Shout by Clobby Clobsters
As Cosmonaut Marcus writes, "It was whatever."
- There's no tension in the fights because, of course, they're going to win.
- Falcon with the save! Superheroes are actually saving people; thank you.
- The story: I'm right, discouraged by obstacles, I'm right again; no lesson learned
- Bucky saved some people!
- Do all these ordinary people train or just happen to know karate (the Flag Smashers)?
- And Walker doesn't go for the save.
- Nvm, Walker goes for the save!
- Wow, Sharon is the Power broker; what a relevant revelation. It's nice to know our theorists are right.
- Karli wishes she was Killmonger, huh?
- Falcon: You're right; I don't understand, but you Senators need to start asking "why?"!
- "U.S. Agent"? Ok, sure.
- WoAh, I wonder what AGeNt CArTer is up to?
There are some important messages but no revelations, lessons or challenges. Falcon just hears Bradley say, "don't do it", and does it and does fine, because...? So he had self-doubt, hears more doubt from someone else, but does it anyway?
SCORE 5/10
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I'm reading your comment, but all I see is someone trying too hard to find something wrong with the show. Sorry you didn't succeed. The show was awesome. Your nit picky nonsense? Not so much.
Shout by Clobby Clobsters
As Cosmonaut Marcus writes, "It was whatever."
- There's no tension in the fights because, of course, they're going to win.
- Falcon with the save! Superheroes are actually saving people; thank you.
- The story: I'm right, discouraged by obstacles, I'm right again; no lesson learned
- Bucky saved some people!
- Do all these ordinary people train or just happen to know karate (the Flag Smashers)?
- And Walker doesn't go for the save.
- Nvm, Walker goes for the save!
- Wow, Sharon is the Power broker; what a relevant revelation. It's nice to know our theorists are right.
- Karli wishes she was Killmonger, huh?
- Falcon: You're right; I don't understand, but you Senators need to start asking "why?"!
- "U.S. Agent"? Ok, sure.
- WoAh, I wonder what AGeNt CArTer is up to?
There are some important messages but no revelations, lessons or challenges. Falcon just hears Bradley say, "don't do it", and does it and does fine, because...? So he had self-doubt, hears more doubt from someone else, but does it anyway?
SCORE 5/10
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@clobby-clobsters 'There's no tension in the fights because, of course, they're going to win.' - I'm sorry but what a ridiculous criticism to make. The protagonists win in most action shows or films. The tension isn't in whether they're going to win, it's in how they're going to win and at what cost.
And you're making this comment about a universe where the heroes lost to a dramatic degree, in a film that released as soon as 2018 (Avengers Infinity War). This is the fictional universe with the smallest guarantee that the heroes will win!
To anyone wondering who that was at the end. That was echo, who it was recently announced is getting her own mcu show
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@kieranlittleuk I love how they played that moment like a big cliffhanger when most people have no idea who tf that is.
- That was whacky weird—I like it
- 2077?
- Beautiful planet
- There's something beautiful about those two walking through the chaos
- Put down your visor, Loki
- They have an actual conversation like real people; this isn't the MCU
- Thor reference
- He's not drunk, just full
- She called them fascists!
- Bye Loki
- Temper tantrum
- I mean, you might as well try
- They're all variants?
- Such a long take
This episode is alright. Not as strong as the others, but it's still fun. The action scenes are cool, and Loki and Sylvia's banter is fun to watch. Although I enjoyed them venturing down this planet , some scenes seem either too easy or like a waste of time. They could pay stuff off later, but I'm unsure.
Anyway, I'm still invested, but I'm not in as much suspense as I was in the previous two episodes. Wondering "who is this variant Loki?" and "where did they go?" is a lot more intriguing than "how will they survive?!" Like, I don't believe they'll die, or that they'll use character instead of plot convenience to get them out. We'll see.
SCORE: 7/10
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@clobby-clobsters What's the betting that Mobius will track them down and save them?
- I love how the Marvel logo starts to look more cartoonish at the end
- Omg, Chadwick Boseman
- Korath is so happy to be beaten by Star-Lord, lol
- Omg, the Watcher is actually participating in the story
- OMG, Thanos turned good
- They be dunking on Thanos, omg
"I've been trying to get them into counselling." — T'Challa
- I know the Yondu voice actor is trying his best, but nobody beats Michael Rooker
- That was easy. Good job T'Challa
- It's Cosmo the Spacedog!
- Howard the Duck?
- Korath is so fun
- Wait, did the Collector kill Korg?
- They saved Cosmo the Spacedog!
Wakandan guard: "My friend, that sounds an awful lot like genocide."
Thanos: "No, no, no. Because it's random."
[Clicks his fingers]
- Oh, they put a dedication for Chadwick Boseman!
What an episode! I'm loving this one more than Captain Peggy's since it's not trying to hit the same beats as "The First Avenger," and they can really do some whacky things here! It's a pleasure to hear Chadwick Boseman's voice again, and the set-up for this T'Challa is very interesting! When T'Challa was just a child, he wanted to see the world. But because of Wakanda's secrecy, his father forbids it. But after Yondu found him, he was free to roam the universe.
Thanos' character here was charming and hilarious, and the cameos by Howard the Duck and Cosmo the Spacedog were great, too. This episode is so different from the first, and I hope it continues this trend! Sticking to the beats of a better story (in my opinion) isn't ideal when we could have this original blend of an adventure!
7/10
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I know the Yondu voice actor is trying his best, but nobody beats Michael Rooker.
Based on the IMDb, Yondu va is Michael Rooker.
To anyone wondering who that was at the end. That was echo, who it was recently announced is getting her own mcu show
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@the_argentinian But that's how (unknown) bad guys get introduced in television since.. always, all the time, in most genres..?
Shout by Clobby Clobsters
Iroh: "Well, ever since I lost my son"
Zuko: "Uncle, you don't have to say it"
Iroh: "I think of you as one of my own.""You rise with the moon, I rise with the sun." — Zuko
8/10
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@clobby-clobsters My two favorite quotes from this episode!
Shout by Clobby Clobsters
- Yo, Glimmer's new haircut
- Oh, the intro is the same
- Nvm, no, it's not
- Aunt Casta is brutal
- Woah, Frosta, calm down now
- RIP Perfuma
- Bow and Adora be freaking out together, and it's freaking me out
- This day is chaotic
- Catra's breaking Scorpia's heart
- Ikr, Glimmer. Planning your own party, SUCKS
- Team combo?
- Oooh, sparkly
- Oh, those tiny wings were foreshadowing for her actual wings
- Nope, nvm
- Woah, Catra. This is treason
Look, not the best episode, but with three seasons to back up their friendship, Adora, Bow, and all the other princesses' words of support and encouragement do mean a lot. It's pretty wholesome, even if it is bittersweet. Again, it's not the best episode, but it's got good intentions.
SCORE: 7/10
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@clobby-clobsters Didn't notice the intro had changed!
Shout by Clobby Clobsters
The Star Wars reference, though. They had the "Rogue One" music and everything. XD
7/10
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@clobby-clobsters Where a lot of reference this epp. normaly don't see them but they where so many. also Woody from toy story and tetteris and a lot more
[9.5/10] Despite the initial greatness of the dog revolution episode, only the second episode of the series, I might argue that this is where Rick and Morty became Rick and Morty. It’s all here – an escalating yet insane science fiction problem, Rick being self-centered and holding himself blameless, a great deal of weird but hilarious comedy, a dimension-hopping-related solution, a fun Jerry-focused subplot, and a gut punch, mind-wrinkling ending.
Two things stand out in particular rewatching this episode. First, the way in which Rick is constantly screwing things up and yet accepts none of the blame for it. He places this all on Morty, and pins every bad development on him, despite his grandson’s protestations. He is endlessly confident, even braggadocios, about how he’s brilliant and can fix it and brushes off any concern or censure for when his attempts go awry. And when things get really bad, his solution is to just ditch the universe and find another one.
It’s not a coincidence that this all takes place in an episode where Beth disregards her dad because “he left [her] mother.” Having seen two full episodes of Rick’s antics, I’m not sure there’s a better encapsulation of who he is than this episode, or at least the problems and self-enabling that can make him a pretty miserable person to have to deal with. When things start to get bad, he puts that on anyone but him, and even gets mean about it (calling Morty a creep, which, isn’t entirely unfair), and when things get really bad, he just finds an escape hatch and tries to wipe it all away. Everything is weightless to Rick, everything is just an inconvenience that he need not worry about, and if you make him worry long enough, he’ll just bail.
The second is Morty. Obviously the ending landed pretty hard the first time, but it’s even more impactful knowing what happens next, about Morty’s troubles coping with what he’s seen, of coming to terms with the wealth of alternate universes and other versions of himself out there, of his growing resentments for his grandfather and the way Rick treats him. Morty isn’t always great, but you feel for him trying to get through to Rick and make him accept some blame for how poorly things are going, only to be rebuffed and told that his grandfather is perfect and any bump in the road is Morty’s falt.
And still, that ending. “The Bridge” is a great choice for a melancholy, existence-questioning bit of wordless reflection. What I love about this episode is that it doesn’t really resolve anything. Normally, that’d be a drawback, but here it feels real. Rick doesn’t change or learn a lesson, he just offers a reset and doesn’t think twice about it. Morty doesn’t take it in stride, but walks around in shock that the people he knew and loved are gone in some other slice of reality and he is back living among their identical, indistinguishable doubles. Rick and Morty is often better with design than animation or character expression, but the wide-eyed look on Morty’s face so perfectly conveys the shock and discomfort of what just happened to him. It’s one of the show’s all time best sequence and a sign that this was going to be something deeper than just a series of funny, madcap, sci-fi adventures.
Those adventures are still great, and the escalating cronenberg problems were fun. (Jerry turning into a Mad Max style badass led to some great stuff as well). But this is the episode that revealed how philosophical, moral, and twisted the show was willing to get.
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@andrewbloom Well put, especially what you said about the ending. So many shows seem to have so much trouble doing an ending. It's surprising that such a bizarre, over-the-top show went with a wordless, introspective, calm ending for what seemed like a couple minutes. Really well done piece of story-telling.
I've really enjoyed the first 2 episodes, while others seems to more uncertain. But this is the first episode I've been worried overall about the series. The modern underworld story just isn't interesting enough - I was kinda hoping we would see more Boba Fett the Bounty Hunter, not this form of a makeshift leader.
The humans grafting droid parts onto themselves, is a new concept in the Star Wars visual world, to my knowledge but it was executed so poorly. It's the first time I've looked at anything in the Disney SW era, and thought, "that doesn't look like Star Wars".
I'm not sure where this series is really going but EP4 needs to pick up the modern underworld story in a big way.
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@theavereviewer I felt the same. They had no money, yet the girl had a brand new arm. In other SW mediums people like that are barely getting by and would have rusty scrap metal parts, let alone replace body parts.
They're also driving space Vespa's, which isn't helping. The colors made me think of Power Rangers.
I've really enjoyed the first 2 episodes, while others seems to more uncertain. But this is the first episode I've been worried overall about the series. The modern underworld story just isn't interesting enough - I was kinda hoping we would see more Boba Fett the Bounty Hunter, not this form of a makeshift leader.
The humans grafting droid parts onto themselves, is a new concept in the Star Wars visual world, to my knowledge but it was executed so poorly. It's the first time I've looked at anything in the Disney SW era, and thought, "that doesn't look like Star Wars".
I'm not sure where this series is really going but EP4 needs to pick up the modern underworld story in a big way.
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@iaani power rangers on Disney teen shows.
This episode was lots of dirt flying everywhere, the sound of shots being fired and people yelling.
It's all very confusing, and the fact that it feels like there's 50 different characters doesn't help.The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
I do like how it's all very desaturated. It gives the show this bleak, old-timey feeling.
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@abtr The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
It's interesting you see it that way because I always thought this is how it's supposed to be. I watch it for the third time and I always felt the story is told through Winter's eyes. In war soldiers come and go and you do forget a lot of them.
I don't know if you continued watching but if not I think you should. Granted, this show is not for everyone. But I think it's one of the best that's ever been produced.
With an extra 14 minutes (including the credits), "The Book of Boba Fett" decides to use its time to show Boba Fett attack some thugs, take down a train, and do a dance around a campfire. Yes, I like the message that Indigenous people (the Sand People) shouldn't have to hide. Yes, I enjoyed the confrontations in Mos Espa. But with no character development, plot or conflicts, I'm worried about this series' trajectory.
Once again, the concept art looks cooler than the actual show (unlike "The Mandalorian", which looks as cool (if not cooler) than its concept art).
Edit: The flashbacks feel like sidequests since Boba's never morally questioned. He's just positioned as the good guy (even though he's had questionable morals in the comics, movies and "Star Wars: The Clone Wars"). He just takes down monster, takes down train, gets a staff and dances.
6/10
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@clobby-clobsters Chapter 3 will be a make or break episode. I still don't see the reason for this series to exist. Is it a side quest kind of show? Is it an origin story, kinda?
Review by Andrew Bloom
VIP9[9.8/10] It seems like every season, there’s one episode of BoJack Horseman that just floors me, and this may be the best of them all. More than BoJack’s dream sequence in S1, more than his unforgivable act at the end of S2, more than the even the harrowing end for Sarah Lynn in S3, “Time’s Arrow” is a creative, tightly-written, absolutely devastating episode of television that is the crown jewel of Season 4 and possibly the series.
The inventiveness of the structure alone sets the episode apart. It feels of a piece with the likes of Eternal Sunshine of the Spotless Mind for finding outside the box ways to communicate the idea of dementia and the brain purging and combining and reconstructing dreams and memories into one barely-comprehensible stew. The way that the episode jumps back and forth through time is a superb way to convey the way this story is jumbled up and hard to keep a foothold on for Beatrice.
And that doesn’t even take into account the other amazing visual ways the show communicates the difficulty and incoherence or what Beatrice is experiencing. The way random people lack features or have scratched out faces, the way her mother is depicted only in silhouette with the outline of that scar, the way the images stop and start or blur together at emotional moments all serve to enhance and deepen the experience.
What’s even more impressive is how “Time’s Arrow” tells a story that begins in Beatrice’s youth and ends in the present day, without ever feeling rushed or full of shortcuts. Every event matters, each is a piece of the whole, from a childhood run-in with scarlet fever to her coming out party to an argument about the maid, that convincingly accounts for how the joyful, smart young girl we meet in the Sugarman home turns into the bitter husk of a woman BoJack is putting in a home. It’s an origin story for Beatrice, and a convincing one, but also one of the parental trauma that has filtered its way down from BoJack’s grandparents all the way down to poor Hollyhock.
And my god, the psychological depth of this one! I rag on the show a decent amount for writing its pop psychology on the screen, but holy cow, the layers and layers of dysfunction and reaction and cause and effect here are just staggering. The impact of Beatrice’s father’s cajoling and her mother’s lobotomy on her development as a woman in a society that tried to force her into a role she didn’t want or necessarily fit is striking in where its tendrils reach throughout her development. The idea of rebelling against that, and the way BoJack’s dad fits into that part of her life is incredible. And the story of growing resentment over the years from a couple who once loved each other, or at least imagined they did and then found the reality different than the fantasy is striking and sad.
But that all pales in comparison in how it all of these events come together to explain Beatrice’s fraught, to say the least, relationship to motherhood and children. The climax of the episode, which intersperses scenes of the purging that happens when Beatrice contracts scarlet fever as a child, her giving birth to BoJack, and her helping her husband’s mistress give birth all add up to this complex, harrowing view of what being a mom, what having a child, amounts to in Beatrice’s eyes.
The baby doll that burns in the fire in her childhood room is an end of innocence, a gripping image that ties into Beatrice’s mother’s grief over Crackerjack’s demise and whether and how it’s acceptable to react to such a trauma. The birth of BoJack, for Beatrice, stands as the event that ruined her life. BoJack is forced to absorb the resentments that stem from Beatrice’s pregnancy being the thing that effectively (and societally) forced her to marry BoJack’s father, sending her into a loveless marriage and a life she doesn’t want all because of one night of rebellion she now bitterly regrets. For her, BoJack is an emblem of the life she never got to lead, and he unfairly suffers her abuses because of it, just like Beatrice suffered her own parents’ abuses.
Then there’s the jaw-dropping revelation that Hollyhock is not BoJack’s daughter, but rather, his sister. As telegraphed as Princess Carolyn’s life falling apart felt, this one caught me completely off-guard and it’s a startling, but powerful revelation that fits everything we know so well and yet completely changes the game. It provides the third prong of this pitchfork, the one where Beatrice is forced to help Henrietta, the woman who slept with her husband, avoid the mistake that she herself made, and in the process, tear a baby away from a mother who desperately wants to hold it. It is the culmination of so many inherited and passed down traumas and abuses, the kindness and cruelty unleashed on so many the same way it was unleashed on her, painted in a harrowing phantasmagoria of events through Beatrice’s life.
And yet, in the end, even though BoJack doesn’t know or understand these things, he cannot simply condemn his mother to suffer even if he’s understandably incapable of making peace with her. Such a horrifying series of images and events ends with an act of kindness. BoJack doesn’t understand the cycle of abuse that his mom is as much a part of as he is, but he has enough decency, enough kindness in him to leave Beatrice wrapped in a happy memory.
Like she asked his father to do, like she asked her six-year-old son to do, BoJack tells her a story. It’s a story of a warm, familiar place, of a loving family, of the simple pleasures of home and youth that began to evaporate the moment her brother didn’t return from the war. It’s BoJack’s strongest, possibly final, gift to his mother, to save her from the hellscape of her own mind and return her to that place of peace and tranquility.
More than ever, we understand the forces that conspired to make BoJack the damaged person he is today. It’s just the latest psychological casualty in a war that’s been unwittingly waged by different people across decades. But for such a difficult episode to watch and confront, it ends on a note of hope, that even with all that’s happened, BoJack has the spark of that young, happy girl who sat in her room and read stories, and gives his mother a small piece of kindness to carry with her. There stands BoJack, an individual often failing but at least trying to be better, and out there is Hollyhock, a sweet young woman, who represent the idea that maybe, just as this cycle was built up bit-by-bit, so too may it be dismantled, until that underlying sweetness is all that’s left.
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@andrewbloom don't know what's better, the episode or your review
With an extra 14 minutes (including the credits), "The Book of Boba Fett" decides to use its time to show Boba Fett attack some thugs, take down a train, and do a dance around a campfire. Yes, I like the message that Indigenous people (the Sand People) shouldn't have to hide. Yes, I enjoyed the confrontations in Mos Espa. But with no character development, plot or conflicts, I'm worried about this series' trajectory.
Once again, the concept art looks cooler than the actual show (unlike "The Mandalorian", which looks as cool (if not cooler) than its concept art).
Edit: The flashbacks feel like sidequests since Boba's never morally questioned. He's just positioned as the good guy (even though he's had questionable morals in the comics, movies and "Star Wars: The Clone Wars"). He just takes down monster, takes down train, gets a staff and dances.
6/10
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Agree with the no character development here but I think is because we already have a character background from the flashbacks.
Review by Andrew Bloom
VIP9[9.8/10] It seems like every season, there’s one episode of BoJack Horseman that just floors me, and this may be the best of them all. More than BoJack’s dream sequence in S1, more than his unforgivable act at the end of S2, more than the even the harrowing end for Sarah Lynn in S3, “Time’s Arrow” is a creative, tightly-written, absolutely devastating episode of television that is the crown jewel of Season 4 and possibly the series.
The inventiveness of the structure alone sets the episode apart. It feels of a piece with the likes of Eternal Sunshine of the Spotless Mind for finding outside the box ways to communicate the idea of dementia and the brain purging and combining and reconstructing dreams and memories into one barely-comprehensible stew. The way that the episode jumps back and forth through time is a superb way to convey the way this story is jumbled up and hard to keep a foothold on for Beatrice.
And that doesn’t even take into account the other amazing visual ways the show communicates the difficulty and incoherence or what Beatrice is experiencing. The way random people lack features or have scratched out faces, the way her mother is depicted only in silhouette with the outline of that scar, the way the images stop and start or blur together at emotional moments all serve to enhance and deepen the experience.
What’s even more impressive is how “Time’s Arrow” tells a story that begins in Beatrice’s youth and ends in the present day, without ever feeling rushed or full of shortcuts. Every event matters, each is a piece of the whole, from a childhood run-in with scarlet fever to her coming out party to an argument about the maid, that convincingly accounts for how the joyful, smart young girl we meet in the Sugarman home turns into the bitter husk of a woman BoJack is putting in a home. It’s an origin story for Beatrice, and a convincing one, but also one of the parental trauma that has filtered its way down from BoJack’s grandparents all the way down to poor Hollyhock.
And my god, the psychological depth of this one! I rag on the show a decent amount for writing its pop psychology on the screen, but holy cow, the layers and layers of dysfunction and reaction and cause and effect here are just staggering. The impact of Beatrice’s father’s cajoling and her mother’s lobotomy on her development as a woman in a society that tried to force her into a role she didn’t want or necessarily fit is striking in where its tendrils reach throughout her development. The idea of rebelling against that, and the way BoJack’s dad fits into that part of her life is incredible. And the story of growing resentment over the years from a couple who once loved each other, or at least imagined they did and then found the reality different than the fantasy is striking and sad.
But that all pales in comparison in how it all of these events come together to explain Beatrice’s fraught, to say the least, relationship to motherhood and children. The climax of the episode, which intersperses scenes of the purging that happens when Beatrice contracts scarlet fever as a child, her giving birth to BoJack, and her helping her husband’s mistress give birth all add up to this complex, harrowing view of what being a mom, what having a child, amounts to in Beatrice’s eyes.
The baby doll that burns in the fire in her childhood room is an end of innocence, a gripping image that ties into Beatrice’s mother’s grief over Crackerjack’s demise and whether and how it’s acceptable to react to such a trauma. The birth of BoJack, for Beatrice, stands as the event that ruined her life. BoJack is forced to absorb the resentments that stem from Beatrice’s pregnancy being the thing that effectively (and societally) forced her to marry BoJack’s father, sending her into a loveless marriage and a life she doesn’t want all because of one night of rebellion she now bitterly regrets. For her, BoJack is an emblem of the life she never got to lead, and he unfairly suffers her abuses because of it, just like Beatrice suffered her own parents’ abuses.
Then there’s the jaw-dropping revelation that Hollyhock is not BoJack’s daughter, but rather, his sister. As telegraphed as Princess Carolyn’s life falling apart felt, this one caught me completely off-guard and it’s a startling, but powerful revelation that fits everything we know so well and yet completely changes the game. It provides the third prong of this pitchfork, the one where Beatrice is forced to help Henrietta, the woman who slept with her husband, avoid the mistake that she herself made, and in the process, tear a baby away from a mother who desperately wants to hold it. It is the culmination of so many inherited and passed down traumas and abuses, the kindness and cruelty unleashed on so many the same way it was unleashed on her, painted in a harrowing phantasmagoria of events through Beatrice’s life.
And yet, in the end, even though BoJack doesn’t know or understand these things, he cannot simply condemn his mother to suffer even if he’s understandably incapable of making peace with her. Such a horrifying series of images and events ends with an act of kindness. BoJack doesn’t understand the cycle of abuse that his mom is as much a part of as he is, but he has enough decency, enough kindness in him to leave Beatrice wrapped in a happy memory.
Like she asked his father to do, like she asked her six-year-old son to do, BoJack tells her a story. It’s a story of a warm, familiar place, of a loving family, of the simple pleasures of home and youth that began to evaporate the moment her brother didn’t return from the war. It’s BoJack’s strongest, possibly final, gift to his mother, to save her from the hellscape of her own mind and return her to that place of peace and tranquility.
More than ever, we understand the forces that conspired to make BoJack the damaged person he is today. It’s just the latest psychological casualty in a war that’s been unwittingly waged by different people across decades. But for such a difficult episode to watch and confront, it ends on a note of hope, that even with all that’s happened, BoJack has the spark of that young, happy girl who sat in her room and read stories, and gives his mother a small piece of kindness to carry with her. There stands BoJack, an individual often failing but at least trying to be better, and out there is Hollyhock, a sweet young woman, who represent the idea that maybe, just as this cycle was built up bit-by-bit, so too may it be dismantled, until that underlying sweetness is all that’s left.
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@andrewbloom agreed. Don’t always agree with your reviews but hugely appreciate them and the thought you put in. I’m beginning to agree more and more as well.
Review by Clobby Clobsters
Notes
- Oh no, the Mos Espa cantina! I can't believe they saved Max Rebo from the sail barge but killed him here, smh my head
Fennec Shand: "That was fast."
- Is it weird that when Mando walked in, it felt like "the main character" has finally arrived? Boba is so underdeveloped in this series. He has so little going on internally/emotionally
Boba: "We'll lockdown at the palace."
Skad: "It's a bad idea."
[Boba turns.]
Boba: "Is that so?"
Skad: "...it is."
Boba: "And where do you propose we wait for reinforcements?"
Skad: "...here."
Boba: "...here? In these ruins?"
[Skad nods.]
Boba: "Nonsense."
- Lol, Boba's right
Boba: "The palace offers greater protection."
Drash: "If you want to abandon Mos Espa and hide in your fortress, go ahead. We're staying. The people who live here need our protection."
- Could you bring all the people to the palace then...? This is such an awkward exchange. When did these henchmen matter to the series?! Boba's also their boss! Who the hell talks to their boss like that when you barely know them? Bruh
Mok Shaiz: "Does Fett have any other resources to call upon? He used to live in a Tusken Raider tribe in the desert."
- He also used to have more bounty hunting friends, kaminoans, Separatists, clone troopers... Like, how can this series pick and choose what lore to remember? This series has selective memory
Peli Motto: "It's an X-wing. What's an X-wing doing here?"
- Amy Sedaris :D
Peli: "Well look who it is!"
- Wow, who would've guessed. What a difficult decision
Boba: "I thought I smelled something."
- This Boba and Cad Bane reunion has to be inspired by that deleted scene, right?
Cad Bane: "Before you get any ideas. I've got back shooters too."
- What was the point of explaining the plan if the Pykes sneak past without telling/showing us how?
- Nvm, they finally show us
Drash: "Hey... Thank you."
Fennec: "Manners. I like it. You're welcome."
- What a weird exchange. They do be giving each other those eyes, though :eyes:
The Mandalorian: "It's against the Creed. I gave you my word. I'm with you until we both fall."
Boba: "You really buy into that bantha fodder?"
The Mandalorian: "I do."
[Boba nods.]
Boba: "Good."
- Wait, what? First I thought Boba was calling out how Mando is part of a cult but now he's accepting it because he wants Mando to help him? He went from altruistic to selfish very quickly there
The Mandalorian: "We got real problems."
- They don't have thermal detonators, do they?
- Why did Boba think that rocket would work on the ray shields? Lol
- Mando, why are you using your flamethrower outside of the ray shield? I thought these two were pro bounty hunters. What happened?
The Mandalorian: "Our energy weapons can't get through, and our kinetic weapons have too much velocity."
- THEN USE YOUR KINETIC WEAPONS AT A SLOWER VELOCITY
- Now Krrsantan doesn't know how ray shields work? Wtf? How have these three hunters survived for so long?
- So these ray shields keep people out? What? Mando just said they had too much velocity, but now when Krrsantan tries with minimal velocity, he fails? Huh?
Pyke: "Sleemo!"
- Ay, it's the spin people are complaining about. Why are people complaining about this?
The Mandalorian: "Okay, little guy. I'm happy to see you too."
- So... are they gonna show these scenes to people in Mando Season 3? Because a lot of people have chosen to not watch this show
- Chekhov's Rancor
- Can I say how funny it is that a cartoon called Star Wars: The Clone Wars ended not with an impersonal fight between two big monsters, but with some intimate blaster-to-lightsaber action? The final battle was way shorter too. How does this show waste so much time?
- Grogu catching the ball like that was cute
Drash: "Can you pick off some of the fighters?"
Freetown fighter: "I'm used to desert hunting. Can't miss at this range."
- Gay? Has there been gay in Star Wars before? I'm trying to think (this is good, btw)
- I know I'm complaining a lot, but this is actually quite enjoyable. I think I like it, lol
Peli: "Peli's got you covered."
- Amy Sedaris deserves her own show. Make. It. Happen. People!
Cad Bane: "What's your angle?"
Boba: "This is my city. These are my people. I will not abandon them."
- Yeah, but why?
Cad Bane: "Like the Tuskens."
- Why is it always about the Tuskens? What about his past? His bounty hunter friends? His father?!
Cad Bane: "Let's find out."
- I love the Western inspiration. Very nice
Boba: "This is my city!"
- Why?!
Cad Bane: "You tried to go straight."
- Why? Because of the Tuskens?
Cad Bane: "I knew you were a killer."
- Aw, he killed my boi. Can he get his own show? ;-;
Freetown Bartender: "The rancor's on the loose!"
- Is this really necessary?
The Mandalorian: "It's gonna be okay."
- I'm convinced this show would be worst without Mando. I'm convinced people like "The Mandalorian" more than this series
Peli: "Where'd you go, kid?!"
- He do be waddling
- Fennec, you can't hang Mok. This is a family show
- Fennec really be an undeveloped plot device, huh? Instead of letting the guy who wants revenge on the people who betrayed him and killed the Tuskens (Boba), let's let the cold, calculated one kill the main antagonists
Boba: "Thank you."
- This is a nice scene. Showing the people they've saved
The Mandalorian: "All right. But this is the last time."
- What a cute way to end the episode
"Directed by ROBERT RODRIGUEZ"
- I still don't get how Robert Rodriguez landed this job. This is insane
- Yo, the concept art is fire (looks way better than the final product. Sorry not sorry)
- Can Cobb Vanth get his own show?
Review
Btw, I still like this episode. And I've gotten complaints that I'm just being negative for no reason, but to preemptively combat this, let me say it's because I'm trying to study the shows I'm watching because I'm a screenwriter. I also criticise stuff I like.6/10
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@clobby-clobsters "So... are they gonna show these scenes to people in Mando Season 3? Because a lot of people have chosen to not watch this show"
Nope. Anyone who only watches Mando, and wants the full story, needs to at least watch those 3 episodes of Boba Fett.
Shout by Clobby Clobsters
Again, I like the episodes with Boba Fett barely in it (this is again just "The Mandalorian" Season 3).
- Ahsoka calling Luke Skywalker by his first name while Mando calls him Skywalker (because Anakin is "Skywalker" to her).
- Ahsoka strongly against attachment perhaps because of Anakin's fall to the dark side (IDK understand Luke's, though. TESB makes it feel weird).
- CAD BANE KILLED COBB VANTH.
7/10
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@clobby-clobsters Seriously even one of the persons there says quickly go get a stim! The same stim from jedi fallen order haha. I have seen a picture of the shot and it looks shoulder region hah.
This episode was lots of dirt flying everywhere, the sound of shots being fired and people yelling.
It's all very confusing, and the fact that it feels like there's 50 different characters doesn't help.The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
I do like how it's all very desaturated. It gives the show this bleak, old-timey feeling.
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@abtr Yes, it is repetitive. That's also the nature of war. But I also think this isn't so much about war as it is about the people who lived through it. I do understand though that this isn't for everyone. I have an interest in that part of history and therefore know what really happened. Maybe that's why it resonates more with me.
This episode was lots of dirt flying everywhere, the sound of shots being fired and people yelling.
It's all very confusing, and the fact that it feels like there's 50 different characters doesn't help.The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
I do like how it's all very desaturated. It gives the show this bleak, old-timey feeling.
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@finfan that's an interesting point, and not something I'd considered. I hadn't continued watching, since I'd found the show a bit repetitive for my liking, but I may try watching a couple more episodes to see if it manages to pique my interest.
This episode was lots of dirt flying everywhere, the sound of shots being fired and people yelling.
It's all very confusing, and the fact that it feels like there's 50 different characters doesn't help.The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
I do like how it's all very desaturated. It gives the show this bleak, old-timey feeling.
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@computechnopro I got bored of the same thing happening again and again and quit watching the show. If you manage to make it to the end, and it ends up getting better, please do let me know.
The desaturation does make the show look dull, but I think it's very much done on purpose to convey this feeling of utter hopelessness. In that sense, it's a great directorial choice.
This episode was lots of dirt flying everywhere, the sound of shots being fired and people yelling.
It's all very confusing, and the fact that it feels like there's 50 different characters doesn't help.The ony face/name connection I can make is Winters'. Of all the other's I have no idea who is who.
I do like how it's all very desaturated. It gives the show this bleak, old-timey feeling.
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@abtr I also feel the same. I can't seem to remember their names or make a connection with their faces! Lots of things are going around but none seem to interest me. Dull cinematography IMO
Review by Clobby Clobsters
- The intro is always so fun
- So this story is about a world without privilege, right? Being born different?
Mogami: "So what you're experiencing is a parallel world that could've easily come to pass had your circumstances been slightly different. I'll just sit back and observe how you fare in this environment without your powers."
Mogami: "You had many relationships in real life, and you were fortunate enough to be surrounded by good people. But situations like that are rare."
- So in this world, Ritsu is apathetic because his brother isn't special? Sounds kinda counterintuitive to me
Mogami: "You're extremely talented brother is just a stranger here."
- Why?
Mob: "It'd be so much easier if I was stronger."
Mogami: "I'm sure this seems incomprehensible to you,"
- It does
Mogami: "But she's bullying you to secure her position in society."
- Is that the reality, though? Is it? They're in high school, people might call her out later in life cough cough "A Silent Voice" cough cough
Mogami: "But after living in this world for six months without your powers,"
- My problem is we don't feel the passage of time here. It feels really quick. Also, where are his friends or parents? Why haven't we seen anyone but his brother? Like, we don't see them reject him or anything
Mogami: "After my demise, I became an evil spirit and decided to use my powers for myself this time..."
- But you did, and it made your mother an evil spirit
Mogami: "You are allowed to use your powers for yourself. You should use them for yourself."
- But why? All it brought was a bunch of misdeeds and your mother becoming an evil spirit? Like, what is your argument dude? Sure, it's flawed, but what is it, exactly?
Dimple: "You're not staying here? Shigeo's done for. You gotta accept that. Why not run away?"
Reigen: "Because I still have faith in him."
Dimple: "In this situation? You're not really that stupid, are ya?"
Reigen: "Yup, actually, I am. Let me guess: this is the first time someone's placed so much trust in you too, right?"
- I love Reagen :D
Mob: "Apologise."
- Damn, the vocal performance shift
Mogami: "And that's why I didn't want you to travel the same path I did."
- But you're making him travel the same path you did
Dimple: "Yo."
- Lol
Mogami: "The six months you spent here are forever etched into your heart and mind."
- It was less than 10 minutes
- The score is banging though
Mob: "I'm surrounded by good people. I need to be more thankful for them."
- The face animation :D
Mob: "When you interact with other people, it can have an effect. And because of that, I was able to change. Thanks to them, I'm stronger. Much stronger than if I'd been on my own."
- But like, his argument was that you're privileged to have people who helped you. What is your argument Mob?
Mob: "Wait... That's right."
[Grabbing hand.]
Mob: "I remember now. I came here to save someone."
- ;-;
Dimple: "He really has changed huh?"
- The eyes and hair! XD
Narrator: "The powerful blast created from Mob's positive emotions at 100 percent annihilated the great and powerful evil spirit Mogami."
- So the thematic statement is that "positive emotions will triumph over negative ones"?
Mogami: "No matter how much you struggle, your path will lead you to the same place mine did. To ruin."
But he's doing the opposite of yours, Mogami. Yours led to ruin because you started using your powers for yourself (to save your mother). Mob is using them to help people (which you did before you went down the ruinous path)
God damn, the animation though
Mob: "That people are able to change. Mogami and Minori both taught me it's possible. The people around me changed me as well. Now I understand I can do the same thing for others too."
Mob: "I don't get it, Master. Why aren't you claiming your reward?"
Reigen: "Just look at how many people got hurt. Not exactly a big success. You should never accept money that you feel you haven't earned. If you do, you'll start taking the easy way out every time."Reigen: "You know... You're better off working part-time for me than becoming famous or powerful. I hope this serves a good lesson for ya."
Dimple: "Come on, give me a friggin' break..."
- Lol
Review
I know that all sounds like a bunch of nonsense, so let me make this simple. I interpreted this episode's message as, "positive emotions will trump negative emotions and that people and positivity can enable you to change." The problem is that this is what the episode propagates in the second half, but in the first half, it's exploring way more ideas like privilege, bullying, and selfishness. But it's forgotten in the second half? Also, the final message still disregards the earlier one on privilege. I guess it's addressed by Mob pledging he'll use his powers to help people?This episode is really convoluted, unfocused and confused. It's trying to juggle all these different ideas under the guise of "positivity beats negativity" but it comes off as undercooked.
6/10
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@clobby-clobsters Interesting interpretation of the episode, though I disagree on a few points. Mogami's statements shouldn't be taken as the truth - they are meant to be flawed views on life, warped by his personal experiences that Mob is forced to live through too. Mogami is trapped inside his own head, much like Mob is, and cannot see past his own biases until Mob goes ???% and shatters Mogami's world. Also, when he says that "Ritsu is a stranger to you here", he means that literally - in this world, Ritsu isn't his brother, and that's why Mob's surprised when Dimple tells him that he does have a brother. Mogami was trying to deprive Mob of the people in his life in order to bring him down to his level, but Dimple's appearance breaks that illusion.
However, if you personally didn't enjoy the experience of the episode that much, or felt that it was convoluted, then I cannot argue with that. Not everything works for everyone, and the idea of objective quality in writing isn't real.
Also, I agree that Reigen is the best.
Anne is the worst, I can’t believe she forgot who chuck was. He grows tulips.
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@cosmic-potatoes He does, he does grow tulips.
[9.5/10] Despite the initial greatness of the dog revolution episode, only the second episode of the series, I might argue that this is where Rick and Morty became Rick and Morty. It’s all here – an escalating yet insane science fiction problem, Rick being self-centered and holding himself blameless, a great deal of weird but hilarious comedy, a dimension-hopping-related solution, a fun Jerry-focused subplot, and a gut punch, mind-wrinkling ending.
Two things stand out in particular rewatching this episode. First, the way in which Rick is constantly screwing things up and yet accepts none of the blame for it. He places this all on Morty, and pins every bad development on him, despite his grandson’s protestations. He is endlessly confident, even braggadocios, about how he’s brilliant and can fix it and brushes off any concern or censure for when his attempts go awry. And when things get really bad, his solution is to just ditch the universe and find another one.
It’s not a coincidence that this all takes place in an episode where Beth disregards her dad because “he left [her] mother.” Having seen two full episodes of Rick’s antics, I’m not sure there’s a better encapsulation of who he is than this episode, or at least the problems and self-enabling that can make him a pretty miserable person to have to deal with. When things start to get bad, he puts that on anyone but him, and even gets mean about it (calling Morty a creep, which, isn’t entirely unfair), and when things get really bad, he just finds an escape hatch and tries to wipe it all away. Everything is weightless to Rick, everything is just an inconvenience that he need not worry about, and if you make him worry long enough, he’ll just bail.
The second is Morty. Obviously the ending landed pretty hard the first time, but it’s even more impactful knowing what happens next, about Morty’s troubles coping with what he’s seen, of coming to terms with the wealth of alternate universes and other versions of himself out there, of his growing resentments for his grandfather and the way Rick treats him. Morty isn’t always great, but you feel for him trying to get through to Rick and make him accept some blame for how poorly things are going, only to be rebuffed and told that his grandfather is perfect and any bump in the road is Morty’s falt.
And still, that ending. “The Bridge” is a great choice for a melancholy, existence-questioning bit of wordless reflection. What I love about this episode is that it doesn’t really resolve anything. Normally, that’d be a drawback, but here it feels real. Rick doesn’t change or learn a lesson, he just offers a reset and doesn’t think twice about it. Morty doesn’t take it in stride, but walks around in shock that the people he knew and loved are gone in some other slice of reality and he is back living among their identical, indistinguishable doubles. Rick and Morty is often better with design than animation or character expression, but the wide-eyed look on Morty’s face so perfectly conveys the shock and discomfort of what just happened to him. It’s one of the show’s all time best sequence and a sign that this was going to be something deeper than just a series of funny, madcap, sci-fi adventures.
Those adventures are still great, and the escalating cronenberg problems were fun. (Jerry turning into a Mad Max style badass led to some great stuff as well). But this is the episode that revealed how philosophical, moral, and twisted the show was willing to get.
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@paladintodd Thanks man! And yeah, it's impressive how well R&M is able to just knock you over with a feather when it changes its style and approach just a little with a finish like that.
Review by Clobby Clobsters
- He's an FBI agent! You can't do this to him!
- In Perpetuum
- So she just ate the rat?
- I swear Dirk is the Doctor
- Lol, that was a strange encounter
- Dirk, lmao. Open the gate next time
- Dirk just had that in his pocket
- Okay
- That exchange between Todd, Farah and Amanda, though
- It's funny cause he let the dog kill Nathan
- What do you want, Todd?
- And... that's a lot of lights
- That's probably the message, Dirk
- They're going to need the magic light bulb and put it in an empty socket, huh?
- Watkin in Star War?
- I was right!
- What if it turns out they need all the light bulbs on to survive?
- Nvm, I was wrong
- Wow, the duality of two men
- Stop fangirling, Amanda
- RIP Farah
- What if the roof closes in, Dirk?
- Apology!
- He was smiling
- You put the horn in the rhino head?
- Pepe?
- Oooh, that's some janky CGI rhino
- Why did the rhino make them strip?
- I'm glad they subverted my expectations
- Bruh, you think she's going to go with you?
- Oooh, screens
- Todd, look, he's not freaking out—
- It's the guardian angel gang
- Amanda's the Chosen One, huh?
- Wow, he killed a helpless woman. He must be the bad guy
SCORE: 5.5/10
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@clobby-clobsters (copied my own comment from another post) Actually, Douglas Adams wrote some episodes for Doctor Who. Some of the unused ideas, he used to write the third Hitchhiker's book "Hitchhiker’s Guide, Life, The Universe and Everything" and also came up with Dirk Gently... So your 4th statement makes sense :joy:
Characters that didn't have any logic. Annoying rebellious acts for no apparent reasons. "Wise" elder characters who bicker and are useless. Story line was inexcusably weak, character development was pathetic, and it was altogether a bad show. Original Airbender was good, this was not. Teen drama crap.
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@clobby-clobsters my bad :sweat_smile:
Shout by Clobby Clobsters
- Woah, that is disgusting
- They're just having this relationship convo while casually committing mass murder
- Jeez, what happened to Gordon?
"Asks the guy who fucks bats" — Harley LMAO
- RIP the kid's cactus
- Oh my God, Harley needs help!
- Poor Poison Ivy
- Jim Gordon, why did you think Batman would accept a barbecue invitation?
"And we're murdering everyone in Gotham in three, two..."
- Joker, you bi—
- Oh my gosh, this is genius
"Joker never loved me. He only loves Batman."
- Omg, Ivy you genius
- Wow, this show is gory
Wow, that was amazing! "Harley Quinn" is the best thing I've seen today! It's laugh-out-loud hilarious and steeped in character! I hope it keeps up this quality or gets better! Wow, this is fun. Thanks for the tip, Sarcastic Chorus!
SCORE: 8/10
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@clobby-clobsters Clobby giving a tv episode an 8??? HOW?????
Review by Clobby Clobsters
Notes
- Oh, that's messed up
- Did he get his powers back?
- Damn, poor Samantha (Eve)
- Sinclair looks evil alright
- They like their songs, huh?
- She can just build a house? Damn
- How is he so strong?
- OH, DAMN. THAT'S MESSED UP
- Bye-bye Mark's relationship
- Robot is scary
- Thank god, Samson
- Oh God, Art. I'm scared for you, man
- Lol, William, you're right. I wonder what him never telling you means?
- Wait, Eve can just grow crops like that?
- Aw, robot
- Omni-Man, lol
- William is going to be in trouble!
- Yeah, don't go in there, Mark
- No, you're turning people into things
- Damn, William
- The subtleties in Cecil's dialogue
- Good on Atom Eve
- It's the White House security guard's kid!
Review
Now that I'm 3/4 of the way through this show, I think I'm ready to spew some thoughts before I finish it.Right now, no matter how unremarkable the writing is, this series will always have me hooked. Just the premise and the animation is enthralling enough; I will watch it until it's cancelled (I hope there's a Season 2)!
After all the Marvel and DC superhero stuff these days, a show like this is refreshing. There's no "make the funny joke and move on" bull crap; these characters go through crises and grow. And it isn't like the DC universe with its edginess and gore for indulgence's sake, but for character development that emphasises its impact. Yes, the animation's limited budget shows itself now and then, but other times, it impresses.
I really like this show, and it's becoming one of my favourites quite quickly. And yes, my ratings for it aren't that high, but they're still respectable. I respect this show. Anyway, that's enough for now, I can't wait to see how the season ends, and I hope season 2 is green-lighted soon.
Yours truly — C. Clobsters
SCORE: 8/10
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@clobby-clobsters yeah this episode is the only episode from this show that I'd call 'unremarkable writing'
