This show is just not enjoyable anymore. I have no idea how Daphne and Simon's relationship is going to recover after she raped him, and with the way the show is handling the topic I have no hope I would be satisfied with the resolution they came up with. Treating Simon as if his legitimate wish of being child free is nothing more than him being selfish, and that he just needs a good woman to teach him the error of his ways because a life without children surely cannot be anything but miserable. Daphne knew what life she chose when she married Simon, it does not matter what his reasons are for not wanting children, and it is not something she should be trying to change, but rather respect. She makes zero attempts to apologise for her behaviour because she selfishly things she has done nothing wrong, and the story takes her side instead of telling the story of her victim. Ending the episode with her crying because her horrible plot failed, as if she deserves any sympathy for the crime she has committed. And as if that wasn't enough, it's also disgusting the way the show is treating Marina. She deserves better, and Simon deserves better.
SPOILERS ahead for non-book readers:
- I know Penelope wants to protect Colin but she will never resort to shaming anyone. So Marina’s pregnancy reveal kind of disappoints me. I feel the whole idea behind Lady Whistledown is taking a different turn. Penelope should have gone to Eloise or Lady Bridgerton with the truth, I just think this will have major repercussions once we get to the reveal in the future
- Now to the problematic scene. It is not as awful as it was in the book, however, that is not say it was not wrong. Simon was not drunk here and even his reaction and the stuttering was a bit tamer, I thought there would be more emphasis on it. At this point, Daphne doesn’t even know about his stutter! Also, being in Daphne’s mind in the book, knowing her thoughts, and the fact that this happens after she learns all the truth about his father and his stutter makes it even worse. God, I hated this scene in the book, and what made me resent it even more was how the aftermath was handled. Daphne didn't really regret what happened, she thought it was good that she took advantage of the situation as this might be her only chance to get pregnant. For me, Daphne's character never redeemed herself and Simon forgave her (without her even apologizing) and went along with it too easily. So I want to see how the aftermath will be handled in the show because even if this scene wasn’t as messy, it was still very uncomfortable.
One man who seemingly ought to die is set free, and another who seemingly ought to live is left to die. Both of them end in those fates because of business interests that are beyond their ken.
Jack McCall is set free, and told to get the hell out of town, because it's in Al's, and everyone else prospecting in Deadwood for that matter's, interest that the U.S. government doesn't start thinking they're some sort of rebel society out there trying to organize themselves such that it can come in, annex the lot of them, and disregard their claims. He doesn't want the ruckus or the risk, so the acid-tongued wit of Swearingen prevails upon the presiding judge and those assembled to let McCall out of dodge.
Meanwhile, Andy is left to die out in the middle of nowhere, because getting him the help he needs would require acknowledging that there's a diseased man in the Bella Union saloon, and that would frighten off any business in that burgeoning speakeasy.
I think I appreciate this show more as an examination of Hobbes' state of nature. What do we do when there are no laws to constrain us, when the only interests that prevail are not the common interest, but that fragile balance of power involved in what we can get away with and what we can't that prompts men to make backroom deals and sweep the less fortunate under the rug when it suits them. That courtroom, hastily assembled, and just as quickly returned to a brothel (Al sees to that) is an ad hoc body, made as a simulacra of the real thing, a pretension to justice in a land that lacks it.
That is, except for Bullock, who is nigh-insufferable in his "I'm retired from being a good man, damnit! Stop pressing me to do right, reverend" routine! I've seen Olypant praised for his intensity as Bullock, and there's a clear angry fire burning within the character as he tries to suppress his justice-minded instincts, mind his own business with the hardware store, and not go after the killer set free. At the same time, it's kind of a shallow characterization. We get that he's tried to get out, and they're pulling him back in, but it's not really clear why (though I suspect we'll learn why sooner or later), and in the interim, his snippiness is fairly one-note rather than layered.
There is, however, special attention paid to the female members of the cast here. Alma and Trixie have a moment of recognition and acceptance between the two of them as Trixie takes on looking after the young girl who survived the massacre. There's common ground between a high-born lady and Al's favorite whore, and there's an interesting commentary in how the scales are leveled for the two of them a bit in this lawless town. We all see Joanie grow short with Cy over his treatment of Andy. It's hard to know if there's more to it than a growing schism between the proprietor and his lieutenants (something that's mirrored with E.B.'s solitary squawking about having to clean up Al's mess), but it seems like it's leading to more.
Lastly, of course, is Calamity Jane, who is one of the more unique creations in this show. Her unfinished demeanor, but real tears shed for Bill Hickok and kindness shown to Andy suggests that the woman treated much like a leper in that town may be the one with the most humanity. It's she who mourns, apart from the larger push and pull of justice, and it's she who shows that dying man mercy. There is, perhaps, and intended lesson there, about the ones excluded from the larger forces of this free-for-all being the ones who actually retain their decency. The same goes for the doctor, who continues to make an impression as a neutral party in all these affairs, one who's not trying to upset the applecart or do much more than ply his trade, but who's willing to stand up to the likes of Al and Cy and work his influence on the town for the greater good in his own way.
The only thing that still throws me off in the midst of all this thematic heft is the general and writing style of the show. It's not that it's bad, but it's very stagey, full of monologues that feel as though they could be transported to the theater and lose little, and lyrical phrases that, while suited to the period setting, also feel like a certain type of mannered dialogue meant for self-conscious presentation rather than naturalism. Again, there's nothing wrong with that in particular, but the style takes some getting used to, and it makes it tougher for individual moments to feel as affecting for me.
Thus far, I've spent a lot of this show struggling to understand what people are saying and wondering what the point of a given scene is. I'm ready willing and able to accept the idea that maybe what the show is doing is over my head, but it's all a little dull to me so far. Again, Ian McShane owns every moment he's in, but whether it's a rival saloon moving into town, or the stilted dialogue of the Garrets, or the hotelman copping to giving the new operation in town the tip off, it all just seems like the wheels grinding steadily along without much point or purpose. As Mrs. Bloom pointed out, there's something to Wild Bill being jaded and over his own celebrity, to the point where playing cards is his only real distraction as Charlie tries to rouse him from his stupor with "The Hardware Boys." But really, it doesn't feel like we're moving toward much. Presumably there's some big conflict between Bullock, Swearingen, and Hickok to come, possibly involving Bullock avenging Garret, but thus far, it feels like a bunch of scenes stitched together without a lot of unity, depending on the quality texture of the show--the worn out sense of the setting and the lived-in feel of the bustling ecosystem--to carry things along. Well, the texture is all very nice, but I've yet to latch onto to any of the characters beyond Swearingen and to a lesser extent, Charlie and the doctor, and the plots have been equally uncompelling. I'm willing to give the show the benefit of the doubt and call it deliberately paced and doing some development of the situation before setting the fireworks off, but I can't say I'm really into it so far.
I guessed earlier when we learned that Eloise is Daniel's mother, that Ellie and her are the same person (+ I even dared to bet to Daniel be a Widmore!) but there are so many things happening in this season that I only had that seed of thought once or twice, otherwise I had to go forward with the rest of the story to keep up.
Everything adds up so perfectly, so neatly that at almost every twist I just vehemently nodd and smile, because they instantly make sense and truth be told, it just feels so good to see a thoroughly and carefully written piece of television. It's really close to be one of those legendary 10/10 seasons, I root for the last episodes to stick the landing.
P.S.: Daniel and Desmond are brother in laws, yaay! :) I'm still curious about which part of the storty did Daniel mean in season 4 when we saw in his journal that "Desmond Hume is your constant" , or when did he write down the importance of Eloise into his journal, just to establish the moment when he wants Desmond to tell him he "knows about Eloise"? Is it possible there is still more to their story?
There's moments of this show that have me putting it in my top shows of the year - it's that damn good. And others where I'm scratching my head. I'm still conflicted on the leads performance, whether it's just limited by character or by acting ability. I've never been a big Gwendoline Christie fan, but when her casting as Lucifer was announced, I was excited - thinking it a bold choice. I'm not so sure it paid off - though I did enjoy the climatic moments with Morpheus (more due to editing and score than anything). David Thewlis, whilst a good actor, feels like he plays the same character in every big budget production. I'm expecting him to rise into the air and scream that he's Ares, the God of War.
Lastly - maybe it's due to lack of focus, but I don't know what any of the special items actually do, other than the Protection necklace. Someone mentions the Ruby make dreams come true, but has the sand not being doing that as well? Some clarity would be greatly appreciated. Maybe it's me though.
So a few problems but I'm gladly going to follow this. I also definitely want to pick up Sandman issues - despite trying and not liking the comic series initially. So overall that's a win.
I really want to love this show, it has a lot of potential, but something just feels off.
The whole John storyline just feels very dull and generic, and Dream himself is kinda boring. I kinda liked what they were doing with the fight/challenge in Hell, but if we're being honest, it was kinda dumb. Why would Lucifer even start by saying "I am a direwolf" if she could have just said she was one of the better things right away? After that challenge happens once, it would never have to happen again because they'd very quickly find what can't be beaten. The little pep talk the raven gave Dream took me right out of the scene too - really not liking the voice actor at all.
Last thing I wanna say is that I feel that the show is constantly trying to have these sort of 'epic' moments. They have nice visuals and great music to create these moments. But the problem is, these moments haven't been earned. They fail to actually be epic or memorable because none of the characters are overly strong and we haven't had much reason to like any of them. The only character I've seen anyone really caring about was the female Constantine last episode - but it doesn't seem like she's going to be a big part of the show other than that one episode.
The show isn't bad, it's entertaining and an alright watch. But certain things in the writing are just preventing it from going from okay to good/great. Not sure if that's just because of the source material, or if it's because Netflix messed something up.
I'm not soure if it's because covid or not but this one definitely felt like different storylines from multiple episodes packed into one. Uneven.
Also while I like the show's deeper tones, and they can definitely hit gut punches, I find it very hard to believe that all of these characters of the show who live for backstabbing, who always sleep with one eye open because being assholes to eachother is in their veins, so that these characters making a 180° turn seems like a big step to take. I mean in C.W.'s case I can believe that after 30 years he at least apologises and decides to make a little bit of change about his life. That's a good place for him to start. But for everyone else? For the rest of the crew it seems a big step to take, a step so big that while I embrace it and go with the show, I'm also unsure if they can stick the landing, because honestly, it's difficult to believe that they actually mean what they say or do and it's not just a show for powerplay, and this is kinda undermining that serious tone they usually hit very well.
I don't hate Michael. I disagree with his methods, but I try to understand him. He has been on the island for less than two months and had no relationship with these people prior to the crash. He lost the love of his life and after years of trying to have a relationship with his son they are suddenly thrust together. He has since done nothing but try to get him and his son off the island. He built a raft twice and when he lost Walt to the Others, he did everything in his power to get him back and went after Walt twice. He had been beaten by Jin, yet they became friends and he even became friends with Sawyer. He tried his best to save Jack and Charlie when they were trapped in the cave. He tried to find Claire and Charlie on his own when they were kidnapped by Ethan. Yes he murdered Ana Lucia, but it was at the demand of the Others; the killing of Libby was a mistake. When he sees an opportunity to rescue Walt and for both to leave the island he has to take it. If he must leave the fate of those he just met to the Others then that is what must be done.
[9.0/10] There’s so much to talk about in this one. X-Men’s Quicksilver as Avengers Quicksilver! Bulletproof hotpants! 1980s TV spoofs! Scarlet Witch’s stand-off with Sword!
But here’s the thing that stands out to me, the thing that grabbed me the most while watching this “Very Special Episode” -- Vision confronting the woman he loves over what’s happening. That moment has extra oomph because of the effects. There’s something eerie about the two of them arguing over the end credits until they stop. There’s something scary about the two of them rising into the air at the same time they raise their voices to one another.
What stands out about it, though, is the emotional rawness in the moment. Vision isn’t just upset; he’s worried that he can no longer trust his wife, that she’s done something terrible to him, to everyone, and doing everything in her power to keep it from him. Wanda is trying to hold it together, feeling just as vulnerable and admitting she’s not even sure how this started. They are both just so messed up by what’s happening, so riven by it, but in ways that drive them apart over whether to tear this all down or do everything they can to continue propping it up.
The tenor of the scene is familiar to anyone who’s spoken with a loved one who’s unwell, who is not themselves, whether through grief or mental illness or some other trauma that jeopardizes their ability to process the world as it is. There’s an honesty to that scene, one that is frankly startling, and it’s the kind of place I never really expected an MCU project to go. It’s draped in reality-distorting fiction and the trappings of family sitcoms, but somehow that just makes it all the more disturbing and poignant when the truth of those moments bursts through those bracing layers of abstraction.
That’s bolstered by the second most stunning revelation of “On a Very Special Episode” -- that Wanda stole Vision’s corpse from Sword. More to the point, that he left a living will and wished never to be revived, not wanting to be anyone’s weapon. It’s plain that Wanda, either by herself or with the help of someone else, revivified him, and that he’s starting to reckon with the margins of what happened to him, if not the full picture.
He’s starting to see through the illusions and deceptions that Westview is made of. Again, the show does so well making the moments where it breaks the sitcom rhythms unnerving. Agnes’s “should I take it from the top” bit is eerie, and for once, Vision has a chance to realize it before Wanda resets things. Instead, she tries to play it off, tries to distract him with puppies and doorbells ringing and other head-fakes that Vision’s nevertheless noticing.
It comes through in the odd behavior of his coworkers, who respond to a Sword email by reading and laughing in unison. Vision briefly frees Norm, who is understandably frantic and undone and, most importantly, in pain over what’s being done to him. The secret truth of WandaVision is that it’s not a comedy show or sitcom homage or a superhero series. It’s a horror show, and Vision’s starting to realize that. He’s realizing that everything is wrong here, starting with him, what he can and can’t remember, and the mother of his children.
Meanwhile, there’s some more traditional but still cool developments on the outside. Monica Rambeau, Jimmy Woo, and Darcy Lewis are trying to save Wanda, trying to show her compassion despite what’s happening, while Sword Director Hayward thinks she’s just a terrorist who needs to be taken out. Meanwhile, our trio of familiar characters are finding solutions to the problem, realizing that 1980s tech can penetrate the Hex without being transformed by Scarlet Witch’s powers.
Of course, it doesn’t go unnoticed by Wanda, and she storms out of the Hex to threaten Heyward and everyone else when, unbeknownst to Monica, he tries to use their drone to eliminate her. It’s a scary moment, one only slightly cut by Elizabeth Olsen reverting to her dodgy Eastern European accent. We see definitively that Wanda has at least some control and awareness of her surroundings and what’s happening, enough to want to protect it from interlopers and those intruding on her surroundings.
It’s become increasingly clear why she’s so protective of her perfect bubble of happiness and what she is running from -- grief. The show channels that idea through 1980s sitcom pastiches in an amusing fashion, with Agnes as the friendly, albeit intrusive neighbor, kids growing up too fast, and dogs dying so that parents can give an important lesson about making peace with certain facts of life.
At the root of it, though, is a deep sense of loss and the artifacts of reckoning with death, something difficult whether you’re a child or an adult. Wanda says to her boys, and to herself, that she cannot reverse death, that they cannot turn away from it, because some things aren’t meant to be elided and some lines shouldn’t be crossed.
We confirm that she has brought the corpse of the man she loves back to life, presumably because she couldn’t deal with his absence and the tragedy of what happened to him. The commercial break this episode name-checks Lagos, the Nigerian city from Civil War where Scarlet Witch accidentally killed dozens of civilians when trying to redirect a blast, more mess than any paper towel could clean up. And she reflects, at her sons’ urging, on the loss of her own twin, Pietro, the only lifeline she had when she lost her parents at the same tender age Billy and Tommy are now.
So she does what she’s already done -- she brings him back, after a fashion. It’s an inspired bit of stunt-casting to bring in Evan Peters to quasi-reprise his role as Quicksilver. But beyond the jolt of the misdirect and reveal is a simple truth, that this whole thing is wrong. It is a coping mechanism, one meant to shield Wanda from yet another horrid demise marring her personal history.
So she, or some other force working with and through her, has constructed this place to evade that destabilizing realization. Vision is breaking out of it, shaking off the cobwebs of his violative rebirth and seeing through the comforting lies that Wanda is straining so hard to hold onto. It is difficult, hollowing, wounding to watch someone you care for undone by grief and trauma, dragging the world down with them. So much of what WandaVision does is clever or exciting or amusing. But what it does here is disquieting beyond words, and deeply, painfully true.
OK, to be honest, I have mixed feelings. It wasn't all that bad - as Dean said, you knew this was always how it's going to end. And it really should, this is Supernatural not some rom com..
Well actually it was a com in some episodes, which I really loved. Trickster, the one Dean was afraid of everything, Scooby!!
But back to the ending, I liked the fact that they finally managed to create a heaven they deserved, and at this point, after all the times we've seen the brothers die, dying felt more like a choice. So yes, I was expecting this end for both of them.
The only thing I'm wondering about is how much effect COVID-19 had on the last episodes. We see very few of the cast, when the perfect wrap up would be to bring almost everyone together (at least the big ones) for a proper farewell. I would really like the last episode reshot, not to change anything on the way it ends, but to involve more loved characters in it. Also the acting could have been better.
I really loved the actors' thank you in the end and the "Carry on" song was very heartwarming throughout the episode.
Thank you Supernatural for all these years, you will always have a special place in my memories
P. S. Was it a pwn that Dean loved to drive the "Impala" and ended up being "Impaled" :)
Honestly, Im not gonna say anything. I'm way too mad.
ACTUALLY IT'S GONNA BUG ME IF I DONT. HOLD MY BEER CUZ IM GONNA RANT.
WHAT :clap:THE :clap:FUCK :clap:.
SERIOUSLY, I don't even know where to start.
They just got all of Dean's character development and shoved up their ass. Boy finally, FINALLY, has control over his life; he's not being controlled by his dad or Chuck or whateverfuck supreme power, his life is his own and he was ready to LIVE it, for God's sake he got a freaking dog. And for what? To be killed by tetanus. The whole season was about defying "destiny", and they killed him the way that was supposed to happen since season 1. I'm sorry but that's just lazy.
DONT GET ME START ON CASTIEL CUZ IM GONNA BE COMPLAINING ABOUT THAT TIL THE DAY I DIE, mf sacrifice himself to save dean's life, just for him die weeks later, WHAT'S THE POINT??? But serious it bugged me so much the fact that they didn't even knowledge his sacrifice, they didn't mourn him or mentioned him. Boy got sucked to mega turbo hell and all that was said was "well too bad". Castiel deserved better. He really did.
I'm not even gonna talk about Sam cuz I'm still offended by those wigs. But what was the point of making him and Eileen a thing, if at the end he wasn't gonna stay with her? Serious.
It just feels like these 15 years of character build, stories, arcs didn't mean shit because at the end they went with the path that was been there since season 1. Dean died young, on a hunt, without a family of his own, and Sam got to live his apple pie life with wife and kids.
WHAT WAS THE POINT.
How...did Dean get there so quickly? Were Sam and Jack just staring in awe for half an hour till he showed up?
Dean with the dog was cute, but let's be honest, who didn't see that coming?
So, we have both Lucifer and Michael back in the picture. I'm thinking each uses their perfect vessel to team up against God?
Wow. How convenient that Lucifer managed to find and capture a reaper. After we had been told that there are no more reapers. Sigh
So, Lucifer shows up for five minutes and then gets killed with his only purpose in the entire episode being to make a reaper who shouldn't exist become Death, kill said reaper, and keep the book open for the boys to later read. Second sigh
So, only AFTER Castiel and Jack sacrifice themselves do Sam and Dean carve their names into the table? Eyeroll
Um. What? So, what the hell is the final episode going to be about?? What, is it just going to be some reboot or spinoff setup or something? Even if this were the finale, it still wouldn't have been satisfying. This was kind of rushed and so simplistic that it should have been at least two episodes so that it didn't feel absurdly easy and lacking in weight to finally beat Chuck. But then again, Supernatural has always had a history of underwhelmingly and anticlimactically ending big baddies...
Signed:
~SophieFilo16~
"We could never actually pick locks, it was Chuck all the time"
What makes a hero?
The episode itself ties to the question that's been circling the show since the finale last season. What is designed by God? Is free will actually a choice? Are we just pawns used by God to play in his chessboard? Can we create our own destiny or are we trapped no matter what we do?
I went a bit philosophical there but, after reflecting upon it, that's the question the episode left me wondering.
Heroes and guest stars. I love that this episode proved that Garth, a "normal" being in a Supernatural world was actually the hero of the story for once. Garth is one of those light characters that make any episode better. He's so pure at heart and so innocent... He's a goddamn treasure.
The episode reminded me of Bad Day at Black Rock where the boys can't handle the situation and Bobby has to appear to sort of save the day. The same with Garth here. Our episode's hero. They say heros have to be pure at heart. Well, there's no one purer than Garth.
I'm gonna miss these crazy, cartoonist looney-Tunney episodes. This was probably the last light-hearted episode were gonna get. It hurts saying it. But let's face it, it was nice to have a breath of fresh air after last week's episode.
I actually enjoyed it a lot. The title itself got me pumped up. Although I actually expected to see the entire journey in the episode, it looks like it's only been the first leg, and we'll get the full circle next week.
If Chuck's actually writing all of this, Garth is definitely his favorite character. It was a very nice send-off to Garth. Watching him with his lovely wife and his children...and then dancing with her. I'm gonna miss him a lot. But what a nice conclusion for this character. He did nothing wrong in his life and even when he sided in the wrong side of things, he always tried to help and do better.
I have one question, though. If I'm not missing anything, the last time Garth was mentioned was when he was tossed in the trunk of the Impala, so what happened in-between?
Everything from Sam's awkward coughing to Dean's parking ticket and his weird dance (the hell's going on in his head?), going through the Impala constantly breaking down was entertaining.
Also, Sam losing his puppy eyes power cracked me up. Well that and Gertie's "Mummy, the giant’s crying!" That actually got a good laugh out of me.
One thing that was odd was the music choices. I've grown up with the show and I can't understand it without classic rock music. The "Werewolves in London" song at the end made me nostalgic of the earlier seasons. I just wish we could have a nice 80s rock classic while the boys drive away in the Impala.
I'm willing to buy that the boys are actually cursed or simply having a bad day, or that Chuck actually decided to give them normal people's problems, but going from that to take their hunting skills away. They've been trained by John. Credit where credit's due. I refuse to believe their training, abilities and accomplishments are the result of Chuck's mumbo jumbo.
"Since when do we get what we deserve?"
All these years, I assumed that after the molotov thingy, Adam's soul went to Heaven. Call me an optimist but I liked to think the boys didn't save him because they knew it. I liked a good old "hey, they forgot Adam" joke, so I ran with that. However, he made me feel really sad for him. His last sentence, his face expressions and his eyes watering... Poor kid. I could feel how abandoned he feels and how his relationship with Michael was developed.
Jake Abel was the best part of the episode. Hats off to him! The duality between Michael and Adam was incredibly well portrayed. I'm so damn angry that we didn't get to see this any sooner. It was a bummer that he didn't stay at the end. I hope he comes back somehow. I'm pretty sure he'll be needed to lock God, Amara-style.
It's fun to see how your ideas about how Michael would be or act get subverted in just a second. After seeing Alternate Universe Michael being pretty smart but reckless, I wasn't expecting him to be such a chill guy. It's actually great to see a nice angel every once in a while. He's always been a strong angel, but pretty naive.
I geniuly loved how well he treated Adam and how he takes care of him, even protecting him. I truly loved their scene at the diner when Adam was talking about not being able to go to college anymore or just letting him eat a burger. Really nice angel our Michael.
I loved this version of Michael. He spent all those years in hell and he still manages to be the only well-adjusted brother. I loved how he just Men in Black those people at the diner. Also, the conversation between Adam and Michael while the former was trying to talk some sense I to him about the whole God thing was absolutely great.
Another one who steals the show is Donny. He's such a great addition to the show. His attitude and his one-liners always get me. Plus, his acting in this episode was great, especially when he was possessed by Chuck. I loved that scene, creepy and great at the same time. Even his cadence while speaking was Chuck-like. The way he channeled him was outstanding.
"What is it with you people?! Can't anything you do be easy?! I mean"
"Really? I have to leave? That's too bad" He proceeds to leave at the speed of light
"Excuse me. I need bourbon"
Our red-headed witch is back in the game and taking over Crowley's throne! I actually got mixed feelings when she was killed. I loved her send-off but I hated seeing her go because she's been a character which has grown on me and went from a villain into an ally. But seeing her again brought a smile to my face. And even in Hell, she's still fashionable as always. And classy: "Flesh on flesh sex. Amazon doesn't deliver here...yeeeet" and also how she counceled Dean and Cas, channeling what we're all thinking. "Boys...fix it!"
I cracked when Cas asked Michael whether he remembered him and he replied "You called me assbutt and set me on fire". Those words from Swan Song will never get old.
Also, Richard Speigh Jr, once again, did an amazing job. The camera angle on the boys when they trapped MI hael was outstanding.
Unrelated to this, there's always one thing that gets me and that I don't think I'll ever be over and that's Sam's throat clearing when he's nervous. It gets me every time.
I don't get how the boys haven't updated the bunker's warning. Literally every cresture can step into. Amara, Chuck, Death, Asmodeus, every single one of them just waltzed into the bunker like it's nothing. And the boys still get surprised.
Speaking of Chuck. It was obvious the whole Sue was a trap and that Chuck was behind it. I remember the old Chuck, an awkward but cute guy, and now he's just scary dude appearing in parking lots. I hope nothing bad happens to Eileen, though. I guess hell just use Sam and show him his endings, or just try to heal his wound.
Overall, and amazing episode. Best one so far and Jake Abel had a great part on it. I hope I'll see again in more episodes. I'd be great to see all the archangels joining forces, along with aunty Amara, to lock Chuck in the cage. There were a couple of things that were off, like the classic rock music, which has been off ever since this season started, or that they're still trying to make Dean look like an idiot. But overall, finally a story-packed episode that promises a lot for next ones.
The flow of this episode detracted from its dramatic effect. There were many good pieces in this episode, but their order and the editing of them reduced their impact. Naomi's rescue, the battle with the Rocinante, the battle at the gate, and the reunion with Avasarala, none of these hit with me the way they could've.
Firstly, the nice speech Avasarala gives during the reception would have been much better as the last scene of the episode. After the belters and Martians have taken over the ring, we would be concerned about the future, then Avasarala gives us hope.
The other development that didn't resonate with me was the dissolution of Drummer's team. I understand that they were torn between supporting Marcos and not, but that turmoil was caused by a threat of destruction, not a desire to work with Inaros. The ties between the crew were shown to be extremely strong, emotionally and otherwise. It should take an enormous conflict to break them. The crew knew that the agreement with Inaros was made under duress and so should have understood how fragile it was. The crew faced two options: cooperate with Inaros and do things they did not want to, or risk their lives and their family's lives by defying him. Both options would be reasonable and acceptable to the crew, and it doesn't resonate with me that the crew would be that upset by Drummer making the decision everyone thought she'd make in the first place. I could accept a decision by some of the crew to leave temporarily because their brother was killed, but to blame Drummer for this (and not Inaros) and completely break their bonds is a stretch given their relationship.
