Though stylish like all the previous entries, this one simply felt like it had been directed by someone who had played a bit too many sessions of online shooters or really enjoyed the 'new mission / new setting' feel of the Hitman series. The fact that Keanu's word count in this movie is probably lower than 200 further cements this feeling.
There is almost no content of worth. The movie achieves something previously unimaginable by this series by making the fights feel like repetitive cookie cutter clutter and thus extremely boring to sit through. We get it, John is a superhuman assassin who's GunFoo is better than most. We do not need the same fights 7-8 times to hammer that home. With the body count growing to match that of a warzone, and not a single scratch on John, where are the stakes? Why should the audience care?
Then there are the spectators.
During some of these fights there are masses of spectators, just normal folks either dancing at a club or driving around Arc de Triomphe, that do not even blink as John is peppered with machine gun fire and men with axes come after him. As the bodies pile on, these spectators just continue their NPC activities like they are in a badly coded 90's video game.
It should be obvious to anyone that the series is running out of ideas when it needed to up the ante so much with the firefights that John's most used item is not the guns he wields, but the bullet proof suite he wears.
For most of the fights we see him cover his head with his jacket as he returns fire in generic setting after generic setting.
At the entirely too manieth such fight, roughly 2 hours into this 3 hour bore fest, I walked out.
This one provided some decent backstory for AltClare and even generated a fair amount of sympathy for her from me...until she showed me that the same events that generated my sympathy had turned her into someone who could kill an innocent bystander with no apparent issues of conscience. I also found it interesting that, prior to her insertion on "our" side of things, she showed intermittent signs of warmth mixed in with the general coldness. Other than that, there were a few things that bothered me with this one. (1) There were ways that AltClare could have mirrored Clare's lost virginity that would not have involved potential exposure to STDs or pregnancy, either of which would have not only presented the usual problems but would have killed the mission. And there's the fact that someone who knew "her" could have seen enough of what was going on to report it back to Peter. I assume that the writers intended this to serve as more evidence of her automaton personality at that point, but I couldn't ignore the lack of common sense. (2) The lack of a team in place to assist her and the resulting "You're on your own" sort of mentality were more than a little hard to accept, especially given the importance of her particular mission. (3) Would it have killed Peter to stash those cigars somewhere else? Someplace far, far way? Or at least in a locked drawer? Or at least in a drawer that he freaking shuts all the way? Oh, well. At this point, now that Peter has made it clear that he knows what's going on with her, I'm all the more curious about how things will move forward with our not-so-happy couple...
7.2/10. A perfectly fun Kill Bill homage (which is itself a pastiche -- we're through the looking glass here people). I remember some controversy about the gang dressing up in Asian garb for the "training" scenes, but I think it's in the spirit of kung fu movies the show is imitating here. Like I said the last time we did one of these, I'm pretty tired of the slap bet business, and frankly I think it should have been a one hit wonder, or at least something brought out to punctuate an episode like it was with Barney's one-man show than building entire episode around it.
Still, it was a fun entree into seeing Marshall go all Enter the Dragon. There was a lot of physical humor here, between the rapid-fire slaps and the slapping tree and the slow motion (poorly green screened) slaps. There was also a lot of the usual slap-related word play. It was fairly enjoyable, even if it's more of the broad humor and empty calories the show seems to have given into at this point. It was nice to have the angle that Barney had become inoculated against the fear of the slap, and then the kung fu story restored his anxiety, only for them to treat it very matter of factly afterward.
The Boys II Men appearance was pretty superfluous, but there's a bit of a pointless guest star-palooza going on this season anyway. This all makes me sound pretty down on an episode that I mostly enjoyed. It was basically cotton candy -- perfectly nice but pretty empty after the fact.
6.9/10. Did we really need a payoff to the Pumpkin girl story? Probably not. It's a subtle indication that the show was running out of places to go and had started eating its own tail to compensate. That said, I really like where they went with it. It would have been easy to turn the Pumpkin into another major season-spanning relationship for Ted. Instead, the episode dealt with the idea that you can build something up in your mind based on a brief encounter, and that the fuller experience reveals a lack of a real connection. The twist that for most of the episode, Ted wasn't feeling it and thought Naomi was kind of nuts, only to find out that Naomi wasn't feeling it either, but was equally trying to play up to the moment since she too had built the potential for their relationship up was a nice way to illustrate that.
The rest of the episode didn't quite measure up. Lily having "pregnancy brain," which rendered her dumb had some amusing, if fairly stock humor with her forgetting words and handing out staplers as Halloween candy and whatnot, but the whole premise is super-broad and a symptom of the increased cartoonishness of an already decently cartoony show. Still, the metaphor of pregnany Lily as a drunk girl that Marshall was trying not to take advantage of, while Lily tried to "seduce" him with a house in the suburbs was worthwhile premise, even if the way the show went about it wasn't as sharp as I might have liked.
Robin discovering Barney's Canadian heritage and rubbing it in his face was definitely the lightest of the stories in the episode, but chuckle-worthy enough. Robin ribbing Barney about it as payback was entertaining, and Barney's Rocky IV reference in lieu of donning the Mountie costume was pleasant if, once again, pretty cartoony. The end tag with Barney fighting the Canadian version of himself was a bridge too far though.
Overall, some decent laughs, and a nice main story, but a lot of hit or miss stuff at the margins.
5.5./10 This is Ted at his most ridiculous and awful. Going to hit on a girl he knows is in a relationship and hamfistedly drop things he learned from stealing a copy of her online dating profile is bad enough, but then continuing to do so once he knows she's engaged, and then trying to talk her out of the marriage and telling her to call him if it doesn't work out is just insane. Sure, there's a certain sitcom tone that allows for ridiculous things that would be way more terrible if they happened in real life, but still, this whole thing was a bridge too far.
Apart from that, Cameron Manheim didn't necessarily have the right energy for the show. Ted trying to reassure her that he'll find someone was a cute little flip, but her performance was a little broad, even for a show that can get pretty broad itself. Plus the whole "a computer can't tell you who to love," while well-meaning as a message, feels mildly Luddite and tone deaf given the number of folks who do use dating services in this day and age.
And while the cock-a-mouse is one of those goofy talismans for the show's fans, I have to admit that the subplot never really did much for me. Marshall is the best part of it, and it's the start of his fascination and appreciation for mythical creatures on the show. His chalkboard explanation in particular, and the solemnity with which they discussed its habits was funny. But the cock-a-mouse itself and Robin's skepticism of it felt a little too slight.
A crappy A-story that makes me want to say "you're a bad person," and a streaky-at-best B-story means this is far from the best the show had to offer.
There are things to like here. The Starfleet/Maquis divide is still an issue at this point in the show, even though it feels very low key. I've never had the impression that the two crews were really struggling to integrate in any serious way, and that's demonstrated by the fact that Chakotay can only think of 4 people who need extra help.
This takes some inspiration from the great TNG episode 'Lower Decks' and lets us see life from the perspective of some lowly Maquis recruits. Unlike that episode, these guys don't leave much of an impression. Tuvok as a stand-in teacher is actually quite good fun and his really severe attitude allows for sparks to fly. It's a shame that it all ends in such a cheesy manner. "I guess we all learnt something from each other after all ."
Speaking of cheese, the background plot with the infected bio-neural gel packs (why have we barely seen them so far?) is kind of amusing, especially when the Doctor gets involved. It kind of saunters along to a predictable ending that doesn't really feel like the ship is in any real danger, but is very Star Trek. And Star Trek does that well.
[4.2/10] I had essentially forgotten about this one, and on rewatch, I can only assume that it's because my brain mentally blocked it out. This is pretty much as bad as Bob's Burgers gets. A love pentagon where Tina wants Yap, Yap wants Gail, Gail wants Bob, and Linda is involved and egging the whole thing on is just weird, and there's a lot of uncomfortable sexual stuff to boot. I'm no prude, and it didn't offend me, but Bob's sister-in-law haranguing him for sex while her wife pushes him into it despite his clear discomfort is just not amusing or enjoyable for me. It's a strange episode, without many laughs (Ken Jeong finds the more annoying side of Chang from Community with Dr. Yap for most of the way), and little to recommend it.
The B-story, with Louise and Gene having continual contests regarding a jawbreaker has some funny moments (mostly their endurance test for listening to Teddy's story) but peters out pretty quickly as well. Really, the only source of laughs is "The Prince of Persuasia." Mrs. Bloom and I will still randomly crack one another up by quoting "push her in a lake" or insisting the other push a higher floor in the elevator and "make a big deal out of it." Still, making fun of The Pickup Artist isn't enough to redeem this pretty crappy episode.
Whether you like this show or not, you must admit that it has one of the most memorable intros ever. A rap intro was perhaps more revolutionary in the 90s but it's still a work of genius: before every episode you get a story recap how Will ended up in Bel-Air in the first place.
I'm too young to understand many of the references and jokes. But sometimes it's like a fascinating time capsule bank to the 90s. I hate the fake laughter. The show is often a bit silly and shallow but now and then the show delves into more serious issues like parenting, race, puberty, coming of age, social injustice, capitalism and so forth. I don't even like Will best. I like Hillary, Phil and Carlton better to be honest. But all characters are likeable and it's a true feel good sitcom.
But that's perhaps not what the show was really known for. I guess it made a major impact during 90s TV. It's one of the first sitcoms and perhaps one of the first primetime shows with mostly black characters. And - as a surprise to many - they showed a regular all-American and financially privileged family.
Towards the end the show starts to limp and Will's one man show becomes increasingly annoying. I remember that I liked him a lot back in the 90s. My younger self was convinced he was the coolest guy ever. I think totally different know. He almost ruins the show.
Would I ever re-re-watch this show? Probably not...
PS: sadly this show was recorded on tape it seems, thus can't be remastered easily and looks horrible by today's standards
This is the best episode of Silicon Valley in a few seasons. Richard's arc in this series frequently lacks context and judgment. I don't necessarily need to see him punished or learning from his actions, but I do wish that it was handled with more grace. His path towards megalomania is so steeped in a lack of self-awareness and arrogance that it seems to genuinely make me wonder how a guy like that wouldn't understand that he is no better than Belson. A few times Jared stepped in to attempt to center him, but it never works.
I don't think there's anything wrong with this execution so much as I don't feel like it resonates with me because I haven't really found a character to center myself around. In the sixth season, everyone feels to be their most caricaturized version of themselves. That's a frequent problem in comedy television, I know, but it's made worse by the fact that the first few seasons of this series did a really solid job at keeping the zany-ness of these characters limited to very specific moments, perhaps best characterized by Gilfoyle. In the early seasons, he was still the anarchy and code-loving satanist, but that humor became so good because it was rooted and really seemed to be the only guy really centering Richard. Now, that's all he is. He's not centered in anything other than messing with Dinesh.
This episode feels like it finally has the right balance between comedy and plot that the first couple seasons nailed so well. There's a drive to everything that we see that feels like it has a better understanding of doing bad things for relative good.
Based on a novel of the same name, the premise of The Princess Diaries is certainly intriguing enough. A coming-of-age Cinderella story with a twist -- Cinderella is not the damsel in distress. She's comfortable in her own awkward shy teenager shell.
The film has all the ingredients of a successful film. And the film was wildly successful. It has a dream team of cast where everyone is as perfectly cast as they can be, starting with Julie Andrews as the queen and Anne Hathaway in her breakthrough debut as Mia. Directed by the veteran of Cinderella films Garry Marshall (Pretty Woman), the film was a low risk bet for Walt Disney.
For the intended audience (young and preteen girls), the film hits all the right notes. Mia's transformation scene is easily the highlight of the film, and it is very effective and well shot.
Yet, the film just didn't work for me. The movie is just all too familiar and predictable. The scene where Mia discovers her heritage carries surprisingly very little revelation and reactions. And the climax just didn't arouse warm reaction it intended to generate. Worse of all, there are just too many cliched and cringe inducing scenes.
All in all, the film is worth casual family viewing. But for me, the strong cast and competent direction couldn't overcome weak screenplay.
As I often say about the less-than-stellar episodes of the show, there's the germ of a good idea here. For one, using the frame story to comment on the silliness of the show's narrative conceit with Kevin the therapist constantly asking Robin to get to the point while she delves into a mostly-unrelated story about Marshall and Lily is a cute plot, it's just not especially well done. Kal Penn in particular joins the pantheon of people like Jennifer Morrison who are perfectly good at what they do, but don't really fit in with the show.
As for the rest of the episode, the Marshall-Lily-Ted bit about Ted getting too involved in their pregnancy and being a third wheel in general had a few good laughs (especially the photo montage at the end), but it had a weird message about not being skeptical about doctors who just tell you what you want to hear, especially when Lily shuts Marshall down about it. (Ted's obviously goes too far.) And the whole resolution of it is pretty strange.
And here we go with more of the whole Barney-Robin-Nora love triangle as the show goes headlong into super broad comedy and relationship melodrama. Barney's various schemes are even more outlandish than usual, and Robin feels out of character. Gone are the mostly real characters we knew and loved (Robin more than Barney) and in their place are caricatured duplicates whose every romantic trial and tribulation we're supposed to care about despite dull obstacle love interests in their way and their general incompatibility and jerkish behavior to one another. Sign of the times, especially Robin's trying to steal Barney and Barney's obliviousness about the whole thing.
(Oh, and if I'm not mistaken, this is the introduction of both Robin crying under the desk with a bottle of wine, which has been meme-ified to the extreme, and the running bit about Robin being unduly harsh with Patrice, which is probably my least favorite continuing gag on the show.)
5.5/10. Pretty weak. You can definitely feel the comedy getting dumber in this one. The storytelling dichotomy of characters arguing over the right way to do something and then realizing that both of them has a point is getting a little tired, even if the show tries to subvert it a bit here. It's odd that being supportive means not being upfront about your own wants or needs according to this episode, but whatever, I guess I can accept some simplified sitcom relationship platitudes. The problem is that this show used to be above that, or at least used to add more of a twist to them. Lily confessing that being supportive with all that's happened, from Marshall's job, to his dad, to their starting a family, was a solid moment, but the rest of the episode largely devolved into sitcom cliches.
The same goes to Barney's whole abandonment issues-turned-exploding meatball sub bit. There's the hint of a good swerve there, and a touch of the old HIMYM meme-ing with "Graduation Goggles," but the execution is pretty uninspired. It was nice to get a good moment with Robin and Barney, but you got the sense a lot of this episode was stretching for time. Cracks in the foundation are starting to show, especially in terms of the humor, which is a shame coming right on the heels of a pretty great episode.
The little suburb intro was funny. And it's nice that it wasn't too long.
New villain starts a little weak. The whole, death is beautiful, it allows new things to grow speech ? Please can we do any more cliche than that ? Then you add the even more cliche where the villain kill his own man beacause he's displeased with his performance. Can we stop doing that please ? Isn't there any other way to say look, this is a bad guy! ? Neal McDonough though, there's some potential there. And despite that there's the You don't know who I am do you ? I'm Damien Darhk moment that is totally badass. So let's just hope that this beginning was just inclusive writing for the part of the audience that is too stupid to acknowledge a villain if it's not written in blood on his face and that we will move past that now that it's done.
It looks like they don't even try anymore to hide what they do. Like Laurel calls John instead of 911 and then gets away ? And then she's in the police hq, during an attack, and nobody questions her presence ? They're also openly discussing their night activities in the police station. Are all the cops in on it ? Oh look, it's Lance's daughter doing her vigilante thing again. And she thinks we don't know, how cute. How about the Green Arrow announcement ? Can anyone not recognize him ?
By the way the conversation between the Lances was surreal. They're explicitly looking for important city events, there's the main train station opening, he even lists it, that's probably the biggest thing to happen for months (years ?), and nobody registers it ? COME ON ! How bad can you be at your jobs.
Also Lance is working with the bad guy. So switching back again between good and bad, being friend/ennemy with Arrow's team. It already happened a dozen times, can we move past it ? Is this really the only thing he can bring to the show ?
Petty complaints at the train action:
1) How would the guy hear him jumping on the train over the noise ? And be stupid enough to open the door ?
2) We can see the length of the train during the first scene, and when they're next to it, there are definitely enough cars passing by to make the whole train, but it never seems to stop
3) How did Dig get on board ?
4) Did he not just blow the last wagons ? Would it be enough to stop the whole train ? Why not shoot the engine ?
5) Was the train empty ?
6) Wasn't the explosion a little weak ?
Flashbacks are back on Lian Yu again, without much surprise. They'll soon be out of time left for that, hope the story's interesting.
And the someone's gonna die preview. That sucks. This is something that will probably be ignored for 10 episodes, it was a really bad choice to put it there, even more because I bet it will turn out to be totally insignificant. Someone who's already dead ? Someone we haven't met yet ? From the Lian Yu flashbacks ? I'm willing to bet not a significant character. Barry's presence suggests Felicity, but I don't buy that. Or not dead for real maybe, just to protect her.
6.6/10. You’ve seen Hidden Figures before. Maybe you haven’t seen this exact movie -- about how three unduly unheralded African American women helped NASA in the early 1960s -- but if, like me, you dutifully watch many, if not most, of the Oscar-nominated films each year, then within ten minutes, you’ll already know this movie by heart.
It features a gutsy but unorthodox protagonist trying to make a dent in a system that marginalizes and ignores her. It’s a period piece, with enough obvious dialogue, signs, and cameos from well-known historical figures to let you know exactly when the story is taking place with plenty of opportunity for the viewer to say, “My, how far we’ve come.” It has supporting characters facing challenges that mirror the protagonist’s, shining more light on the ways in which the order of the day affected those who were quietly fighting to maintain their place in it, and maybe even change it. And it has the untold story/historical injustice angle that’s supposed to imbue it with an extra bit of triumph and tragedy, all unleashed with a heavy dose of Hollywood mythmaking.
The difference, and the thing that distinguishes Hidden Figures from the likes of The Imitation Game, Dallas Buyers Club, and other recent Oscar nominees that play in the same space is that it uses the power of that formula in support of a woman of color. At a time when the world of film is still lingering in the shadow of the #OscarsSoWhite controversy, it’s encouraging that Taraji P. Henson can be cast as the star of a movie that follows the Academy Award film blueprint and succeed at the box office in the process. It’s just a shame that the film’s artistic merit doesn’t match its social merit.
Don’t get me wrong; Hidden Figures is a well-made film. It chugs along at a good clip -- telling the story of one brilliant mathematician’s contributions to NASA at a time when someone of her race and gender had to work twice as hard to make it half as far -- in a tight, if predictable manner. It sprinkles in the subplots about her compatriots nicely, allowing them to work well as breaks from the main narrative that still feed into it. The acting on display is solid-to-good all around. It’s impeccably shot, framed, and edited, with colors that leap off the screen and composition that emphasizes the loneliness, bustle, or intimacy of a given setting. And it can boast a jam-worthy soundtrack that fits the movie’s big moments, but which would be worth listening to apart even outside the theater.
But good lord is it full of every hoary trope from every awards season film you’ve ever seen. The film runs through a litany of standard, predictable beats, telegraphing each one along the way. The good guys overcome the heavily-underlined obstacles in their way. They stand up to thinly-drawn, ineffectual antagonists. They offering cutting, cheesy one-liners after finding their footing.
The film provides an opportunity for Henson to give a Big Damn Speech, and for Kevin Costner to give a Big Damn Speech, and for Janelle Monáe to give a Big Damn Speech (which is, surprisingly, the best written and performed of the three). There is a one-dimensional love interest (Mahershala Ali, whose talents are squandered here) whose only true defining characteristic is that he likes the protagonist. And in the end, there are the expected measured but clear victories, culminating in a big historical event and a “where are they now” text-on-screen closing.
Even the canny little moments of repetition and subversion -- the protagonist being handed a piece of chalk, symbolizing opportunity, by her supervisor the same way she as a child in the classroom; or one of her white colleagues having to hustle across the NASA campus to find her rather than the other way around -- feel like a page torn out of the usual awards-bait playbook. The only times when the film transcends this are when it puts its three leads -- Henson, Monáe, and Octavia Spencer (who manages to make a lot out of a little here) -- together. It’s in these moments that they seem like real human beings finding solace in one another and navigating an environment where the deck is stacked against them, rather than mascots for another rote bout of silver screen “triumph over adversity” heartstring-pulling.
Hidden Figures does the good work of telling the world about the trailblazing achievements of Katherine G. Johnson, Dorothy Vaughan, and Mary Jackson, but it does a disservice to these women’s stories to reduce them to the usual prestige pablum, and it doesn’t have to be this way.
It’s laudable that Hollywood is using its hagiographic abilities on women of color who deserve to be widely known, but even the Awards season fare of the recent past shows that it can do better. The superlative Selma looked like a bog-standard Great Man biopic, and instead treated its historical giant of a central figure with a humanizing gaze that made Martin Luther King Jr., his movement, and his struggle feel more real than all the usual tinseltown gloss and lionizing tone could. The Best Picture-winning Twelve Years a Slave suffers from a small bit of the same white savior syndrome that afflicted the execrable The Help, but it was raw and uncompromising, putting the ugliness of the prejudices faced by its protagonist on display in a way that didn’t reduce them to petty hurdles our heroes would inevitably hop over. These vital stories can be told without sacrificing artistry or giving into the cliches of typical Oscar fare.
But maybe that’s the best thing to say about Hidden Figures. Every awards season is going to feature a certain quotient of this type of film. Every year sees a new crop of competently-made, not particularly inspired movies that deal with Important Things, typically from The Long Long Ago. If this is inevitable, if the awards circuit is continually going to honor films that hit these same notes over and over again, then the least we can do is use this generic form in service of people whose stories deserve to be told, and who are all too often, as the movie’s title portends, left on the cutting room floor.
Brace yourselves, dear viewers, for this episode will undoubtedly spark heated debates among fans. Some will love it, while others will loathe it—much like the game itself.
The Last of Us ends with a masterful coup de grâce, cementing this adaptation's place in the pantheon of prestige television.
It is sombre and dark yet replete with emotions that run deep. Joel, at long last, becomes a man of action. Whether his actions are morally defensible, however, is a subject of endless debate.
Staying true to the game, this episode does not falter in its execution, boasting a master-stroke opening that sets the stage for a gripping narrative to unfold. The strategic use of a flashback adds layers of complexity to already richly-wrought characters, serving as a catalyst for some of the most poignant dialogue between Joel and Ellie to date—dialogue sure to leave the audience teary-eyed.
The action is far from glorified, leaving viewers in a state of visceral shock and awe. The last couple of episodes have served to do some fantastic work for Joel, and this episode is the proverbial cherry on top, truly a beautiful and profound culmination of his character arc. Indeed, the show is a thing of beauty, but beauty that is shrouded in darkness.
Were a flaw to be ascribed, it would be that of brevity. At a mere 40 minutes, the finale feels curtailed. The absence of the Cordyceps is understandable, given the laser-focused narrative, though it marks a deviation from the source material.
By turns harrowing and humane, towering and intimate, this finale buries its hooks deeply in the viewer, capping off a brilliant maiden season. Love it or loathe it, impassioned discourse will assuredly abound in the wake of this uncompromising conclusion to the first chapter of The Last of Us.
01x09 - Look for the Light: 8.5/10 (Great)
"To the Undiscovered Country - The future."
I lost track of how much talent is in this episode. I kept getting distracted by Bruce Boxleitner reprising his role as the President of Earth. What a lore-rich and beautiful episode this is. I think there is something for everybody. From the classic humor in the simulator, to getting deeper into Krill lore, to seeing multiple space battles.
To the above quote, this is The Orville's version of Star Trek VI: The Undiscovered Country. Right down to the Abrahamic leader figure. And this time the subversion is that peace goes to shit and all anyone can do is simply prevent going to open war on multiple fronts. The wildcard, that I'm mad I didn't see coming, is that Ed got Teleya pregnant and she now has a Krill-Human daughter that could upset galactic politics and cause an uprising on Krill. Ed is now sitting on an H-bomb, and he might have to press the trigger.
Overall this episode has such a warmth to it, even on Planet Ibiza. All the vistas we get to see, all the held shots and silent moments. Seth said that every episode would feel like a movie, and so far that holds true. This is best one so far, and also one of the best of the entire series.
I cannot stress how meaningful it is to me that the camera is allowed to be in a fixed position for several seconds at a time! After finishing Obi-wan, I am so tired of free-roaming cameras and additional shaking being purposefully added in post when the scene is just someone talking.
I'm just going to keep saying it until it stops being true. Right now, there are exactly two scifi shows airing that are telling stories of this caliber. Neither of them are called Star Trek, but both of them are being worked on by Star Trek alumni. I'm at least grateful that science fiction that prioritizes smart storytelling is still an option. Gene would be proud of both of them. And I'd like to think he prefers this one. :)
You know who I love? Alex Danvers. Any episode where she gets her own scenes is a good episode in my book. Which is kind of sad, actually - she's a main character after all, arguably the most important one after Kara, and yet practically all of her storylines revolve around her sister. The showrunners promised that we would get to know Alex more this season and see more of her personal life, so I'm waiting for that. And I'm really happy that they acknowledged Alex's problems with Clark because she's right. 12-year-old Kara was willing to take care of baby Kal, but Clark, who was a grown-ass man when her pod landed, immediately dropped his cousin off at the Danvers family's doorstep like a stray puppy. Alex has dedicated her whole life to Kara while Clark has been flying around, showing up once in a blue moon. What's up with that, by the way? It took him like 5 seconds to get from National City to Metropolis. Can't they hang out for dinner every Saturday or something? Why do they see each other so rarely?
It was fun to have Superman on the show. I really liked the way Tyler Hoechlin portrayed him.
Clark and Kara are adorable dorky dorks and I love them.
My favorite scene in this episode was the one where Cat told Kara she was leaving. I genuinely cried. I love Cat Grant and the show won't be the same without her. She'll return at some point, of course, but she'll probably never be a main character again, which sucks. Just like Kara, I don't like change, and I will miss Queen of All Media deeply.
Winn is absolutely hilarious. His reaction to Clark and J'onn arguing was the same as mine. And Star Wars references are always great.
Project Cadmus is super shady. I mean, I already knew that, but damn. They're much better villains than Non.
James is the boss, which is... actually good in my opinion? And it makes sense? Give him his own storylines outside of being Kara's (former) love interest. It'll be good for both of them.
I'm just going to start off by listing the 3 shittiest things that He-Who-Shall-Not-Be-Named did in this episode, okay? By the way, please enlighten me, how does a dude who does multiple shitty things per episode even stand a chance with Kara, let alone actually get together with her?
Calling Kara helping people as Supergirl "little superhero-ing".
Immediately disregarding Kara's wishes and telling everyone about their relationship.
Ignoring what Kara said (again) and trying to brush it off (again).
I just don't get it. A part of me thinks, or hopes, that the writers are doing this on purpose to show what a toxic relationship looks like and how not to treat your significant other, but let's be real, that's probably not it. They actually seem to think that this shit is cute and romantic. And it makes me sick.
Sure, Man-Hell was right about Jeremiah. But contrary to popular belief, the end doesn't justify the means. He could have proved his point without being an asshole. But I guess that's just how he rolls, right? And we're supposed to let it slide because... he's conventionally attractive?
Honestly, fuck this guy.
Alex's confrontation with Jeremiah was a powerful moment and Chyler Leigh once again brought her A-game.
How long will I have to scream into the void about Maggie's lack of screentime before someone finally hears me? I can't believe the showrunners think I'm more interested in What's-His-Face than in this amazing woman, who:
is simultaneously an absolute badass and the softest human being I have ever seen (those dimples, man, Jesus Christ, what a bae)
was outed to her parents and kicked out of the house at 14
is such a good detective that she figured out Kara's secret by herself
is a good, pure, unproblematic fave who deserves better.
I have no dignity left anymore, I will literally beg if I have to. I'll sell my soul if that's what it takes to get her a proper storyline. Sure, the family dinner thing was cute, and the way she comforted Alex was wonderful. Maggie Sawyer is a kind, supportive girlfriend who listens to Alex and is always there for her, and the way they keep trying to draw parallels between Sanvers and Karamel lowkey makes me want to die. They're not similar! At all! Not in a million years! One is based on mutual love, respect and support, and the other is an abusive garbage fire. I'm starting a campaign. Let Maggie Sawyer deck Fuckboy in the face 2017.
And another thing: I guess Karamel can be all over each other, make out, wake up in bed naked after obviously having sex, but God forbid Maggie and Alex do anything more than kiss for exactly 1.5 seconds. No, I'm not bitter, why do you ask?
Does Cadmus want to send all aliens back into space? Hey, here's a thought: maybe they can use that big-ass ship to launch Mayo-El into the Phantom Zone? Pretty please?
[7.3/10] One of the things I like about kids movies these days is that they tend to be pretty clear about what the characters want and how that drives the story. I’m sure there’s some selection bias there, with plenty of kid-focused dreck that doesn't make it onto my radar. But one of the benefits of aiming at the kid audience is that films almost have to be clearer about motivation and its connection to story or you risk losing attention and understanding. Sometimes, that leads to overly telegraphed plot points or predictable story arcs, but in others, it adds a sense of clarity and character to children’s entertainment that wide swaths of adult-focused films lack.
Ralph Breaks the Internet is the (nigh-literal) poster child for that idea. In a series of enjoyable opening clips, the film establishes that candy-coated racer Vanellope is tired of the predictability of life in the arcade, and is thirsting for the new, different, and unknown. Ralph, on the other hand, things the steady life of work, root beer, and especially hanging out with his best friend is paradise, is everything he could ever want. So when Vanellope yearns for something more, he’s helpful and supportive, but doesn't really get it and wonders why his friendship isn’t enough to sate her.
Naturally, things go haywire from there. Some track-based improvisation leads to a broken gaming wheel in the real world, sending Ralph and Vanellope into the internet in an effort to find a replacement. They meet new characters and face new challenges and explore the ever-expanding, bustling realm of the world wide web. But every choice the movie, and more importantly the characters, make is driven by their friendship, and those two conflicting impulses and concerns that Ralph Breaks the Internet sets up in its first ten minutes.
What’s interesting is that despite being set there, and theoretically expanding the reach of this franchise, the film isn’t really about the internet. Sure, there’s plenty of glancing observations about silly things going viral or the toxicity of comment sections. But for the most part, the web is just an energetic backdrop for a story about two friends who care deeply about one another but need different things in order to feel fulfilled. The tale Ralph Breaks the Internet tells fits that within its cyberspace setting, but the Internet is merely the object of Vanellope’s impulse to experience a wider, woolier world, and Ralph’s reluctance in the shadow of its dizzying diversity, rather than the true subject of the film.
That’s not to say that Ralph Breaks the Internet fails to make the most of that setting. While fans of Tron or even the inevitably revived ReBoot are familiar with the inner workings of cyberspace being depicted as some sort of bustling city, this movie kicks that idea up a notch. The web as a sprawling metropolis, with website skyscrapers and user milling around as little avatars, is a fun, high energy backdrop for all the misadventures of our heroes. Spammers and pop-ups are treated like carnival barkers, sites themselves are fun houses or factories, and viruses and the “dark web” are the seedy underbelly of the bustling burg. The tropes are familiar, but the execution is a visual feast, creatively done.
Thankfully, the gratuitous corporate synergy comes in small, concentrated doses rather than overwhelming the story and setup this film is trying to impart. There’s cameos from Marvel and Star Wars characters and conspicuous House of Mouse-style mash-ups of different worlds and properties. And yes, as the trailer promised, there is an all-star team-up of Disney princesses, who chat with Vanellope and lend a bit of aid when the moment calls for it, with a new ode from Alan Menken to boot. There’s meta gags galore and a few winks at the standard princess tropes, but it’s all punchy and funny enough that it’s always pleasing and rarely veers to the level of indulgence.
The problems with the movie instead lie in how it rushes and sitcom-ifies the conflict between Vanellope and Ralph. There’s legitimate tension to be had in how Vanellope is drawn to Shank, the leader of a hardscrabble racing squad in a Grand Theft Auto-meets-Twisted Metal game called “Slaughter Race” that’s captured Vanellope’s imagination, and how insecure Ralph feels over that. But Ralph Breaks the Internet dramatizes that with a cliché “one character speaks frankly without knowing that another character is listening in” setup, and underlines in with a device that literally reproduces Ralph’s “insecurity” in destructive fashion.
At the same time, the movie bends over backwards to prevent either party from seeing the bad guy. That’s not a bad tack in principle. Both Ralph and Vanellope are genuinely well-meaning but are capable of hurting each other due to their divergent wants from life. But the movie needs conflict and action, and so retreats from having Ralph doing anything genuinely bad or ill-intentioned, instead incessantly underscoring the fact that he doesn't mean any harm when his actions come close to doing real harm to his best friend. That takes the juice out of the confrontation between confidantes the film wants to draw out, and weakens the overall conflict.
The inevitable third act action sequence exists in an odd space between inventive and rote. The final challenge involves an Oogie-Boogie esque threat who’s creatively animated in every frame, but who’s too blunt as a personification of Ralph’s worries and whose defeat drifts into hand-holding as to the message of the film and a solid snootful of fan service to boot. The film thrives and delights when it features Ralph and Vanellope capering through cyberspace, but falter when it has to bring the burgeoning friction between them to a head.
Still, the film’s message is a laudable one, which settles on accepting that the people you care about can want other things in life to make them feel fulfilled, without diminishing the closeness of your friendship. At times, its efforts to convey that message verge on the contrived or the overblown. But at its core, Ralph Breaks the Internet commits to the idea of what its two main characters want, and amid the wonder and pitfalls of the world wide web, plays that idea out in a way that vindicates who they are and what drives them. The film boasts fun online observations and vaguely self-satisfied but self-effacing Disney jibes, while ultimately coming down on the side of a character-focused story.
It can’t top Ralph and Vanellope’s first outing, and stumbles a bit as those character clashes are forced to turn into the mandatory uptempo thrillride all tentpole movies have to have these days, but Ralph Breaks the Internet whose who they are and what they want, comedicaly and dramatically, which keeps the movie enjoyable and on track, even amid the online flurry the film steeps itself in.
[7.7/10] I’ll say this for The Good Place. I like that they’re basically running through all the love triangle permutations now rather than dragging them out unnecessarily. I’ll admit, I don’t exactly buy the possibility of Fake Eleanor and Chidi together, or Fake Eleanor being in love with Chidi, but I do buy it as a spur of the moment feeling that, with some reflection, she realizes isn’t real. (I’m less sold on the idea that Tahani and Chidi aren’t soulmates, because that seems like a better possibility.)
Still, I’ll say this for that part of the story -- it leads to the best thing in the episode, namely Fake Eleanor and Tahani hanging out together. The two characters have a fun dynamic, and watching them check out a BBC sitcom or put in hair extensions or snark at Jason and Janet’s wedding is a treat.
Heck, I even liked the Jason and Janet shtick. There’s something about someone who’s a complete dolt “falling in love” with someone who’s barely sentient but nevertheless nice to him that is weird but oddly sweet. The pair’s vows, entrance music, and little dance together are all absolutely charming even if it’s a semi-bizarre bit.
The only part of the episode that didn’t really work for me is Chidi’s indecision. I like the approach, showing Chidi’s paralyzed by choice, but it’s done in such a cartoony, over the top way that it’s hard to be too invested in his growth over the course of the episode. That said, his best friend knowing him well enough to do a “fake wedding day” test, and Chidi literally being killed by his indecision is a decent bit.
Overall, lots of laughs and good energy to this one, particularly the funny and endearing Tahani/Fake Eleanor portions and the strange Jason/Janet stuff.
Creative and enjoyable, with a pleasantly weird alternate-universe/time-shift aspect that never becomes too complicated to follow. It leaves you with the odd feeling of having seen the Voyager crew die, but never really being sure if they were our original crew, or whether that even matters. The exact same thing happens to Harry that happens to O'Brien in DS9's 'Visionary', in that we are left with a version of the character who isn't exactly our own one.
It was also good to see the Vidiians back to being pretty decent bad guys again. There was something chilling about the way they just assessed unconscious people by which organs they could harvest from them. Janeway was a bit of a badass in regards to the solution to getting rid of them.
Having the duplicate Janeways standing so close to each other during their scenes made it look like they were about to kiss, and really made me aware of how shows had to work within the 4:3 aspect ratio back then. I felt a bit more let down that the two versions of Kes didn't really interact with each other at all.
I got quite wrapped up in the ordeal of Ensign Wildman finally having her baby, which certainly ran through a gamut of emotions! Chakotay was as useless as ever, and I noticed that Voyager didn't require his authorisation to concur with setting the self-destruct - I guess Janeway changed that because she knows he'd just mess it up.
Yeah, baby! I'm all about crossovers. And a vintage musical crossover? Sign me the fuck up!
I love the fact that Melissa Benoist, Grant Gustin and Darren Criss all used to be on Glee. It must've been a fun little reunion for them to shoot this thing.
Well, would you look at that. Fuckboy isn't just a former slave owner, he's a former prince of slave owners. What a catch, am I right?
(Can he please just die already?)
At least Kara dumped his ass for now, but let's be real, this is the CW. She'll take him back despite the fact that he's a toxic piece of shit. Just free her from this awful relationship. What do I have to do? Cause I'd sell one of my kidneys to make that happen.
Cop Maggie! Cop Maggie! Cop Maggie! Give me more of that, please! Give me 42 minutes of that, I don't give a damn. I love her so much.
Winn is really unlucky when it comes to the ladies. But seriously, this one was his fault. Having sex in a museum? Don't you have a bed for that? Or, I don't know, a kitchen counter? Or any other flat surface in your apartment? If you want an adventure, go skydiving, not commit felonies. And fine, I understand why Lyra did what she did, but why did she even need Winn for that in the first place? She's invisible, for crying out loud. She didn't need a patsy to take the fall. The police would have never been able to prove it was her, anyway.
[6.1/10] This is another one that just didn’t do much for me. The real good stuff here is all on the edges. Abed’s Batman routine is mainly comic relief, but damn if Danny Pudi doesn’t just commit and wring every ounce of humor out of it. And I especially like the Shirley C-story, where she realizes she’s projecting her own hurt over her estranged husband onto Britta and taking it out on Prof. Slater. Yvette Nicole Brown really gives a great dramatic performance there, full of hurt and realization. It’s subtle but strong acting that sells it
But man, am I not interested in a cliché pull between Jeff being a suave man on the prowl and Jeff being a good friend to the group. His exchanges with Slater have some good energy, but the whole shtick with Britta as his Jiminy Cricket is lame, and the whole conflict is too. At the same time, Pierce feeling insecure about his age could be interesting, but it’s played so cartoony and coupled with a drug trip that saps it of any force. (Though you can see Justin Lin trying out some fancy director moves here and there, so there’s that.)
Overall, this one is a non-starter and weak entry in the show’s early going.
A fantastic end to season 2 gives us a deceptively small episode that grows bigger as it continues and ends with events that will shape the course of the entire series to come. This has a little bit of everything, starting with some lovely father/son bonding between Jake and Commander Sisko, juxtaposed by the funnier relationship between Nog and his uncle Quark.
In many ways, Quark is the real star of this one. His arguments with Sikso culminate in quite a beautiful speech about the nature of Ferengi vs. humans, and it serves to demonstrate the casual racism that everyone, noble Starfleet officers included, show towards Quark and the rest of his species. It seems like Quark's words are strong enough to actually register with Sisko.
The camping trip is a really enjoyable part of the episode, both Quark and Nog providing some really good humour. More so, though, is the continuing and very genuine love between Jake and his father. Any time they end up reminiscing about Jennifer always results in some quite heartbreaking stuff, and both Cirroc Lofton and Avery Brooks always hit the right notes.
Things change with the arrival of Eris (who we will later learn is a Vorta) followed by our first look at the Jem'Hadar. These guys are just great, and at this point it's all about displaying how intimidating they are. They have personal cloaking devices, great strength and a highly aggressive attitude. One of the most powerful moments of the episode is the way that the soldier on the station just casually walks through the force field the crew think they have him contained in; it's done in such a nonchalant way and shot so well that it becomes kind of unsettling.
If we needed a less subtle demonstration, they destroy a Galaxy-class starship. That could easily have been the Enterprise, as it was thoroughly overwhelmed and had no defence. There's a few moments here which don't track with later developments - Eris has telepathic abilities that will never be seen again, and she doesn't recognise what Odo is - but they're small enough things that it's easy to forget.
What happens when you give the keys to the Star Trek kingdom to the director of the Fast and the Furious movies? You get a franchise known for its thematic depth and attention to character reduced to a series of whiz-bang action sequences and only the shallow veneer of theme or character development on top of it. Make no mistake, Star Trek Beyond is a film that can barely get the surface-level details right, and stumbles in its abbreviated attempts to go beyond them. And the result is a generally dull action film that could have its serial numbers shaved off and thus be wholly unrecognizable as anything related to Star Trek.
The film is most striking in how it fails where its predecessors succeeded. It's true that there was little of the heady optimism at play in the 2009 Star Trek reboot, but what the movie lacked in thematic heft, it made up for in terms of giving the audience a journey focused on character. The greatest conflicts in the film are not between the Enterprise and the Romulans, but within and between the film's two biggest characters. Kirk starts out as a good-for-little scoundrel and through his experiences in the film, evolves into an officer, albeit one who is still charmingly rough around the edges. Spock starts out as a man unable to reconcile his human side and his Vulcan side, and through his experiences in the film's adventure, he find balance and peace. Most importantly, those two character arcs intersect in meaningful ways and make us invested in those in charge of the enterprise.
By contrast, Beyond suggests a similarly intriguing start for both Kirk and Spock, but peters out between the beginning of their journey and the intended destination. The idea of a somewhat jaded James T. Kirk, having lost some of his passion, wondering if his mission even matters given the enormity of space, and contemplating whether to hang up his spurs, is a superb one that made me think director Justin Lin and writer Simon Pegg (who also plays Scotty) and Doug Jung (who plays Sulu's husband) were following the 2009 film's lead in this regard. Similarly, the notion that Spock, rattled by his alternative timeline counterpart's death, also feels inclined to give up Starfleet to focus on carrying on the elder Spock's goal to rehabilitate the Vulcan people, creates numerous storytelling possibilities and a parallel sense of restlessness to the character that mirrors Kirk's. The state of play as Beyond begins seems poised to tell another compelling, character-focused story of growth and change.
Instead, by the end of the film, Kirk has decided to stay in active duty; Spock stays a part of his crew, and the reasons for their change of heart are fuzzy at best. Whereas the 2009 film spent ample time showing events that marked the changes in Kirk and Spock's mentalities and perspective, Beyond amounts to something along the lines of, "They wanted to leave. They went on an adventure. Now they don't" without nearly enough connective tissue to get at the why of the shift in their plans. It's an Underpants Gnomes approach to character development that falls flat. There are vague concepts of "unity" as an important principle floating the film, but Beyond does little to tie it into concrete incidents that motivate Kirk and Spock to be in a different place at the end of the film than they were at the beginning. Instead, they just go on an adventure and come back different, which makes their supposed evolution narrative unsatisfying and ultimately unearned.
It doesn't help that the whole "unity is good" concept underlying the film is dramatized in about as shallow and trite a manner as one could imagine. It's a fluffy theme to begin with, and Star Trek Beyond doesn't do much to make it any more weighty or meaningful in how its realized in the conflict of the film or the characters' actions, especially in the context of on-the-nose dialogue to that effect. Say what you will about Star Trek Into Darkness, and there's plenty to say, but at least the film had the moxie to explore, as its hallowed predecessors did, some of the major social and political issues of the day. There's room to criticize Into Darkness's approach, and other flaws derivative elements that hobbled the film out of the gate, but tackling concepts of militarization and the security state feels of a piece with the politically-charged spirit of The Original Series and its successors. Its reach exceeded its grasp, but there was a nobility in the attempt.
Beyond, on the other hand, is content to coast on a vague Barney-esque notion of teamwork as a guiding principle and theme that barely feels worthy of a generic space adventure, let alone a franchise like Star Trek. The new ally introduced in the film is a lone wolf, wayward traveler brought into the Starfleet fold, whereas it's villain is motivated by a rejection of unity and the benefits of collective action, in a skin-deep realization of that contrast meant to be the film's focal point. Idris Elba is completely wasted in the latter role, an outstanding actor reduced to snarls and platitudes that do not do him justice. In fact, few cast members are given material worthy of their talents. What little they're given to work with in terms of expressing this theme, undercooked though it may be, is lost in a sea of stock beats and action set pieces that feel almost wholly disconnected and inadequate to convey what the film is shooting for.
Those set pieces, which ought to be the saving grace of bringing in a director like Justin Lin, are also a surprising weakness for the film. While there's no shortage of action, almost all of it is shot and directed in a nigh-incoherent fashion that makes it difficult to follow what's happening from scene to muddled scene. Lin and cinematographer Stephen F. Windon pay little mind to ideas of geography or scope, rendering what ought to be a strength of Beyond, instead a collection of occasionally-cool moments with little to put them in context with one another. The film can boast an enjoyable anti-gravity sequence, and its Beastie Boys-fueled excitement is enjoyable if silly, but for the most part, the visual fireworks of Beyond fizzle out into a hodgepodge of undifferentiated combat and explosions.
The film does have its merits. The dynamic between Spock and Bones is the best realized element of the film and lives up to the humor and endearing qualities that Leonard Nimoy and DeForest Kelley imbued into that relationship. And for however much the film's action falters, its design work is impeccable, from the unique look of newcomer Jaylah to the geometric wizardry of the Yorktown Space Station. But they pale in comparison to the fundamental elements of Star Trek, whether they be from the pre-2009 shows and movies or the Abrams films, where Beyond totally misfires.
At its best, Star Trek features the focus on character that drove the original series, bolstered the 2009 reboot, and is realized in only a meager, perfunctory fashion in Beyond. The franchise can soar in its examination of meaningful social and political issues in a fantastical setting, in keeping with its science fiction roots, a virtue Beyond sacrifices in favor of a generic message about working together. This film skips the heavy lifting of showing us how the characters at the core of the franchise develop and grow, and the burden of telling a story that can be both heady and thrilling, in favor of an easy, unambitious action film that has a handful of good moments, but only the patina of what made Star Trek special. Star Trek Beyond is like any other middling cinematic sci-fi adventure of the past decade, with only a Trek-inspired coat of paint to distinguish it, and that's the film's greatest sin.
Edit: On rewatch nearly five years later I...still agree almost completely with my previous review. I probably wouldn't rate it as poorly, but even knowing where everything is heading, this film is a narrative mess that substitutes bland platitudes and indiscriminate action for having an actual story or character or point with any genuine depth. With Simon Pegg as a credited screenwriter, there's more charming references to The Original Series (e.g. Kirk ripping his shirt, Chekov claiming that scotch is Russian) and even some homages to Star Trek: Enterprise (a mention of the Xindi!). But those cute callbacks don't make up for this flashy, indiscriminate clump of a movie.
The one thing I would revise is that there's at least a decent arc for Spock here. he thinks that living up to Spock Prime's legacy means leaving Starfleet to help Vulcans, only to see how much his friends and colleagues need him and realize that Spock Prime's legacy was helping and standing by his friends. It's bare bones, but it's there, and the movie deserves credit for it.
Still, a rewatch does this no favors. If anything, it just confirms the film's Underpants Gnomes approach to storytelling, the jumbled pacing and lumpy structure, and the unavailing action sequences that make it something less than the fun success of ST'09 and less even than the noble failure of Into Darkness. I'd probably upgrade it to a [5.5/10], but it's still a real low-light among the reboot films.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Mini-update to my previous post for the show... It's AMAZING. Watch this NOW!! The show only got better and better (until it sadly ended... for now). This is definitely not your traditional shoujo show. It has a great mix of that light shoujo humor that we all love along with some great animated action and pretty serious moments/feels that parallel some very superb character development. I got so addicted to Akatsuki no Yona that I already read ahead in the manga before the last episode and now I’m just waiting for scantalations (aka suffering). The next parts in the manga after the conclusion of the first season are even better.
This was probably my most surprising anime of the season/s. While the romance isn't full blown, it develops and is hinted at with lots of curves thrown our way. While it's a long ways away, there are just a few moments every few episodes that just make you ( ͡° ͜ʖ ͡°)
My best comparison to this would be a more of a romantic shoujo version of Seirei no Moribito with its protecting theme and the bits of fantasy elements and world building developed throughout.
I can't recommend this enough. A very solid 8/10 from me and I have the manga at a 9/10 (I just might be on a Yona high though). I try to recommend it to everyone as it has been criminally underwatched (but it is building a lot of good word of mouth).
I'm pumped for the upcoming OVA. Hopefully, a second season is announced after the OVA comes out. And I need my new scantalations in the manga. Being ~30 chapters behind sucks :(
tl;dr - Watch Akatsuki no Yona. Now.
Garak - perhaps the most intriguing character in all of Star Trek - gets a whole episode dedicated to his story for the first time. Andrew Robinson is absolute gold in the role and completely makes it his own, but this is also a great showcase for Dr. Bashir. We can see first hand how much he has changed from the early season 1 character he was, and yet he's still true to that initial set up. He's still got the arrogant and brash streaks, but he's far more mature.
As enjoyable as this episode is, it almost feels like it tries to do a bit too much. With Garak's overlapping lies and stories being delivered in a rush and then an abrupt slow down as Bashir attempts to help him, the pacing of this is very elastic. I also find that I don't enjoy the character of Enabran Tain at all - I don't know whether this is due to the writing, the actor or just the whole concept of him, but something about him makes my brain want to switch off.
I really like the little things that crop up in this episode, like the fact that Julian admits he knows that Chief O'Brien doesn't like him, that Sisko is being treated for a sore throat due to yelling at admirals, the discussions on Cardassian literature, or that Odo enters some very ethically wrong areas by monitoring all of Quark's communications. All this put together leaves an episode that throws a lot at you and it hinges on some excellent performances. And at the end, we feel like we still barely have learned a thing.
