margo's delightfully bitchy personality again? So many questions, so zero episodes left to soothe my restless inquisitiveness...
Two good things about The Magicians coming to an end, though: no more cat abuse and no more Margo & Josh!
It was great seeing The Beast one last time, no one actually ever topped that guy as a villain on this show.
One last special shout-out to Fen, who became increasingly adorable as the seasons went by.
Did this really end? ;'(
To Fillory and further!
:heart:
Well, that ending is one way to keep the ball rolling with how practically everything the show started with has been solved. And by the ending, I mean the fact that their ritual didn't work, although I guess the ending itself may be more significant in keeping the ball rolling. Also, now that I think about it, since Owen is seemingly dead or if he is dead, is that the whole Aglaeca plotline over and done with? Or is it just getting started, so to speak, all because their failed ritual pissed it off to a greater extent, which implies that if they hadn't done that, the Aglaeca would've backed off once Owen died? Or, on a different track, was Owen's death (if he IS dead) not caused by the Aglaeca and will be a not-so-supernatural murder mystery to solve? He is (or was) a Marvin so I'd imagine there would be more than enough people that would want him dead and would that whole mile if an opportunity presented itself. Regardless, I believe the reveal that the Aglaeca could be an entity with a human origin, as well as Owen's "death", will serve as a way to move the plot along and for there to BE a plot, to focus on now that a whole lot that was a big deal back at the beginning of the show has been resolved.
Smartest creature ever. Super adaptable, evolutionary. This is by far the bad assiest being ever imagined. The science in the movie was up to my extremely lofty standards. For the first time, ever in a horror movie, this thing could theoretically actually exist makes the movie extremely interesting. The main reason I gave it a 9, is due to the fact, they should have sacrificed the first guy, immediately. I had one other issue, but that would tip spoilers. Other than that, this is a great, thrilling, mind bender of a horror sci-fi movie.
And for those who ridiculously state this was "like Alien". This movie had a super intelligent, highly evolved bacteria. This was never done before. Actual physics and biology was implemented. It wasn't just some creature out of the mind of a teenager. The crew were attempting to contain and survive. Never before have I saw a movie, that was about containing an entity while above the planet. This used an actual space station, that is real and does exist. This was not a fairy tale of a movie, as was Alien. No one was hunting this thing down with guns and such. This movie is about what can actually happen as we go frolicking around our solar system. This is something that we should actually be worried about. That is completely ground breaking in every way possible. The Europa Report was closer related to this film, but even that was not as real of a threat as this movie, since it was on a Saturn moon, using theoretical science and fictional equipment. Life used all actual equipment, actual science, and actual crew reactions, although, I would have sacrificed the first guy, immediately and launched the immature state of Calvin at the first sign of an issue. And one last thing, Calvin didn't even kill anyone, except the first guy, who was attempting to incinerate it. I bet in part two, we will find out he is actually peaceful.
This movie was nothing like Alien. Besides the fact that the setting was in space and there was a creature hunting them down (or was he?). The Alien was killing, Calvin was surviving.
A dramatic conclusion to what I sincerely hope isn't the first and only season of this series. Looking back, the pace of the character development was spot on, with the characters growing on us, in the same way that Bill began to grow fond of the situation he was reluctant at first to find himself in.
Everything wasn't tied up neatly in a bow, and thankfully, rather than leaving us hanging with a hard "cliff hanger", things were wrapped up for the episode, but the overall story arc was concluded in a sort of open ended "soft landing", stopping at just the right spot in each threads development, so we're left wanting more.
I definitely would like to see where this goes, especially with Bill and Mary and Kelsey's growing relationship, Lydia's "glass ceiling" (no penis / no promotion for you) moment, which , seemed to gain Bill a new ally, especially since he can save the 600 jobs, and Yeardsley's come to Jesus realization that, even though he didn't say it, he knows, and hopefully she can fix things.
So now begins the long wait to see if this gets picked up. The series was far too short, and hopefully, they'll get at least one more series, though I could get used to Wild Bill being on my viewing schedule for several more.
The story moves forward by going backward to what appears to be the first inkling of Myfanwy's abilities, whose onset appear to have been triggered by physical trauma (or her near death??) But, it also seems that the more intense the release of energy from her is, the more (deeply) her recollections are wiped. The game is very much afoot as we now see that EVERYONE has either an agenda or a vested interest in the "unknown target" (that would be Myfanwy) either in protecting her in Linda's case (if that is indeed what she is doing) or in Conrad's, who, using HIS abilities to torture the targets name out of a rival agent, but, doesn't let her handler know that he now knows who Dark Phoenix'ed the 10 EVA traffickers. On the bright side, self induced Retcon / Neurolizing is apparently great for avoiding the "walk of shame" the morning after drunkenly shagging a co-worker. Hey, everything's a trade off.
It would be bad enough waking up and not knowing who you are and WTF happened to your entire life, but add to that the knowledge from YOURSELF, via a pre-recorded video that you're still in danger and "you can't trust ANYONE", and you have the makings of a Matrix level "Neo, you are the one" mind-frack, with no Blue Pill to make it all go away, that is, back to normal.
On top of that.........., ZOMBIES???????
Welcome to a brand new season of "Is this fictional dystopian future even fictional anymore?". Otherwise known as "Georgia or Gilead: Spot The Difference". One can't help but ask, is this a case of life imitating art, or did Margaret Atwood predict the world would go to shit with staggering accuracy? Either way, one of the best shows on television is back and I can barely contain my excitement.
What a strong season premiere this was. I have so many thoughts about the plot and I don't think I can put some of them into words properly just yet, but here, have a quick rundown of the things that stood out to me:
June and Serena. In case I haven't mentioned enough how much I love this dynamic, I'm gonna tell you now: I love them so fucking much. It's volatile and violent and angry and tender and soft and tentative and toxic and good all at once and my brain might just explode from the gorgeous complexity of it. I feel like the fire and Serena accepting June's hand might just be what finally pushes her over the edge; a symbol of old Serena going down in flames and a new one rising from the ashes. She's done so many horrible things, many of which cannot be excused in any way, she's hurt June so deeply and yet, at the end of the day, I find myself rooting for her. I'm not sure if you can call it a redemption arc since a lot of her actions can never truly be redeemed, but her character development with all its ups and downs has been nothing short of fascinating and completely organic, and I absolutely cannot wait to see where she will go this season. Also yes, I do realize that shipping those two is juvenile behavior but how can I not when they give us scenes like Serena breaking down in June's arms and June comforting her?
Emily!!! She made it to Canada and I can safely say that I didn't breathe for most of the river scene. The applause she got at the hospital made me cry. What a cathartic moment. She survived such horrors and she's safe at last. I can't wait to see if she'll be reunited with her wife and son.
So who's gonna take care of little Nichole now? Is she gonna end up with Luke? She's not even his daughter but she is June's, so it kinda makes sense for him to take her in.
June and the Wife's conversation aout Hannah was lovely. Elisabeth Moss is such a fucking powerhouse, man. She gives you all the feels.
Overall, such a strong episode that is absolutely on par with the previous two seasons. I'm hungry for more.
Best lines
I’m waiting for an old friend - Bran
You left me for dead - Hound
I also robbed you - Arya
I’ve always had blue eyes! - Tormund
Whatever they want - Dany
but
It had its moments - Sansa
They need wheelchair ramps in Winterfell. They left Bran in the courtyard overnight!
Parallelism between Season 1 Episode 1 and Season 8 Episode 1
¯\_(ツ)_/¯ S08E01 Jon: "Where's Arya?" Sansa: "Lurking somewhere."Foreshadowing (from different Seasons/Episodes.)
01. S03E05“ “Let’s not go back. Let’s stay here a while longer,” Ygritte tells Jon. “I don’t ever want to leave this cave, Jon Snow.” S08E01 “We could stay a thousand years. No one would find us,” Daenerys says to Jon.02. Sam is suggesting rebelling against the Targaryen because they burned his father and brother alive. Similar to when Robert's Rebellion, began when Rhaegar Targaryen, allegedly abducted Robert's betrothed, Lyanna Stark.
[10.0/10] I owe The Walking Dead something of an apology. When we met the new closed off Michonne after the six-year time jump, I naturally assumed it was because she’d lost Rick. After all, it was the last thing we saw before the series’s big shift, and lord knows that for eight and a half season, this show had the propensity to treat Rick Grimes like the center of the universe. Why should his absence from it change that?
And in some ways, “Scars” is about Rick’s absence, his hopes for Alexandria and his family, and the hole he left in the lives of the loved ones who survived him. But it’s just as much about the loss of Carl, and his dreams for the people he cared about and the place he called home. And while he’s never mentioned by name, it’s just as much about Michonne’s first son Andre, who died when the world fell. Because more than mourning the show’s former main character, this episode is about parenthood, about the balance between protecting the little lives that mean the most to you at all costs, but also about realizing that they are people, people who, like you, may have minds and thoughts of their own.
And it is about love, an all-powering love that causes parents to take the biggest risk, the strictest measures, to look after the people, especially the children who depend on them. But also a love that stands as a beacon against sealing oneself off from others, about closing ranks and not looking after others because you worry the risks are too great. It is one of the most harrowing, and yet heartening episodes of The Walking Dead so far, and a serious contender for the series’s best episode yet.
Part of that comes from the structure of the episode. Half of it is set in the present, where Michonne reluctantly takes in the quartet that escaped from The Whisperers in the prior episode, and goes out in search of Judith after she leaves to help them. Half of it is set in the past -- a brief enough time after Rick’s disappearance that Michonne is visibly pregnant the whole time -- where Michonne had the experience that made her so hesitant to trust anyone and so committed to the idea for making Alexandria a place that looks after the people they care about rather than the utopia that Carl once envisioned.
The stories are so complimentary, giving you cause and effect in unison. The show knows how to slow-spin each of them, letting you see Michonne’s hesitance turn into acceptance in the present at the same time her hope curdles into protective exclusion in the past. There’s masterful mirroring, with Judith’s disappearance six years ago paralleling her running away in the present, and Michonne’s desperation to find her being equal in both time periods. It’s rare that any show, let alone The Walking Dead, is so apt at threading the needle between two different stories, meant to inform one another but move at their own pace. The construction alone makes this one notable.
But the visuals are just as breathtaking and tell the story. There’s the same parallelism, in haunting but powerfully symbolic tones as Michonne slays walkers to save Michonne in the present to spare us from witnessing her felling children during a dark incident in the past. There’s both scenic beauty and the signs of possibility and progress as Daryl and Judith are framed far away from our perspective amid spinning waterwheels and talk about what the “Li’l Asskicker” knows about the past and what she’s ignorant of. There’s fluid conviction in brutality in the movement of Michonne’s sword into her former best friend’s leg, and artistic focus on the titular scars that linger with the young and mature alike.
For all its faults, The Walking Dead has always been adept at creating memorable visuals, but it tops itself here, providing striking image after striking image that don’t just wow the eye, but which serve the symbolism, the themes, and the emotion of the moment at every turn.
While Michonne’s hints to Lydia to make herself scarce are telling, and any scene between Danai Gurira and Jeffrey Dean Morgan is charged, it’s the story set in the past that is both devastating and moving. The tale of Michonne finding her old best friend, Jocelyn, from before the world fell, only to not only be betrayed by her, but have her child stolen, more than accounts for why Michonne would start turtling, emotionally and communally, and is draped in such understandable emotion and tragedy that it cannot help but be affecting.
Some of that is just a product of Danai Gurira’s incredible talents as an actress, which are on full display here. If I imagine what I want a post-Rick version of The Walking Dead to look like, this is pretty much it. Something focused on Michonne and Daryl on the one hand, and Carol and Ezekiel on the other, with concerns about the next generation taking center stage. But Gurira sells that struggle and resolve at every turn. Her fear and panic when Judith is missing, her vulnerability and pain when she wants to be upfront with her daughter, her anger when Negan puts the onus on her, and the abject reluctance but painful necessity of turning her blade on children when her own child’s life is on the line.
Maybe putting children’s lives at stake is too easy. It’s hard not to feel for Michonne in her Anakin Skywalker moment with Jocelyn. But you see how it has particular relevance, particular emotional weight, for her, given the unimaginable pain she’s had from losing multiple children the lengths she would go to avoid losing another. “Scars” dramatizes that expertly, and Gurira delivers it perfectly, from the easily renewed camaraderie with an unexpected confidante, to the sense of betrayal when that friend turns Pied Piper, to the “anything but that” position that poor Michonne finds herself in to save Judith.
There’s legitimate creepiness, built slowly, to Jocelyn’s gang of lost boys and girls. There’s the branding, the threats to Michonne’s unborn child, the slow-spun terror that emerges when Michonne has to balance protecting the last vestige of her lost love, the innocents programmed to threaten her, and the little girl whom she couldn’t bear to lose. “Scars” creates a horrifying terrible dilemma, one that spotlights the core of who Michonne is, and the price she’s had to pay, the turns she’s had to make, to try to make sure nothing like this happens to a child ever again.
But “Scars” isn’t just about how Michonne got to where she is now. It’s about how she gets better, how she starts to recover from so much loss and so many hard choices. That changes is spurred by Judith, who carries on her brother’s spirit and Michonne’s determination. That sense of hope for tomorrow, of a love that means extending the circle, opening yourself up and sharing and trusting, because it’s how that love has a chance to grow and flourish. For so long, Michonne has been trying to protect Judith’s childhood, to let her live unburdened by all the ugliness of this world.
And yet, in the end, it’s Judith’s innocence, the same type of blank slate care and intuitive love that Jocelyn corrupted to ill ends, that let’s her understand the world as it could be, not just as it is. In “Scars”, The Walking Dead doesn't just deliver its most laudable message yet, it does so via two stories that complement each other perfectly, and deepens an already potent relationship with the remembrances of those lost and what they believed in. To be frank, you may as well end the series here, because I’m not sure where else there is to go, what more you could do to sum up the risks and hardships, but also the rewards and joys and spiritual growth that this show is capable of, than what we get right here.
I knew that they'd want to get their money's worth out of using Chris Pine in this miniseries, but I thought that he'd play a fictional composite of various real people, and that his role would be to keep the plot moving along. Instead, in the end, Jay Singletary was entirely his own fictional person, which made him more of a distraction than anything else. Still, he had Fauna's back and earned the degree of tropical redemption that he found in the end. George Hodel, on the other hand, ended up being every bit as sleazy and skeevy as one would imagine based on the actual facts, and it's too bad that art imitated life here and he didn't die a horrible, slow death in a fire. Finally, Fauna proved to be every bit as smart and resourceful as she'd been all along, but I found her crushing critique of Hodel to be beyond what a typical 16-year-old would have been capable of. Nonetheless, I enjoyed hearing her deliver every word of it. Overall, the ending was anticlimactic, but mostly satisfactory if for no other reason than the fact that Hodel didn't win while both Jay and Fauna did, in a manner of speaking.
Absolutely excellent, probably the best episode of the season so far. Some real edge-of-your-seat enjoyment with stunning visuals.
So, I was gonna give this show a pass because, even though I liked their appearance in that episode of Titans, the gang didn't actually do much for me, then, and I really didn't want to watch yet another superhero show (I watch too many of those, already!)...
... But then I noticed Brendan Fraser and Timothy Dalton were in this and that piqued my curiosity. Oh boy, am I glad I ended up watching this! Titans is darker, but Doom Patrol is funnier, Robotman cracks me up (excellent casting choice on that one)!
Also, maybe it's because of Penny Dreadful, but I really enjoy Timothy Dalton as Charles Xavier, huh, I mean, as Chief, being in charge of the whole gang (again, excellent casting choice).
I loved the narration, I hope they'll keep that (though after the villain having been introduced, I guess they'll drop it).
I was definitely pleasantly surprised, I would never guess they'd manage to keep up with the same quality level of Titans, and I'm now eager to watch one hour of this every week!
DC may not be fairing that well on the big screen (well, not according to me, anyway), but they sure are nailing it on the smaller one.
I suspect we're gonna have a lot of fun with this bunch of freaks!
The sucking sound you hear is that of thousands of panties being dislodged and reluctantly pulled out of the wedgied butt cracks of the nattering, naybob naysayers, disbelievers, and generally unwashed masses. And trust me, they REALLY like their wedgies!
Yes, it's still early in the season, and there's still plenty of time to screw things up, but, I can wholeheartedly say that it appears the writers may have just found their stride, and are well on the way to achieving balance in the force...., er, wait, uhh..., THE balance between looking forward from and paying homage to established Star Trek canon, without being kitschy, and giving ALL Star Trek fans something to look forward to each week. Kudos and applause all around.
They attacked some BIG themes this episode, especially with the brilliant re-interpretation of A.C. Clarke's theorem that, "Any sufficiently advanced technology is indistinguishable from magic" to "Any sufficiently advanced technology when viewed by a non technological society is indistinguishable from...., GOD." (paraphrased) Believer, Nonbeliever, Atheist, Agnostic, ALL, like Aristotle's 'petitio principii', often beg the question, that is, their argument's premises assume the truth of the conclusion, instead of supporting it one way or the other.
One person looks at he mathematical precision of the Universe, and concludes that it HAD to have a creator, while another can look at the same precision and declare "There is no God". Yet, who really is the fool? Perhaps neither, perhaps both. If a being had technology that allowed then to manipulate and reconfigure matter on a molecular or atomic level, would that not, to those dispossessed of said technology, make them appear Godlike? It would only be their own benevolence that would prevent them from assuming that role.
That is the position our intrepid crew finds itself in this episode. After Michael Burnham reveals to Pike that her brother (from another Mother) Spock had apparently discovered the mysterious signals MONTHS before they actually appeared, another beacon reveals itself, and at maximum warp, they can reach it in...., 150 years. Ohhhhhhh Staaaamennts!!!!!! Now, Starfleet's General Order Number 1, or, Prime Directive, forbids interference with pre-warp civilizations, yet, somehow, they have been led to one inhabited by Terran's FROM earth who are now in the beta quadrant but their technological development ended 200 years prior during Earth's Third World War, when they were apparently beamed away just before a nuclear strike. So, "This is Us"..., but a severely beta version. The dilemma now being whether they get, or even deserve an upgrade. Oh that pesky prime directive..., What's a Starship Captain to do???
Well, knowing that THIS Captain's middle name is "Richard" and not "Tiberius", does keep that from having a foregone conclusion, and watching Burnam play Spock to Pikes Kirk, (got that?) is rather joyous, ESPECIALLY since this is apparently opposite crew day, and the traditional TOS roles here, are, well..., kinda sorta reversed.
Meanwhile, back on discovery, Officer Candidate Tilly decides to break off a chunk of the mysterious space rock they captured previously, and play with essentially a chunk of a neutron dense asteroid, so Stament's doesn't go mad inside the "mushroom network" if he sees his deceased other half again, and she, well, let's just say things don't go quite as planned.
And then there's the impending doom that suddenly materializes to get everyones knickers in a twist. Well OF COURSE impending doom suddenly materializes, we must have homage beats, yes? Do they even wear knickers in space? George Lucas said "there were no bras in space", but there MUST be knickers.... Those uniforms are too tight to go commando..., but, I digress.
So, the, all that's left to do is defeat the impending doom, make contact with the locals who are us, but running Windows 98, while obeying General Order Number 1, yet somehow not feel like total monkey butts if we decide to exit, planet left, without them.. Did I miss anything??? Oh yeah, and Tilly apparently can see dead people..., or she's having a brain aneurysm. Anyway...,
You now have permission to watch the episode.., if you haven't already.. (But then, WHY are you reading this if you HAVEN'T watched the episode?? Get outta here ya nut!!!)
I read the first two books but not the third. I think watching this show may be better if you don't know how things pan out. Normally an episode where people don't have their powers would bother me, and if they didn't know who they were it would bother me even more, but this was done very well, with plenty of traction on all fronts. Plus their chosen identities were fascinating.
I like Marina's makeup. Purple lipstick, flashy eyeshadow, dangling hexagon earrings. All a good look on her.
Fog is trying to redeem himself and is letting Julia be part of magic. That scene with her in his office was touching. I like Dean Fog.
The only thing I wish I knew is the books description of the animals current plaything scenes with Quentin. Maybe I'll read those. In the past, the show has found ways to stay true to the multi-layered lathered-up descriptions in the books.
Loved how the horned God talked to Margot, calling her the "little boy high king."
May have graded a bit high on this one, but I missed the show.
Also: Dear person who went thru the first five eps here and gave them fake synopses: Alice and Quentin confront a dog? Dean Fog gets a new suit? Margot eats a muffin from Josh? I think you can do better. I did like Julia drinks schnapps, tho.
Superb episode! We finally got to know how all this mess began, narrated by the person who witnessed all of it, from the very beginning. It was exhilarating to watch the events unfolding with the inevitable decay of the relationship between what are now the members of upper Management. I was absolutely thrilled when it was shown exactly when the two worlds drifted apart (such a mundane thing, who would have known?). The scene with all those rats feeding on each other was a chilling and appropriate metaphor for the current state of the relationship between both worlds.
This episode was excellently executed, giving us in great detail how things turned to shit.
It's just a pity that one of the things I was looking forward to knowing the most wasn't revealed: how the flu that devastated the other world was released. Sadly, they didn't elaborate on that, and I found the short reference they made about it to be quite underwhelming.
This was one of the best "origins" episodes I've ever watched in any show and an essential narration of the background story that gave birth to this show that we know and love (well, at least I do).
A solid episode. Great drama. Great policework. Stakes to care about in the major and minor plotlines. This episode did everything that MacGyver (3x11) did wrong this week. The series wide technical issues are still there. The body cameras that the cops are never without and are clearly not the footage we see based on the angles the footage shows. Here's a minor hint: If the character is peaking around the corner, then they will only expose their head. Therefore, the body cam footage shouldn't show the peaking around the corner.
But to be honest the fact that I'm literally complaining about the body cam footage parts shows how great this episode was. It might be my top 5 of the season. I even cared about the episodic characters. I care about the pregnant woman trapped in a relationship with.... I dunno a drug kingpin or a gangster or a gun runner whatever he classifies as. I cared about the black man who didn't want to take no muss from the cop but still let them survive in his apartment. I was invested in the two (IA?) guys who showed up late to the party [spoilers] and as much as I didn't like them. I felt reasonably sad when one died saving his partner[/spoilers]. Even the B-Plot about the break-in and the new investigation about it and whether or not it would be revealed that Lucy and John were having sex that night was interesting. One of my bigger complaints in the show is how idealized the police are where one lie can get you kicked off the force but IRL you can shoot a 7yo in the head and not get kicked off SWAT. But even that was toned down this episode. There's a minor theme about the truth setting you free but the only one who buys into that nonsense is John Nolan because that's the sort of thing a white guy might think but Lucy knows better. Even Commander West knows this and is clearly only using this to trick John Nolan into giving himself up. It's the sort of theme that would be super annoying if a full episode was dedicated to it but in this episode it was used exactly as much as it needed to be.
Being a sucker for anything '80s (G.L.O.W. and Stranger Things come to mind) and seeing how much praise this show was getting on IMDB, I decided to kick-off the new year with a new show. As far as the '80s go, there isn't much to see here, visually speaking (though it warmed my heart to see Sony's old logo), but the soundtrack is absolutely delightful!
I feared that this would become yet another teen show spent in school but, thankfully, it's the most refreshing take on the genre that I've seen in years. The aggression, violence and overall grittier mood are well executed, without falling into the tackiness that often plagues shows that try to be edgier this way. The scene where Marcus kills that hobo that harassed him earlier was great, the quick build-up was very well done, to the point of embedding a sense of bloodlust in the viewer, I can't remember the last time I felt so satisfied to see some asshole being "taken care of" on screen.
I did not know this was based in a graphic novel until I read the other comments here. It does have a comic book vibe to it, you can feel it throughout most of the episode. It's like X-Mansion without the X-gene and the moral guidelines. It's like Hoggwarts if Voldermort was in charge of things. It's like Saved by the Bell if they all did drugs. You get the point (hopefully).
I was pleasantly surprised by this pilot episode, as it shows a lot of potential, steering the viewer away from boredom and almost constantly keeping us on our toes. The grittier take on high-school clichés keeps things interesting. It also seems to borrow something from the Japanese classic Battle Royale, which can only be a good thing.
All in all, I feel as if I was watching a show that knows how to balance trying to be edgy without ending up looking like a poseur.
I can't find my jaw. Oh, that's right. I DROPPED IT!
Okay, but for real; it was a decent start, started multiple plot lines, setting wheels in motion, like the Witch, Ecco with a tinkling sound in the background, nicely foreshadowing Harley, also Jeremiah's plan, the question about who shot the chopper, Ed, and poor Selina. Plus, it gave Tabitha a fitting end. I mean what I liked about Gotham throughout the years, is that it can cut things off surprisingly quickly. Once they feel they're on the top with something, and that thing won't be useful anymore, or they can simply make up a better story instead, they just end it, not really wait for season finales.
This has been going on for years: season 2 episode 3 - killing Jerome, episode 17 - Riddler vs. Jim, in season 3 the 3 part Jerome story, which was basically an event-like thing, but after that episode 19 beheading Kathryn out of nowhere, season 4 - Ra's' dagger, then Professor Pyg, or all of Ivy's stories thus far, etc. But you see my point? They didn't needed Tabitha anymore, so they had her killed. Unless she gets resurrected somehow, because, you know this show, right? She hasn't died before, so, who knows? But I think this was fitting, and Penguin said almost the same.
I think this start was good, and had everything there is to love about Gotham. But I think - or at least, I hope so - they're just getting started. Go out with a boom, guys. Make me proud again.
The trailer suggests something very generic, the film itself is anything but. There is a real sense of unease that is gradually built in the first half of the film, but it is all done through character interaction rather than attempts to scare, with awkward conversations and hints of unspoken histories that make this film intriguing. Edgerton seems intent on subverting every genre cliché you would expect to see, with the result that the audience is never quite sure where the film will ultimately go. And in an age of generic slash and stalk horror films, it is great to have a film that relies on ambiguity and uncertainty to create tension. The performances are all great, especially from Bateman. whose character embodies the gradual subversion that the film is playing on. There are a couple of nods to the genre with some well timed jumps, but they feel oddly superfluous. It is a shame then that the ending doesn't quite have the same tone of ambiguity and uncertainty the preceded it - it is not a complete misstep as it drive home the themes the film has been exploring, but there is finality and certainty offered at the end that feels unnecessary to emphasise a point. Still, this is well worth a look and Edgerton is now an interesting director to watch out for as well as an actor.
Searching is the new thriller directed by Aneesh Chaganty. Widowed father David Kim (John Cho) searches for his missing teenage daughter (Michelle La) with the help of multiple laptops and hard-talking detective Rosemary Vick (Debra Messing). All the action takes place on screens; the mystery unfolds through texts, FaceTime, YouTube and video blogs.
While some may have their doubts about watching what is essentially a filmed set of screens for nearly two hours, this unusual set up soon feels natural. After all, many of us spend a lot more than two hours without looking away from a screen in our daily lives.
The portrayal of familiar online habits on the big screen is cleverly used for comic effect. The constant rewriting of messages and the replacement of the jovial exclamation mark for the famously passive aggressive full stop is fully relatable and funny to watch. Some of the visuals are also arresting because they are taken out of their familiar context. Most notably, David’s screen saver is transformed into an enormous malignant jellyfish when shown without the borders of a laptop.
The clever parallels between the title, Searching, and the extensive use of search engines (particularly Apple’s “Finder”) throughout the film invite us to look at how we use the internet. Google asks us to “Search Google or type URL,” but when the missing object is a person rather than the answer to inane questions, these words take on a much more frightening currency.
Searching maintains a fantastic tension throughout the search for Margot. The contrast of the horror of the situation and recognisable ordinariness of the technological format is extremely effective in unsettling the audience.
The twists are truly chilling. By the end, there are perhaps just too many wrenching turns, which slightly dents the believability of the film. This is the only thing stopping Searching from getting a solid five-star review. It is a wonderfully sharp, brutally tense and inventively shot thriller that shows the blossoming possibilities of technology in film.
So, that TV show host's coworker manages to get a hold of Carly's confession video and, wisely, decides to keep her laptop offline until they show that video on air, in order to avoid it being flagged online and deleted remotely. Then, she gets an anonymous phone call telling her to check her e-mail and she promptly does so, on the same laptop. That's a good professional right there, folks! I thought the video would be gone, by then, but luckily, the show writers didn't notice this minor nuisance, so it just ended up being funny.
What's not funny is Jeff. Sweet Jesus, how can you legally hand over a child to a well known abusive alcoholic just like that? If there's a time Carly should have snapped, it was when they broke the news to her about this! But she went out of character and kept her cool... And then it took Jeff to actually get drunk and go on a car ride with his son for something decent to finally happen. I don't like Carly, but Jeff is obviously worse! What an asshole! Now there's a couple I wouldn't mind if they'd write them off the show.
I know I'm only bitchin', but I actually enjoyed this episode more than the season premiere. I think they're now more focused and better delineating this season's plot line. Also, the last few scenes had a Mission Impossible vibe, which was nice.
It's so good to have the Legends back! It's also great to see that they haven't changed in the slightest. It's go good to see that the writers are still smoking the same weed they used to to give us compelling, action-packed, and emotive episodes like this one.
Never change, you beautiful morons! Never change!
So, this episode delivered a murderous unicorn in Woodstock, Nate and Mick's own buddy comedy, Nate's mum's famous sandwiches, Ray making out with a tree, Constantine being the absolute badass, Ava and Sara being extra adorable and in a healthy relationship, Gary's nipple and an unknown demon coming for Constantine. And also, Nate's dad is Biff! Good lord, I've missed this show so damn much.
I love Ray. He's all heart and hasn't got a bad bone in his body. I loved his scene with Zari at the end. So full of heart and heartbreaking. Zari is slowly becoming one of my favourite characters ever. She's all kindness and doesn't give a fuck about anything.
Ray is completely breaking the fourth wall. "It will be good for our ratings" and "we have some dedicated fans" made me laugh out loud. All these me me remember my all time favourite "this is the second worst attack of the clones I've ever seen".
When he said "everyone loves the Supernatural" I couldn't keep myself from bursting out laughing. Petition to have these guys saying they are going out to hunt the supernatural and deciding to wear layers and layers of flannel only. I need a Legends-Supernatural crossover asap.
Gary as an intern Legends is what I wanted. Give us more Gary. He's the absolute best. I'm so protective of him. I get the feeling that I would be him if I were on the show. I'm dying for his evil nipple to come back from hell and to attack the Legends. Thus, we'd go from a fluffy toy (all praise Bebbo) to a possessed nipple. I think it's all in their wheelhouse, though.
I need more Constantine in my life. Matt Ryan is simply perfect, although I don't get the whole I can't join the Legends because everything I touch dies, or worse. THey guy's all alone and is bound to join the Legends, just do it now and stop playing hard to get. Gosh, every time I see Constantine I get angry that they cancelled the show. However, it'd be awesome if they get Chaz and Zed to show up. Since this season is more focused on the Supernatural, they could add Many to the mix as well. But what can I say, a girl can only dream.
The whole unicorn scene was great. And Zari covered in unicorn...vomit? was super adorable. I mean, Ray-Ray? And Nate and Rory....and Axel! Damn, the feels. I loved their "I thought you were dead?" and "I thought you were dead...on the inside!"
Speaking of my new favourite crime buddies. I loved the chemistry between them and Nate being Rory's jimminy cricket telling him to protect the timeline to save Black Sabbath was great.
Nate's dad being Biff from BTTF was amazing. I guess that's why he was wearing Biff's clothes in last season's "Phone Home". Given the meta level of this show, I was expecting Biff to call Nate butthead.
The hippy thingy got me laughing more than I care to admit but that guy carrying that "Speed: $1,00" sign almost made me die of laughter.
That split screen scene was outstanding. I loved how all of them got reunited at the end. Please, keep these coming!
Now, all praise the writers of this show for giving us a healthy relationship. Thank God they escaped that forced CW relationship drama. However, I always expect it to hit when I least expect it.
I love hos Legends is supposed to be a fun show which brings laughter in my life, but that can make me cry the next minute. That scene with Zari and Ray was heartbreaking. You could see the pain in Zari's eyes. It must take great courage and strong will to have the power to change it all and be finally happy but deciding not to do it to save the timeline.
As a case this is a fine episode. It's basically your every day secret twin that solves the DNA mystery. It's just the right amount of topical subject matter. In this case the case involves not only a mystery DNA match (100% pst... writers.. DNA is never 100%) it involves the Ancestry.com/23 and Me style DNA kits.
All in all there's a recipe for a decent legal episode. The problem with Bull in this phase (Season 3) is that it's whittled away all the interesting parts. It's now a just a law show that thinks you stupid. From the fact that they spend 30 seconds doing Jury Selection which is supposed to be the entire grab of the show to the fact that Dr Jason Bull gives a literal nod to his approval choices. nothing clever nothing subtle. the lawyer asks a question and then turns around at which point Bull gives a hand signal clearly visible to both lawyers and the full jury. it's just weird. But the problem this episode is that the modern aspects the DNA heritage sites leaking personal DNA results is glossed over. It's the only interesting part of this case. Should it be allowed or not. And yet it's over in one scene. There's no legal argument over whether it should be or not just a judge making up her mind that the police should be able to lie and it's justified not by the law or fairness but by morality of needing to find a killer. "This child is in The System now, his killer was found by this means so we're gonna allow it". if that wasn't the most biased judgement I've ever seen I'll punch yo mama.
Legal shows are rife with ways in which the unfair and unethical and illegal are made to seem normal and just. This episode isn't the worst example but it definitely fits in there for no other reason than because it could have been more and isn't. Bull is basically dead at this point. It's a show that's treading water without the charisma of shows like Castle or the low level appeal of paint by numbers show like NCIS/Law and Order. Everything I expected this show to become it has become. Legal shows generally suck at being both legal and interesting.
"Love is the perfect prison."
The great premiere is followed by more of the same emotional tone but this time, is centered around Wilson Fisk. Fisk is just such an astonishing character and Vincent D'Onofrio really knocks it out the park, and in this episode especially. As far as I can remember, we haven't had this Wilson Fisk in the show before. He's an emotional wreck and is not the brutal lump of rage like he was in season 1, as told in a rather literal sense in the opening scene, where he is attacked with a knife and nearly murders the attacker, but then leaves him alive after some thought. The violent Fisk was obviously great and iconic but I really like this change. That's not to say he will be like this all season though; I'm sure he will be back to his murderous ways in no time, but I'm more than happy with the Fisk we have at the moment.
This episode also saw Matt slowly returning to Daredevil, but without the faith this time. It also took a nosedive into Foggy's life and his relationship with his family, which was my second favourite part of this episode (behind Fisk's car monologue).
Not quite as effective as the premiere, but still a really good episode where Vincent D'Onofrio shines.
