"Why tell a deadman the future?"
I couldn't have asked for a more fitting finale for this "piece of an art" mini-series. The bar was set high. It could've been either like the GoT finale or Breaking Bad finale. So glad they stayed consistent from start to finish. Undoubtedly, this ranks among the greatest miniseries ever produced.
Many people may be dissatisfied with the finale if they expected to watch an all-out war, which contradicts the entire idea of the show.
I won't lie, I actually liked the previous episode more. It was a good ending, but it could have ended a bit further into the future, leaving the rest to our imagination isn't too much of a problem. I could listen to Lady Ochiba's speech for hours, she is magnificent. The conversation between Toranaga and Yabushige was really good too. Thank you for one of the best series of recent times. Here's hoping to see more productions that portray Japanese culture and history in such a high-quality manner...
I secretly wanted Fuji and Anjin to be together, I'm sorry Mariko-sama. (˘・_・˘)
One of the most captivating shows of the decade ended with this episode. I can’t sing Shogun enough praise. What an absolute masterpiece.
Maybe they’ll continue it, maybe they won’t. I know I’ll be following the crew to see what they do next.
I'm convinced none of you know what 'filler' actually means, this episode was a banger, not the best episode but a certified banger still. Got context for Lady Ochiba, more romance between Blackthorne & Mariko (their chemistry is actually very strong), more behind the scenes politics with the council and a great set up for 'Crimson Sky'. Another great episode!
Wow, could be the best season yet!
Another brilliant episode. Doing something right for season 5.
The writing leapt from middling at the beginning of this season to phenomenal in this episode, I could not take my eyes off the screen! The OGs AND the literal next generation (lol) are out here KILLING it! Amanda Plummer was on her A game here, absolutely TERRIFYING, Vadic makes Weyoun look like a disgruntled puppy.
I'm crossing fingers and toes hoping to see some more familiar faces for this bon homage. Faces that were involved in the Dominion War, and from Voyager, they certainly have options - perhaps Kira, O'Brien and/or Bashir because of their Section 31 connections, Janeway, Tuvok... look, if the PTB successfully deep faked Carrie Fisher for Star Wars, they can deep fake Odo and Benjamin Sisko for Star Trek. Whoever, whatever they choose now, I'm fully on-board because this ship found its second wind and is sailing!
10/10 - for Amanda Plummer putting in some serious WORK, and in memory of Lal (who we very likely may hear again soon).
I really enjoyed this episode. I like Warf's new angle. Raffie, eh! However, Picard's look at Beverly prior to the "come to Jesus" rant... Loved it.
What I do find interesting though is that Riker was so willing to bark at Picard when they had a difference of tactics. There is more to this than role-reversal. I'm thinking that just maybe, somewhere between Riker and the kid talking in the hall way(Smiley Riker) and that bridge scene, that Riker may have been replaced with a Founder. Hmmm.
Best episode so far. The first episode was the boring version of superheroes doing everyday things; this one is that done right. The fight scene at the beginning is probably my favourite scene of the entire show at this point, and while it takes some time to slow down after the craziness of the last episode, you can tell that stuff will go down in the final episode.
Vadic: "Oh, fucking solids." LMAO, A great Episode !
This has got to be IMO one of The best Star Trek's Ever, It's got Real Laugh out LOUD laughs, It's got Eye watering sadnes (Yea It's fiction) and nostalgia for some of the original Crew Natasha 'Tasha' Yar
Great seeing the TNG crew back together, It's just a shame It's taken so long IMO
[7.2/10] Star Trek: Discovery does a better job of telling the audience that a relationship is important than spurring us to feel that importance. Your mileage may vary, of course, but across the series, characters have these soulful conversations about how much they mean to one another, and it’s rare, if not unprecedented, for the show to have earned that emotion through lived-in dynamics and experiences that believably bring two characters closer together.
But Burnham (Sonequa Martin-Green) and Saru (Doug Jones) are one of the big exceptions. They’re the two characters on the show who’ve arguably changed the most over the course of the series. Michael went from disgraced mutineer to respected captain. Saru went from a timid, by-the-book stiff to a more open and adventurous officer. And,as is Star Trek tradition, along the way, through hardship and heroism, they went from being mutual skeptics of one another to trusted friends.
Where so many of the friendships in Discovery fall flat, Michael and Saru are among the few who play with the ease and care of genuine confidantes. So an episode like “Under the Twin Moons” comes with the power of (supposedly) being Saru’s last hurrah as a Starfleet officer and, more importantly, his final mission alongside Michael Burnham.
In truth, the mission itself is no great shakes. The latest break in the Progenitor case sees the duo beaming down to the planet of the week, a lost world protected by one of those ancient technological security systems that Captain Kirk and company seemed to run into every third episode. The art direction work is laudable, with some neat designs of the weathered statues and other remnants of the fallen civilization, and a cluttered jungle locale that comes off more real and tactile than most of Discovery’s more sterile environments.
But this largely comes off as video game plotting, even before the show reveals that the Progenitor mission is essentially one massive fetch quest. The sense of skulking around old ruins, avoiding weathered booby traps, and using special abilities to avoid obstacles and find clues will be familiar to anyone who’s played Jedi: Fallen Order from the other half of the marquee sci-fi franchise dichotomy, or even precursors like the Zelda series of games. The challenges the away team faces feel more like perfunctory obstacles than meaningful threats to be overcome.
Still, these obstacles accomplish two things, however conspicuously. For one, they show Saru’s value to Starfleet in his alleged last mission. He shoots down ancient security bots with his quills. He attracts and evades their fire with his superspeed. He detects the hidden code with his ability to detect bioluminescence. And he’s able to use his strength to move a large obelisk back and forth to find the last piece of the puzzle. On a physical basis, it’s not bad having a Kelpian on your side.
More to the point, he also looks out for Michael. There’s a nice low-simmering conflict between them, where Michael wants to save Saru so he can enjoy the bliss of his civilian life with T’Rina, and Saru wants to fulfill his duty as any other officer would and protect his friend. In an episode themed around frayed connections between people, it’s nice to see that tension play out in an organic, selfless way between these two longtime comrades. Their ability to work together to solve problems, figure out puzzles, and most importantly, put their necks out for one another (in some cases literally), does more to honor Saru’s place in the series than all the Kelpien superpowers in the galaxy.
For another, they give Tilly (Mary Wiseman), Adira (Blu del Barrio), and eventually Captain Rayner the chance to do something science-y to help Michael and Saru down on the planet. Granted, their “Why don’t we use an ancient electrio-magnetic pulse?” solution strains credulity a bit, and Rayner’s advice boiling down to “You need to think like an ancient civilization” isn’t that insightful. But it gives a couple of the show’s players something to do, and reveals, however ham handedly, not only Rayner’s facility in the field, but his willingness to help out even when he doesn’t have to.
That's a good thing, since he’s joining the cast as the new first officer (something portended by Callum Keith Rennie’s addition to the opening credits. The dialogue to get him there is clunky, with thudding comments from Admiral Vance (Oded Fehr) and Burnham about Rayner being a good man despite some poor choices born of tougher times. But after only a couple of episodes, Rayner is a welcome addition -- a fly in the ointment for a now-cozy crew, bolstered by Rennie’s vividly irascible performance.
While the signposting is a little much, the idea that Burnham does not just want a first officer who’s capable, but one who’ll have the guts to challenge her and her perspective is a good one. That approach puts her in the good company of Captain Picard, among others, and shows a humility and an openness in Michael that's commendable. Her willingness to give someone else a second chance, given what the one she received allowed her to accomplish, speaks well of the still-new Captain, and adds some poetry with Discovery’s first season in its unexpected final one.
On a meta level, this is also an interesting thematic tack for the series. Rayner is coded as conservative, battle-hardened, even sclerotic in a way that clashes with traditional Starfleet principles. The idea that he has a place on the bridge, that his viewpoint is worthwhile, and most notably, that he can be brought into the light of Starfleet’s new dawn, fits with the aspirational tone of Star Trek. It’s worth watching how the character arc, and the ideas and subtext in tow, play out from here.
The same can't be said for Book’s (David Ajala) interactions with Moll (Eve Harlow) and L'ak (Elias Toufexis). The show wants to make some trite yet strained point about bonds between individuals in the already-tortured estrangement between him and Michael. The tired pop psychology from Dr. Culber (Wilson Cruz) doesn’t help on that front. But worse yet is the acknowledged unlikely coincidence that Moll is the daughter of Book’s mentor and surrogate father, a contrived familial connection that attempts to gin up through genealogy what the show can't from character-building alone.
Except when it can. The mission may be stock, and the surrounding plot threads may be underbaked, but the goodbye between Michael and Saru is legitimately touching. From Michael nursing Saru through his harrowing transformation, to Saru counseling Michael through good times and bad in her ascent up the ranks, the pair have blossomed into genuine confidantes over the course of the last four seasons. It did not always come easily, but that's what makes their connection now, and the parting poised to strain it, such a poignant, bittersweet moment between two friends.
Who knows if it will stick. Dr. Culbert came back from the dead. Tilly’s back in the fold despite leaving for Starfleet Academy. Saru himself returned to the ship despite ostensibly leaving to become a “great elder” on Kaminar. Discovery doesn’t have a great track record of sticking to major character exits.
For now, at least, Saru gets a swan song not only worthy of what the character, and Doug Jones’ impeccable performance, has meant to the series over the past seven years, but also of what, unassumingly, became one of the series’ strongest relationships. Michael will keep flying. Saru will hopefully enjoy some wedded bliss. But as “Under the Twin Moons” reminds us, they’ve both left a mark on the other that will stay with both of them, wherever they finally end up.
[7.8/10] When I saw in the trailer that Tales of the Empire was going to focus on Morgan Elsbeth, I sighed a little. The character, who debuted on-screen in The Mandalorian and came to prominence in the Ahsoka show. She was something of a big nothing in those shows, coming with that sort of flat blandness that, sadly, pervaded a lot of Dave Filoni’s follow up to Star Wars: Rebels. So to be frank, I was less than enthused at the idea that this rare treat, a Clone Wars-esque follow-up in the format of Tales of the Jedi, was going to focus on a character I didn’t really care about.
Well, kudos to Filoni and company, because this installment made me care about her. Some of that is just the visuals. It’s hard not to see a veritable child, running scared across the arid landscape of Dathomir, her and her mother fleeing from an incarnation of General Grievous who is the most frightening he’s been since Tartakovsky’s Clone Wars, and not feel for them.
The terror of the Separatist attack on the Ngihtsisters’ home base, the trauma of watching your mother cut down by their chief butcher, the panic of running and hiding while killers are on your trail, all give us a strong sense, both in terms of imagery and emotion, of the crucible that Morgan was forged in.
But I also like her brief refuge with the Mountain Clan. I’ll be frank -- I don’t remember much about the mountain clan. I think Savage Opress trained there before he was juiced up by the Nightsisters? But I don't remember exactly, or whether we know the matron and her children from before.
Either way, it works on its own, and that's what matters. After the glimpses we saw in The Clone Wars, and the visit to Dathomir in Jedi: Fallen Order, it’s nice to not only see the planet on screen once more, but to get another peek into its culture. The idea that there are people of this place who are not like the Nightsisters, not like Maul or Savage, who are nonetheless drawn into the depths of this war, add both dimension and tragedy to the fate of the planet and the communities who reside there.
I also appreciate the introduction of Nali, a young member of the Mountain Clan who is presented as a fulcrum between the path of war and vengeance stoked from within Morgan, to the path of peace and patience, preached by the matron. So much of Star Wars comes down to meaningful choices, about whether to give into anger and hatred and seek violent retribution, or whether to center oneself on calmness and redemption and no more than defense. Framing that as not just a choice for the Lukes of the world, but for the ordinary people caught up in extraordinary events like Nali, helps drive the momentousness and universality of these decisions home.
And you see both sides. You understand why Morgan is the way she is and wants to be prepared for the droids to come attacking once more. After what she’s been through, what she’s seen, being prepared for battle is natural. Wanting revenge is natural. The way she tries to prepare her fellow young women with weapons and fighting is understandable, given what she’s lost.
ANd in truth, the matron seems pretty naive. When she tells her daughter not to give into that strain of belligerence, and to trust that they’ll be okay, it sounds like a leader putting their head in the sand. So when the droids do show up, and she destroys them all with a mystical ball of light, it’s a hell of a turn. Her moral, that just because someone doesn’t seek out the fight doesn’t mean they’re unable, is a strong one, in the moral and spiritual tradition of the franchise.
It also sets Morgan on a path of tragedy. This being Star Wars, it’s framed in prophecy and vision into the future. But more in keeping with that ethical and spiritual bent, it says that Morgan has chosen the path to darkness, or more accurately, that it’s been thrust upon her by these devastating circumstances, and the road she walks will be a bleak one from now on. Poor Nali walked that path and was killed for it. We know from other shows that Morgan survives for some time yet, but we also know, from the fates of those who’ve walked a similar path, that it rarely ends well for them. Either way, I didn’t care about her path before, but I do now.
Arguably better than the season pilot, but still a soup of questionable personalities. Watchable - especially while you’re waiting on other shows.
A decent ending to a long meandering season.
Didn't go the way I expected. Since the dragon didn't eat Jon I thought for sure he'd be king. I can live with the way it all went down.
It would be foolish to think that this episode would even begin to compete with the theatrical experience of last week's. Thankfully this is still a solid and meaningful episode that keeps a good pace.
Hilariously, after finally focusing on Ahsoka, she introduces the episode and then bows out for another chapter of Star Wars: Sabine Wren. Truthfully, it means so much more for a member of Phoenix Squadron to be there when Thrawn is introduced instead of Ahsoka. Sabine has a much stronger connection to him because of their history from Rebels. Infinitely more so for Ezra Bridger. And live-action Sabine is growing on me. I wonder how much of it is because of the hair.
I expected Thrawn, I did not expect Ezra. Getting both introduced in the same episode, the first act of the second half of this potentially-limited series, signals the speed at which the plot is going to move from now on. Ezra's introduction was quiet and emotional. Thrawn's introduction was Star Wars: Fury Road. Lars' scene chewing coupled with Thrawn's "haunted organ" theme song from Rebels is just... perfect. After this episode, every doubt I had about Thrawn have vanished.
Both live-action actors were the voices of the animated character in Star Wars: Rebels. Both fell right back into their respective roles with ease. Live-action Ezra (Eman Esfandi) It is not the same person as the voice of Ezra from Rebels (Taylor Gray). Completely fooled me by how perfectly Esfandi captured Ezra's inflections and cadence when talking.
The reunions were the focus of the episode, but there was a lot of nice details scattered throughout. There was so much more information about Baylan and Shin than I expected. And it felt like Shin was starting to experience disillusion with her Master's wisdom. She's becoming uneasy by everything that's happening and seems to be really bothered by the idea of witches. The purrgil only travel to Dathomir to die - the ring around the planet is a giant boneyard - so how would a purrgil take anyone back? And most importantly, there are good dogs in every galaxy.
Fun fact: Enoch, the Captain of the Guard, is Amos from The Expanse. I don't think it's stunt-casting, we're gonna see him do something interesting before this is over. Also, one of the Nightsisters is Claudia Black. Counting Dawson and Tennent, this episode has an oddly-large amount of established star power.
It feels like episodes 6 & 7 are the build up for the finale of episodes 8 & 9. Best to just be like Ahsoka during this whole episode and sit back and enjoy the ride there. Filoni is not the kind of person to let the mid-season overshadow the finale... it's potentinally going to be batshit crazy.
[7.3/10] This was fine, which is more than I can say for most of season 2. It didn't really rise above that, and is mostly coasting on nostalgia, but hey, I'll take it for now. The best part is the chemistry between Patrick Stewart and Jonathan Frakes. Honestly, they should have added Frakes as Riker from the beginning, if only because Stewart seems so much more vibrant and engaged playing off his friend. Even the bog standard plot points here are better with the old pals bantering their way through them.
I also like Seven's story here, of feeling prejudice based on her ex-Borg status, and feeling sanded down by having to conform to rigid Starfleet protocol. Her breaking ranks to do what's right and help our TNG heroes is a nice beat for her.
That said, the rest of this is solid enough but unspectacular. How many times have we seen Raffi scoping out a conspiracy, or some catastrophe at a Starfleet site, or a firefight with bad guy alien types? I'm also leery of the reveal of Beverly's son, which has some Wrath of Khan-type implications in the air.
But hey, for now, given how awful a taste season 2 left in my mouth, I'll take something that falls into "not bad" territory without question for the time being.
At some point in the future I will watch all this again as I'm sure I'm missing things. But it was amazing to see how everything came together into a spectacular finale that felt like a season ending episode.
That was awesome!
Yes, I'm crying, but as Kat once said, "Hey, I'm invested."
We love you, Q! And, The Travelers!
[8.6/10] This one was a little more disjointed than some of the prior episodes, but man, the ending. I like the fake out here. Veronica does some legit detective work with the help of Maddie (aka Veronica Jr.). Keith nails down the lead and feeds it to the cops. The cops use it to arrest the bomber. Badda bing badda boom. I’m not saying it’s totally plausible that this season would wrap up its mystery in episode 3, but you can envision Veronica Mars having the bombing be a minor red herring, or accidental entree into some sort of bigger mystery.
The episode actually sells it pretty well too! Fresh off of Patton Oswalt’s character bringing up how Keith had trouble with the Lily Kane murder, and got kicked out of the sheriff’s office for evidence tampering is a nice reminder of past issues with the Mars family being overzealous. Keith himself brings up that Veronica doesn't have more than a hunch to go on that there’s something bigger here, and that they’re known to “tilt at windmills.” You buy it, or at least the threat that this is building a sandcastle out of nothing.
But then, in a moment of calm, when we’re expecting nothing but more silly Dick Casablancas antics, the second bomb goes off. I don’t normally like voiceover in shows, but Veronica’s sarcastic asides and noir-esque monologues always work for me, especially here. The desire to be wrong, to want everything to be okay, only to realize that your instincts are unfortunately right, speaks well of Veronica’s detective bona fides, but poorly of her future safety and mental health. There’s a soft pain to that moment, which is well-directed, as everyone runs away from the blast, the danger, but Veronica can’t help marching into it, time and time again.
But hey, to lighten the mood, “PLAY NO SCRUBS!!!” As indulgent as some of Ryan Hansen’s schtick gets here, it’s nice to just see Veronica and her crew having a bit of fun and being silly at Comrade Quack’s. Again, one of the things that made this show great in its day was despite the dark subject matter, it always had a lighter side, and beyond the show’s classic exchanges, it’s nice to see it still vindicating that side of things.
It’s also nice to see the show following up on Keith Mars’s mobility and memory issues. Clyde getting him into a concierge doctor, and the medical wonderland that follows, is a nice indication of the show’s exploration of classism that’s still in play. It’s also a way for Clyde to ingratiate himself to the people most likely to be investigating his boss and associate.
I’m into what seems to be the larger mystery, namely some kind of conspiracy among the people who were at the prison in Chino: Big Dick, Clyde, Perry Walsh (the bomber), and the guy from the bakery who set the rat at Hu’s grocery, to run some “undesirables” out of town. (That’s also coupled with Veronica’s mugger, who she suspects of being in league with them, being the guy who took dumps in the Sea Sprite ice machines.) Now why do they want to do this? Maybe it’s a real estate scam with Big Dick, or some prison racket through Clyde. Whatever it is, I’m anxious to find out.
I’m less enamored with the continued amount of time devoted to the Congressman Maloof storyline. Him getting kidnapped and beaten by the rednecks, and then kidnapped and threatened with murder by the cartel members feels like things are starting to get far fatched and a little convoluted even for Veronica Mars. But maybe I’m just less excited by the non-Mars parts of the show.
That said, I continue to get a big kick out of the dynamic between the two goons, whose matter of factness and ways of ribbing one another get a big laugh out of me. Plus, we have a Weevil sighting! I was wondering when he was going to get involved!
Otherwise, we have the continued training of Maddie, and reflections on the anger of losing someone close to you at that age, which feels like a nice way to reflect on where the show started. The Patton Oswalt Murder club is less adept at wringing comedy out of that, and feels like the show trying to be meta in a too cute fashion, but it’s brief and light enough to be forgivable.
Overall, this is another winning outing from the revival season, with dramatic twists, some fun moments, and a hell of a beat to go out on.
If last week's penultimate episode was the show's dramatic peak, this finale is an elegiac send-off, with Mariko's loss really felt by all (and which Jarvis beautifully conveys that throughout). Sanada and (especially) Asano are really in top form throughout, especially during that cliff's climatic conversation. Great series.
This show is still as dumb as a bag of bricks. Absolutely shocking.
[7.4/10] This was another episode that was more heavy on drama and on mythos and on teases than it was on comedy, but I still generally liked it. It’s not the Futurama-style “make you laugh for twenty minutes and then punch you in the guy in the last two” style drama, but as much as this series seems to be indebted to its space-bound forebear, it’s good to distinguish itself like this.
Oddly enough, my two favorite moments in the episode center on King Zog of all people. I like the fact that the show deals with the awkwardness of him having to figure out how to resolve the fact that he’s still married to his new, politically-convenient wife whom he has a child with (and his heir, no less), and yet has been reunited with his beloved old wife who’s been frozen in stone for fifteen years. Sure, the episode devolves into some hacky “queen fight” material that isn’t ideal, but it doesn’t just glide over the awkwardness of the conflict for everyone. Instead, it deals with the effect the return of the old queen has on both Bean and Zog.
But I also like the moment where Zog realizes that his wife was the one who tried to poison him, not some mysterious outsider assassin. The king has been such a comedy character so far with his mutterings and “whyIoughtta” mentality about everything. But you can feel the betrayal and sadness when he slowly goes to confront his wife about what she’s done.
My one complaint is that Disenchantment is so interested in saving certain revelations for later that it plays hide the ball a lot here. We don’t get to see the full confrontation between Zog and his wife. We don’t get to see the full extent of what Luci shows him. We don’t see what happens to Luci (though the sound effect suggests it’s the return of Big Joe). And we only get teased with revelations between Bean and her mom.
To some extent, I get it. You want to keep people interested and excited for the next season, so Disenchantment adopts a Twin Peaks approach of just throwing a bunch of (nigh-literal) cliffhangers at the audience. Still, as much as some of the emotional stuff lands, and however exciting some of the dramatic reveals are, you can see the plot machinery being moved into place and the future revelations being set up, rather than the show trying to tell anything approaching a complete story here, which leaves little room for, you know, jokes.
Some of the reveals are pretty cool though. I like the build to the reveal that Bean’s mom is (probably) a member of the same civilization that turned the quasi-Egyptian civilization to stone. The episode does a nice job of headfaking the audience, suggesting that Oona or the royal advisor, or somebody else might be behind all this. But the fact that the woman who both Bean and Zog have been waiting for for so long turns out to be the bad guy is a cool place to take things.
We also get a strong suggestion that Bean is a witch or part magical creature or some other fantasy-era revelation given her mom trying to give her a very different version of “the talk” and the coterie of mystical creatures they end up with on the ship in Dreamland’s harbor. (Don’t be shocked in Elfo washes up on the same ship/destination and gets revived using the same far off magic.)
Otherwise, there’s something heartening about seeing Bean and her mom bond, at the two of them having the sort of connection that Bean has dreamed of for a long time. It makes things all that more complicated whenever Bean realizes that her mom is the bad guy (or at least the seeming antagonist), and that Bean chose her over Elfo. As with Zog, “Dreamland Falls” satisfyingly pays off how long Bean has waited for this, how shocked everyone is when the queen reappears, and how happy it makes Bean to have her mom back.
The only catch is that there’s a lot of clunky plot material and mystery boxing going on that doesn’t leave much of a place for the show’s humor. I’m not averse to these sorts of shows giving into the dramatic stuff (see also: Adventure Time, which feels like another touchstone for this series), but I do wish there were a little more lighthearted flair to it all.
Overall, this is more of a grand, dramatic mid-season finale than something that puts a period, on the show’s first batch of episodes, but it promises some interesting things to come. On the whole, Disenchantment’s first season was solid, but not quite a homerun.
There’s some good laughs, a good dynamic between the main characters, and a neat sandbox for the show to play in. But it takes some shortcuts with the character relationships, and in the back half of the season in particular, leans into the drama and adventure over the comedy, without necessarily being to punch in that weight class for twenty-two minutes. Still, it’s a promising enough first season that hopefully sets a tone and sets the table for more good work to come.
I will never say that I liked season 8, it was a complete mess. Considering the massacre of the people of kings landing it was obvious that Cersei will die in that process. Hopefully, Danny faced the consequences and had to die, John Snow did justice and saved thousands of people for Daenerys.
I gave this episode a rating of 8 just because of the fact that all those actors and the production team did a fabulous job in creating such a masterpiece for nearly over a decade. The writing was really poor this season and by the last episode, it was quite obvious and unfortunately, our prediction came true, which is shameful for such a series which was once well known for unpredictability.
I loved the ending, It did justice to all the character living or dead. Ser Jaime's story arc beautifully came to an end by his lover Brienne, Tyrion got what he deserved and Jon went with the wildlings; which in my opinion was a good choice he made after all he fought with them, he saved them from the white walkers and has earned their trust.
Game Of Thrones will always be my favourite despite the disappointment due to S08.
I truly dislike jump scares, not because they scare the shit out of me (they do!), but because they're a cop-out, a lazy option overused in today's horror. But - holy shit! - that scene with the sisters arguing with each other in the car... THAT'S how you do a jump scare! Also, nice way to stop a fight. Then, Theo's monologue right after was emotionally intense, I could feel her despair creeping inside me. This show can be slow and boring, at times, but the acting is consistently well above average.
Absolutely epic return of Loki. I am glad that there is still a great content in Marvel universe after several disapointing movies and series in last 2 years.
I absolutely love all the details in enviroment, costumes, lore and everything. This episode felt like 5 minutes, how intensive all scenes were.
It’s so good it’s a shame we can’t have a live action show during The Clone Wars
Fuji's silent reaction shots during the tea negotiation are all gold
Wow that was good, one of the better episodes this season. Reminded me of Andor. Really captures the loneliness and the quiet, controlled horror of the empire.