Shaun was HILARIOUS in this episode!!
Everyone deserves a Lea, what a sweetheart.
Michael Langdon's entrance was phenomenal! Can't wait to learn more of him. Also, really digging this new Sarah Paulson character as a vilain instead of her usual crying and screaming. Let's see what's next episode is like... can't wait. Also, also. I am so giddy to see the opening credits with elements from Coven and Murder House, always loved how different it is every season, i hope this season lived up to what those 2 season gave!
Ed: So ... it's an anti-banana ray.
Kelly: That's really interesting.
Ed: We need no longer fear the banana.
Kelly: Does it work on all fruit?
Ed: What about salads?
I just can't stand with the comments calling her a slut, etc. I think she's free to live her sexuality and have sex with whoever she wants. She's not officially dating the weird guy. So, stop judging her.
Giving Beck a voice was great. It removed the creepy idolization stain on her from seeing her only from Joe's perspective. It gives her agency that is starting to be needed to take this show to a new level.
[9.2/10] Avatar: The Last Airbender has been scary before. There’s moments where our heroes are under threat or some strange new monster or power is after them, or some freaky thing called “the face dealer” is in play. But never before has the show been as downright creepy as it is here. “The Puppetmaster” plays like an episode of Tales from the Crypt, with a mystery, a friend turned tormentor, and a dark secret.
The very idea of bloodbenders, of someone who can control other life forms, be they animals or human beings, is intriguing and haunting in turn. The episode builds up to that nicely, with Hama initially taking water from plants, and seeming slightly unnerving in her presence before the big reveal. One of the things I like about Avatar is that it takes the natural nerd-y questions about these elemental powers and takes them to their logical, sometimes disturbing extremes, whether that’s Toph being able to bend metal or Hama being able to manipulate human beings filled with fluid.
But what I like about Hama is that the show doesn’t make her just an evil witch. For one thing, she is a link to Katara and Sokka’s history and tradition. She is, for all we know, the last water-bender from the southern water tribe. There is a sense of communion with her and Katara, a connection between them that Katara cannot forge with anyone else given the circumstances and what the Fire Nation did to their people. That immediately makes her reveals, her attacks, and her methods more damning and haunting – because she is, at least nominally, on the side of the good guys.
And yet what I love about Hama is that she’s basically Magneto from X-men (right down to breaking out of prison built to evade her powers using substance contained in a human being). She does terrible things and she has a binary, retributivist view of right and wrong that perpetuates the cycle of violence. Still, you absolutely understand who she is and what she does and why she is that way given what she’s been through and what’s been done to her. She’s seen the worst of the fire nation’s trespasses against her people; she’s seen the way they wiped out her brothers and sisters, and she has no forgiveness in her heart for them or anyone who bears their brand. She is a victim rounding up the descendants of her tormentors. That is horrifying, but complex.
It’s also unnerving because she tries, and arguably succeeds, in passing that legacy down to Katara. Hama is worried about the practices of her people dying out, and so works to teach bloodbending to Katara, to force her to use the techniques. The very sight of her controlling Aang and Sokka and using their bodies to attack Katara is creepy enough, and the same goes for the way she contorts Katara’s arm. But the real tragedy is that she forces Katara to use the bloodbending to stop her, passing this terrible mantle down to her in the process.
AtLA can be scary, but it can also be much deeper than that. “Puppetmaster” succeeds at telling a horror story as good as any that could be whispered around the sort of campfire at the beginning of the episode, but it grounds it in complicated notions of vengeance, legacy, and agency that take a horrifying thing and given it an unavoidable human dimension.
"I am so over Sookie and her precious fairy vagina and her unbelievably stupid name. FUCK SOOKIE!"
-Pam de Beaufort,
expressing the feelings of every single True Blood viewer EVER.
Anyone else kinda wants Adam and Eric to get together? Adam is super mean but I can't help it
im so proud of my son eric. he did that!
Holy shit !! didnt expected this in finale , dont take me wrong but i liked this season more than season 1 , waiting for season 3
I don't know why some people are shocked at the ending. It’s basically the plot line of Crime and Punishment (the allusions to the book were given frequently). Joe isn’t punished in the sense of being in prison, and even though he’s technically free, now he is stuck with a girl just like him and a baby on the way when he would rather be with a “normal” girl he can manipulate and control. He is trapped and it’s a Gone Girl-esque ending. He even compared his new home with Love to a Siberian prison.
It was so funny watching Joe judge Love for all the shitty things she’s done. Like she was somehow worse. His murder sprees are not repulsive to him because he did them and he felt justified. That logic does not extend to others, just him. It’s a perfect mirror for showing just how delusional Joe is. The series isn’t about how he finds love. It’s about how Joe is a predator, using love as a way to convince himself he’s doing things for the right reasons. The whole point of Joe's character is that he will never be satisfied. It’s in his nature to crave what he can’t have. That’s why I thought the ending was perfect. Of course he is already interested in his “normal” neighbor. He is going to start fantasizing about her to escape his “tortured existence”.
Totally saw the Love twist coming from a thousand miles away. She was always coming on strong. Her killing Delilah was super predictable too. I actually liked that they made her psycho because Joe somewhat got a taste of his own medicine.
Overall, I enjoyed this season, but:
I’m a little disappointed in the lack of creativity. Season 2 had a lot of similar storylines to the first one: Love is the new Beck, Ellie - the new Paco.
Realism isn't necessary in fiction but some of the plot holes were annoying. How did Candace know exactly which storage unit was Joe’s? How could Forty turn on Joe so fast? Officer Fincher thought Joe could have been the murderer because of some expensive headphones but has done absolutely nothing about it. Joe reconstructing the glass box in the storage container was a bit of a stretch for me. This whole season, while entertaining, is completely unrealistic. It requires all characters to be morons and the hugest of coincidences to happen at every turn.
I was incredibly disappointed absolutely nothing from Joe's old life came back (other than Candace). He moved to a new city and changed his name - poof all his problems are solved? What happened to the PI the Salingers hired?
Candace's character had potential. They hyped her up in the first season so I thought she would do something but no, she didn't have an actual plan and was outmatched at every turn.
Was it the writers intention to insert cringy millenial jargon into every possible piece of dialogue? Really went too far compared to last season. And all the "woke" dialogue was so cringe, boring and trite.
Eric and Rahim are so adorable! I hope Eric chooses him because although I feel bad for Adam because of his d*ck dad, he still bullied/bullies Eric, and there's no need for a toxic relationship in this show (or anywhere).
The Otis-Ola-Maeve trio is similar too, but I think Otis and everyone can tell that Maeve isn't saying these nicknames ("d*ckhead") seriously, and she's not bullying anyone. And although Ola is more... "normal", I guess, and I like her patience to take things slow, we all know that Otis and Maeve are the ones whose souls belong together, soo...
Loving this season.
Rahim and Eric on the dance machine were just about the sweetest thing.
Jakob has started to annoy me. I don’t like when people act like they own someone else’s place. There’s a time for that, but I don’t feel that time has come yet.
Poor Aimee. It’s so typical. You think you’re the one inconveniencing everyone because well, it’s just a sneeze, but then you suddenly find yourself invaded and scared and triggered. Woop.
I love Eric SO much and he absolutely made this episode. Had me laughing so hard a number of times I couldn’t breathe “You said it was normal!” :joy:
I like to think of myself as having cognitive functions that generally work okay, but I have to admit that I've been thoroughly stumped by the relative chronology of these last three episodes. Did the two Holiday episodes exist in an alternate universe? Did they time skip ahead? If so, why did the time skip back for this episode? Were the Holiday episodes, in fact, a dream? I know Good Trouble has been doing funky things with chronology since the very beginning, but that's generally been within the confines of single episodes. Someone please explain this thing to me, because apparently I'm too dense to grok what's happened here.
"There's something dangerous about the boredom of teenage girls." Strong opening line.
Coach is Emma Duval from Scream.
Beth is spunky. The gun was taking things too far though.
Matt Donovan!
"Oh, yeah. Well, your mother's a horse." -Marco Diaz
Am I the only one who caught that?
Reading all the comments is depressing. This show is not about drama or being interesting to watch. It is about making a comment on society.
The build up was obviously to get us attached and interested in the characters. Maybe even make us question if this kind of "relationship" is OK. They made it purposely vague by making him right at the edge of the age of consent.
Climax was obviously when Claire gets caught. We are now at the point where they are exploring the consequences of this kind of trauma. The point of the time jump is because sometimes you don't always realize the effects of the trauma until much later, especially when the trauma occurred when you are young. We are seeing Nick be glorified and focused on because of his trauma because unfortunately society does not look at it as a trauma, hence why they made this show to begin with. He is OBVIOUSLY struggling and being re-traumatized over and over. He doesn't actually miss her, its a form of a trauma bond. He needs to talk to someone but he also needs to be ready to talk to someone. I'm just hoping he is ready before he gets hurt more severely.
And everyone out there thinking he is loyal, envious of him, or thinking this show is boring is obviously missing the point of this entire show.
"Oh no...I got the head." lmao this show is pretty good why lie?
Haha Gender Studies Theo... Hopefully he dies
This episode did it again, it had funny moments (Lola and the robbery), and then it made me sob with the older couple's passing. I was so scared that Buck would end up with that awful reporter, but I'm relieved to see that earthquake girl is back, she seems sweet.
Those damn ninjas cutting onions!
Is it just me or 9-1-1 just did a crossover with The Fosters? Mike Foster is back at it!
Oh I'm so glad that Eddie didn't blame Buck. Their friendship is so beautiful!
There is no heterosexual explanation of that Buck and Eddie scene... :___
Finally! Vampire diaries/Originals crossover! <3
This is absolutely bull***. Why all the other vampires from the stone still alive? They were ALL thrown in the bodies of vampires? They should be decaying like Stefan was.
