The three Doctors interacted so wonderfully--especially Tennant and Smith......and then the Gallifrey revelation...WOW!!!!!!
Well, my first thought when she got back was "Don't discuss it in public, Clarke." She did anyway…
I swear that Lexa's death stopped me from watching the next episode for a whole month, IT HURTS SO MUCH GUYS
I wish this season never happened. This is only getting worse and worse.
ok now they killed off another visionary character who only wants to live in peace the fuck is wrong with this show's writers
The only good thing about this episode is JAHA GOT FLOATED! FINALLY! HAHA!
One of the beat episode this season. This season definitely greatly improves from last season :-)
I hate Jaha with all my heart. How could any of them be so stupid to trust him again? Hope he dies painfully, I'm tired of him thinking he's God. Fuck you idiot.
soo sad to see this show going, it kept me up when i was down. very sad day. amazing episode!
Not the best, but probably the funniest episode so far this season. Ted Danson joining the main group has paid off dividends; so many things to love about him this episode but one delightful minor note is his "hehehe, eh?" while wanting to high-five Eleanor about his Chidi crack.
Also, if the glitches are happening because of Janet seeing Jason and Tanahi together, this is going to be the weirdest love triangle ever.
D’Arcy Carden is already a treasure, but she and Ted Danson together in an almost-bottle episode are just amazing. Danson admitting they were friends turns out to be unexpectedly affecting too. Reminds me of Anya processing unfamiliar emotions in Buffy's "The Body", but obvious far, far less severe.
[8.4/10] A real winner. I am a sucker for bottle episodes, particularly ones that use the opportunity to dig into character and really allow for some creative writing and performances. Despite a few flashbacks and some CGI trickery, this is a mostly-contained half hour that lets the strengths of the performers and the writers’ room shine through.
There’s two great arcs here. The first centers on Janet herself, and the realization that her malfunctions are due to her sublimated feelings for Jason emerging every time she claims to be happy about something involving him and Tahani. It’s not much of a revelation given what we saw last week, but it’s still realized nicely.
The process of Michael troubleshooting Janet leads to all sorts of creative sequences showing off the show’s high concept chops. But I also enjoy the idea that (a.) Janet isn’t even aware of why she has these feelings about Jason and has to come to terms with them in her own, A.I. sort of way, and (b.) that she’s willing to die, again in her own detached way, if it means protecting Jason.
It’s a great showcase for D’Arcy Carden, who plays up Janet’s traditional chipper dialtone demeanor, while also finding room for subtle bits of emotion that show the ways she’s becoming a little more human.
It’s also a great showcase for Ted Danson. Michael comes to terms with the fact (mostly through flashback) that despite everything, he views Janet as a friend. She helped him solve his biggest problems and has been there for him, whether from affection or programmed duty, from the beginning, and he can’t bear to let her go. It’s a nice bit of parallelism in Michael becoming just a little more human as well.
“Janet and Michael” is the type of episode that could provide challenging in the wrong hands, but on The Good Place, it gives the audience a heap of creative comedy and character development without being able to rely on traditional TV storytelling beats or changes in scenery. Kudos to all.
(Plus hey, it's Dennis Feinstein as Janet's new manufactured boyfriend!)
I read the Book this story based on and thought "Why isn't there a movie of that yet?" and 1 or 2 years later Nerve came up. I was instantly hyped and watched it in the cinema. I have to say I really get goosebumps at some parts of the movie. They changed the challenges and some backgroujd Informations but of course the story had the same orientation. As I said I really liked the movie. But the ending in the book was way better in my opinion. In the movie it kinda is pretty boring and disappointed, at least a little bit. Still recommend it, but you should read the book before ;)
Well, that escalated quickly in the last 8-10 minutes.
#OMG I l o v e d that punch! Hahaha'
Liv! Liv! Liv!
Destroy Rita, Gilda, fake b**ch one hahaha !
So good! Glad Babs in the loop now!
My stomach hurts from how hard I laughed at Liv's "old lady" voice.
This, right here, was the best episode of the entire series. I'm just hoping the writers make the rest as good, if not better. Man, it was a whirlwind and had me quite on edge.
I kept praying, and will keep praying, nothing happens to Bob. He's now my favorite character besides Dustin. I mean, he's smart, sweet, understanding, and so cutely funny!
My heart goes out to Will. He's a great character, and the actor playing him is exceptional too, and I hope he can be saved from this horrible fate!
Finally, Nancy being smart. Still hate her though.
Yay, Dustin and Steve! I'm waiting for their arc!
Mostly a character driven season. If you think of it, so was the first season. So maybe all the "boo hoo season 2 wasn't what I wanted from the show" comments. Are from fans who don't get the show.
The season beautifully built up relationships more. Even if Mike and Eleven didn't have much screen time together. When they finally had scenes, they were what fans were waiting for.
As for being slow at times, so was season 1. I think they have about as much build up.
It's a bit creepy that Violet looks so similat to Emily Browning from the movie with Jim Carrey.
Short, sweet, and absolutely gorgeous. It's pretty dark, but not excessively so, and it was paced great. I wish there was a sequel, but there's no way this can be topped by itself.
This mesmerizing, carefully crafted, funny, dark perfect show is available on DVD now.
"That disguise wouldn't work even if you smeared grease paint all over yout face"
Maseo foreshadowing The Arrow's first "mask"
Also, Diggle's brother saw Oliver. Could that be trigger that will set in motion the events that will lead to his death?
very well done episode, the psychology of a man fallen apart.
[7.6/10] One of the best tacks a horror film can take is rooting its supernatural or outsized sense of terror in something real. That grain of truth at the core of a movie’s scares makes them more vivid and gripping than bare, spooky scenes or the usual collection of ghoulies.
It certainly works to the benefit of The Visit. The film tells the story of two young children, Becca and Tyler, visiting their estranged grandparents for the first time. “Pop Pop” and “Nana” behave strangely, rumbling and being ill in the middle of the night or sneaking out to a mysterious shed, in a way that unnerves their grandchildren.
The smartest choice the film makes is to walk the line between whether this is the sign of something sinister or wrong, or whether it’s simply a combination of dementia and unfamiliarity that’s disturbing the kids. It’s a horror movie, so it’s not hard to guess how things play out, but the film gains strength by playing with that ambiguity. Outside the confines of a Hollywood picture, kids can have trouble relating to their grandparents, understanding the physical and mental challenges their elders are going through. Using that natural anxiety, that natural misunderstanding, both serves as a means to muddy the waters of What’s Really Going On, and to elevate the frightening qualities of when Nana and Pop Pop are acting out.
If there’s a smarter choice, however, it’s in the casting of the two young leads who carry the film. Olivia DeJonge plays Becca, the older sibling who is a budding director, out to document this momentous and fraught family occasion, with a combination of precociousness and vulnerability. Ed Oxenbould plays Tyler, Becca’s colorful, freestyle-rapping little brother, who makes for an amusingly free-wheeling yin to Becca’s very deliberate yang.
Centering a movie around kids is hard, as the challenges of finding the core of a character and maintaining it from beginning to end can be difficult for young actors. But DeJonge and Oxenbould both give their characters a sense of realness in their childlike reactions to the world around them, but also deliver the emotional layers to that experience to make them compelling figures and not just props in this drama.
Much of that comes from the script penned by the famed/notorious M. Night Shyamalan, who also directs the film. He too captures the inquisitive, precious spirit of childhood, while making Becca and Tyler easy characters to become endeared to and fear for. The film also features one of Shyamalan’s tightest scripts. As much as Shyamalan takes time out to be a little loose and show the kids being kids, helping to establish character and tone, he also dots every “i” and crosses every “t” in terms of setting up the mystery and providing plausible hints, convincing red herrings, and a solid build to the truth about what’s happening with their grandparents.
If anything, the film’s narrative is a little too neat. Emotional beats or noted characteristics come back into play at just the right moment, to the point that the viewer can see the strings of why some detail or story was told in the prelude. The plot never feels too convenient, but at times it moves like it’s on rails.
The same cannot be said, however, for the cinematography. Shyamalan employs the “found footage” conceit here, and it gives him a chance to use perspective and the verisimilitude of that choice to accentuate his scares. More than anything, it allows us to better know Becca and Tyler. If we’re not literally seeing their perspective, hearing their voice and seeing their point-of-view from behind the camera, then we see them in confessionals, opening up in the piercing way only a camera lens can admit.
Shyamalan uses that choice -- having the kids “filming” almost all of the movie, for both terror and fun. The hand-held conceit turns a simple game of hide and seek, or a chance encounter with a bystander on a visit to an old high school, into terrifying episodes, filled with crawling figures or troubling confrontations. But it also gives Tyler the chance to goof off in front of the camera in the way a ten year old would, or for Becca to amusingly wax rhapsodic over not wanting to be too intentional in her zooms and cuts, with Shyamalan clearly having a good time poking fun at his profession through the eyes of the child.
The only problem, then, is that once Shyamalan has laid down that initial layer of humor and creepiness, the inevitable reveal leads to a bit of the air coming out of the picture rather than the terror being heightened. Once the scales fall and the ambiguity is no longer there to goose the scares, the film becomes more stock in its horror, and the emotional climaxes coincide with the horror climaxes a little too easily.
Still, The Visit isn’t content to merely offer a snootful of well-crafted horror and an endearing, if frightening kid adventure. There’s a heavily-underlined but potent theme about acceptance and processing anger for those who’ve hurt us, particularly family members. The film isn’t shy in the way it connects the feelings of Becca and Tyler’s mom (Kathryn Hahn, who makes a strong impression in just a little bit of screentime) toward the parents she hasn’t spoken to in a decade and a half, with Becca and Tyler’s own feelings about their absentee dad. As with the scary side of the movie, The Visit pays both of these internal challenges a little too easily, but still convincingly.
It’s hard not to draw comparisons with Shyamalan’s breakthrough film, The Sixth Sense, give both movies’ use of talented child actors and themes of making peace with difficult parts of our lives, but The Visit stands on its own. It’s a tidier film, more self-contained, more human and unvarnished, with its single-location focus and more conventional scares. And it finds the sweet spot between the real things that unnerve us, and the grander horrors of the screen, to make an effective vignette about two kids finding their way through one uncertain situation and resolving another.
This episode made me catch my husband crying. Good job Bob’s Burgers.
this might be the first time ive cried during an ep that wasnt from laughing so hard.
This is one of my favorite episodes of all time. I love the Halloween episodes for some reason. This one is great because you get to see things through Louise's cynical viewpoint and then finally they get to pull something on her. I love her.
