Who Reiner was talking about during his family dinner:
“this one person just... started eating a potato. When the instructor reamed her out, she admitted without even a hint of guilt, ‘I stole it because it looked so tasty.’ Still, she could tell she was going to be in trouble, so she offered to give him half. But the part she held out to him wasn’t even close to half the potato. They don’t have concepts like fairness or compromise.” = Sasha Braus
“There was one moron dumb enough to forget why he came to the bathroom,” = Connie Springer
“an irresponsible guy who only thought about himself,” = Jean Kirstein
“a straight-laced dumbass who’d think of everyone but himself,” = Marco Bodt
“a guy who’d charge into any situation without thinking,” = Eren Jaeger
“and the two who would follow him through anything...” = Mikasa Ackerman and Armin Arlert
It is clear that Reiner couldn’t think of reasons why the Eldians on Paradis are evil (Karina was afraid Gabi would start thinking of them as humans, as that’s how Reiner portrayed them). Too bad he has to put on two faces back in Marley as well, even with who the successor of the armoured titan will be.
[4.8/10] Oof. Well, I feel bad about saying that I wish the show would stick to low-stakes quirky legal comedy material, rather than veering into more traditional superhero business, because this was the pits. Unfunny, too hokey, and downright irksome in places, this was a relatively brief episode that nonetheless felt like it took double the runtime.
Once again, the ideas here aren’t terrible. Sorcerer Supreme wants to sue local illusionist using the mystic arts for cheap (and dangerous) parlor tricks? That’s something! You could have a lot of fun with that! Instead, we get the broadest imaginable shtick with a stock douchey magician and the hokiest party girl stereotype. Once again, the proceedings are so cartoonish, like something out of a bad 1990s sitcom, that they can’t actually generate any laughs, despite Benedict Wong’s great comic timing.
The fact that the hack magician goes too far and accidentally summons demons that She-Hulk and Wong then have to defeat is fine, I guess. But it’s not especially clever or interesting as a resolution, even when Jennifer basically holds the schmuck hostage until he agrees to their terms, especially since that approach would almost certainly come back to bite her. It’s pretty weak broth outside of the (probably improv’d) tag where Wong and Madisynn discuss drinks together.
The same goes for the B-story. I feel like a broken record, but you could do a lot with the idea of someone struggling with the idea that they can’t get dates as their real self, but find that everyone’s only interested in their superheroic self. Instead, we get a host of hacky Tindr date humor that only provokes eyerolls. Once again, Jennifer trying to get with her hunky date, only to have it interrupted by superheroing, feels like something out of a two-bit sitcom. And the show breezes through the fact that the guy’s weirded out by She-Hulk having a civilian form rather than actually taking time to explore the most interesting concept in the episode.
At least we’re seemingly poised to get a visit from Jameela Jamil next week, but on the whole, this is a low point for the show that seems to demonstrate it’s as weak at low stakes humor as it is at bigger stakes personal drama and superhero challenges.
[7.5/10] When I wrote about the finale of Avatar: The Last Airbender my thesis, in part, was that it was about how Aang stayed who he was no matter what. Even with the fate of the world on his shoulders, he couldn’t, or at least didn’t want to, bend his principles and take a life. As he always did, he found another way. The climax of the series served, in many ways, as a tribute to his steadfastness.
But Korra’s path has been different, and the best thing to say about the finale of The Legend of Korra, and the show as a whole, is that it’s been about growth. The Korra we leave beaming off to the spirit world is much different than the one we met blasting firebenders at the South Pole. She is a more understanding, more steady, more complex, and more compassionate Avatar than the headstrong youth who first bolted her way through Republic City.
The rub, and the thing that keeps “The Last Stand” from earning a higher rating, is TLoK reveals this through heaps and heaps of emotional exposition. An inevitable and almost unavoidable part of any finale involves a certain amount of signposting and summing things up, but TLoK’s goes overboard with it. Between a post-battle heart-to-heart with Kuvira to on-the-nose exchanges with Tenzin about hope, “The Last Stand” brings its hero to an interesting place in terms of both story and character, but lays the message of the change on too thick.
But hey, it delivers some damn cool action, so that earns it plenty of points too. Having the climactic battle feel genuinely epic, particularly after a fourth season where the good guys have already battled an energy-bending rabble rouser, a flying revolutionary, and the Anti-Avatar, it would be easy for the last big battle to fall short. Instead, “The Last Stand” delivers a final confrontation that matches the moment.
It features some cool set pieces that give everyone something to do. It’s a nice grace note to have the Beifong sisters working together and immobilizing the Colossus’s arm together. Plus, it gives Lin a chance to do some badass combat that looks like fencing as she takes on an Earth Empire guard. To the same end, watching another pair of siblings, Mako and Bolin, try to shut down the engine to the Colossus works both to service two characters who have an important relationship outside of the show’s protagonist, and to give them a goal that contributes to the larger project.
It also gives Mako a nice moment of self-sacrifice. It seemed unlikely, at best, that TLoK would actually kill him off, but it’s still a nice moment in the sun (so to speak) for one of the show’s main characters, giving his all and using his unique powers to help. Bolin’s assurances to Mako that he already thinks his brother is awesome was an amusing, and true-to-character way to bring the pair’s relationship to the fore.
Korra’s one-on-one with Kuvira met the heightened expectations as well. The designers and animators deserve great credit for this season. Although we’ve seen many metal-benders before, the way that Kuvira and her crew use chain links and swatches to disable and move around their enemies gives them a distinctive fighting style which makes combat against them seem fresh. Seeing Korra and Kuvira go toe-to-toe in the enclosed bridge of the Colossus made for an enclosed by expansive setting that prevents either from running away but gave each plenty of room to work.
The climax of their fight was the highlight of the episode. While the villain’s hail mary, semi-crazy attempt to get back at the hero is a cliché, and the spirit weapon conveniently being near where they feel is a bit contrived, the power and symbolism of the moment really clicked.
When Korra faces down the blast from the weapon, instead of being destroyed by it, she harnesses its power, saving Kuvira and channeling that energy into a new spirit portal. It’s a choice that carries wonderful symbolism, how Korra’s previously attack first, ask questions later mentality has evolved to where she uses her abilities to turn a weapon into a bridge, a mortal attack into a saving throw. The scene is scored perfectly, with Korra’s theme adding gravitas to such a spiritual, emotional moment that represents the peak of Korra’s arc in this season and perhaps the series.
The problem is then the series decides to write it all on the screen. I’ve genuinely enjoyed the parallels between Korra and Kuvira this season, but having them have a literal “we’re not so different you and I” conversation is just too much. The themes are solid -- the idea that Korra sees her own impulses in Kuvira, the notion of wanting to ensure you’re never vulnerable again -- but it’s all too blunt and too artless. Hell, we get the revelation that Kuvira is an orphan thrown in at the last minute as an explanation for her perspective, and it’s just the most tacked on psychological explanation for her behavior.
Then the show doubles down on it with Tenzin. Again, while I like the theme, having Korra outright say that she needed to learn what suffering was in order to be more compassionate, is just too direct. It’s delivering the literal message of the show in dialogue. The same goes for Tenzin saying he’s glad that Korra is more hopeful, or Mako saying he’d follow Korra into any battle. I like those ideas, but just depositing them into the story as announcements is too much.
It’s not all bad though. As I mentioned in the prior episode, Wu’s evolution into a reasonable leader has been an unexpected treat. The fact that he sees what happened to Kuvira and decides that the Earth Kingdom doesn’t need another monarch or dictator, but instead an elected representative, is one of the most striking political changes, and a third option the show and its predecessor has rarely seemed to consider.
Then there’s the final moments, where “The Last Stand” brings all the subtext between Korra and Asami this season to the fore, and suggest the beginning of a romantic relationship. Asami is often a cipher on this show, being given little to do in comparison to the rest of Team Avatar. But in Season 4 in particular, the series has hinted at a deeper connection between her and Korra. Ending the series on that note is a bold choice, and the heartwarming, lyrical sequence in which they beam off together is a wonderful way to go out.
It’s just a shame that the rest of the finale cannot quite match the balance that sequence presents. Season 4, and the series as whole, took Korra on an incredible journey, but underlining the point of it all at the end cheapens the actions and decisions that led her there. Still, it’s been a hell of a journey, one filled with kinetic action, endearing characters, and most of all, a protagonist who grew and developed little by little as the series went on, until she became a stronger, more assured, and balanced Avatar. Some of Korra’s most engrossing growth happened this year, and whether it’s overdone or not, it’s lovely to see her walking off into the sunset, hand-in-hand with someone she loves, a changed, better person.
This whole episode focuses on the wedding and wedding night, mostly out of sequence. And it makes the episode that much more personal.
We start the episode with Claire's first wedding as a contrast to her present. To what she is most emotionally tied to and at odds wiht her current situation.
After the second wedding, Claire and Jamie must consumate the marriage in order for the wedding to be valid. Using Claire's reluctance to sleep with Jamie, an excuse to have Jamie and Claire get to know each other. Most of the episode is just them talking, about why Jamie agreed, about their families, about themselves, most of the storytelling shown in flashback scenes for the benefit of the viewer, to break the monotony and give breaks and flow the pacing. Outside of a technical point, having these two get to know each other is a lovely, to have them sorta speed date, trying to get to the deeper parts of conversation that would normally take weeks, if not months to get to. With each story, Claire sees Jamie for who he is (concerned for her emotional well being given the situation, reassuring her she is safe, and the more she sees, the more she truly starts falling for him. She sees the kind, soft, earnest young man who adores her. No longer sleeping with a stranger, but at the very least now someone she cares about. It's beautiful to watch the flashbacks to their wedding as Jamie recounts it with such awe and reverence, such importance, much like he sees Claire.
Though they have intercourse several times, each makes sense to where they are at with each other, in trust and emotions. The first time is all about consumating the marriage and all about Jamie's first time. It's awkward, over before it starts, and a bit uncomfortable for Claire. Jamie is so ready for this, as he truly loves her, but Claire has only gotten to the like him, but she also knows is still hung up on already being married. Though she has gotten to know Jamie, she still has a wall within her, still unsure. We also get a post conversation of Jamie's misconceptions about sex (which shows us how inexperience he is, as a whole, knowing little to nothing about sex), but it's also endearing when he asks Claire if she enjoyed it, how he shows that it's important that she enjoy it as much as him. He cares for her and love for her to care back.
After the awkwardness and nerves of the first time, the walls continue to crumble between them. Jamie describes their wedding, as Claire was VERY hungover for it. Claire gets further into who Jamie is, how he sees her, what he feels for her and alot of it us love. And you can start to see her fall for him, maybe not in love, but def in like. The second time it's more lust filled, full of raw energy but also reverence. Taking their time to get to know the other's body. It's all about their enjoyment of each other.
The last moment is much more emotional. Jamie has given Claire his mother's pearls, a show of how much he will honor and charish her. It's one of the few things that he values, his last connection to his mother, are now hers. Something precious for someone precious. Their last moment is soft, slow, basking in the warmth glow of the fire. There is no lust, just love. Claire's walls have crumbled and she has let Jamie in.
All of the scenes are beautifully shot, trying to focus on the emotions each one conveys, nothing voyeristic or scandelous about them, just a focus on the characters and where they're at psychologically.
The ep ends with Claire finding her first wedding band, each ring on one hand and her in the middle. Torn between two lovers, two marriages and two fates.
Love the softness with which Claire treats Jamie after he feels disappointed that she didn't enjoy their first time. And how he's trying to be good for her.
[7.8/10] I love all the moving parts of this one, and how the episode ties together the budding relationship between Leslie and Dave and Leslie’s responsibilities as a beauty pageant judge.
After agreeing to go on a date with Dave, Leslie starts to demur when she realizes that he doesn’t know who Madeline Albright is (humorously thinking she’s Leslie grandma), and wonders if the two of them share the same values.
Then she goes to judge a beauty pageant, and there’s Trish, the bubbly, airheaded “hot one” whom everyone on the judges panel loves, and Susan, the accomplished, smart, but plainer contestant who only Leslie seems to appreciate. Despite Leslie’s attempts to 12 Angry Men her fellow jurors, Leslie loses out to Tom’s horndoggery and the rest of the panel giving into Trish’s sparkly, xenophobic presentation. There’s a great deal of potent commentary there about how women are judged or overlooked, and it manages to be quite funny as well.
The B-plot sees Mark coming over to Ann’s to fix her shower, and Ann discovering that Andy lives in the pit. I like that Ann is frustrated but Mark is sympathetic to Andy, and convinces her to bring him in. It’s the start of Andy being gormless but ultimately sweet when he’s that excited about seeing her, and you can see the show beginning to transition him into something a little nicer. (Though I’ll admit, I’m probably retroactively applying the character he’d become to the character he was at this point of the show.) There’s also a surprisingly nice comic dynamic with the three of them in the same room together.
We also get our first April subplot, with her starting to be developed a bit more. Her attempts to do the beauty pageant thing are hilarious, and the fact that she quits when she learns the prize is only $600 in gift cards that will defray the cost of a fence is perfect.
But what’s more perfect is that even when Leslie is a bit resigned at how things went at the pageant, Dave shows up. And after an evening when everyone was fawning over Trish because she’s bright and bubbly despite her being empty-headed and pandering, Dave just wants to be straight with Leslie and barely even notices Trish. Leslie sees that he does share her values, and him learning the names of all the female leaders pictured on Leslie’s bookshelf is the icing on the cake. It’s elegant emotional and character material, and I just love how it comes together.
SPOILERS FOR MUCH LATER IN THE SERIES. DO NOT READ THE BELOW UNLESS YOU’VE AT LEAST SEEN THROUGH SEASON 4
Leslie and Ben are one of my all time favorite television couples, and I wouldn’t trade them on this show for anything. But man, there’s a part of me watching this season and wishing that we had gotten more of Leslie and Dave. Dave is just so adorable; Louis C.K. brings a distinct energy to the show, and Dave and Leslie’s chemistry is amazing. He really fit what the show was doing and where the character of Leslie Knope was at the time, and it’s a delight going back and seeing the two of them together.
Ok, compared to the other episodes from this season, this one was gold. I really used to enjoy Supergirl and kinda never got tired of it and I wasn't expecting this final season to decline drastically in both writing and general plot and also everything that I always enjoyed about Supergirl. At least it was a satisfactory ending and thankfully it was the end, otherwise the next season would be awful. I was happy for Nia and Brainy and couldn't care less that Mon-El and Kara did not end up together and gladly Winn and James screen time was minimal cuz I can't stand Winn and James is a bore. Cat could deliver an "old days vibes" while in another of her teachable moments with Kara and it was a good moment. J'onn is cool, had a glimpse of his future and all and Alex went crazy with this "mother plot" which was boring just like Kelly (and her brother) ... . If Lena gets a spin-off, I'll be watching, definitely lol love her! So, I guess it was a happy end! Yay! Probably won't miss Supergirl cause they did a terrific job creating the worst season of the show.
The funny thing is, we would do the same thing when I worked loss prevention, that is, install pinhole cameras over the suspected thief's cash register, and EVERY one of them that got called into my office for stealing said EXACTLY the same thing. First they denied doing anything wrong, then, we'd just roll the camera footage, and either they would say "It's not what it looks like", or, the tears would start and they'd start pleading for their job cuz they had kids, or, a sick Mom, or some other reason we should just disregard their stealing and keep them on. But, I was pleasantly surprised, because it looked like Pop's was just going to put Daughter in charge and keep her on, but he did the look head fake, handed it off to his kid, and let her fire the lying azz Fido's wife. Don't let the door hit cha' where the good Lord split cha'! ABCU wouldn't wanna BU! You could tell everybody knew she was toxic by the way the applauded her departure.
JEEEEEZUS!!!!! Did you see the SHOVELS FULL OF grease and gunk they were scooping out from under the equipment???? That place had never been cleaned since it was opened. and what's worse, if they really DID replace those deep fryers and stoves, then , they just installed them ON TOP of all that filth. Cue Janet: "I don't like nasty cars, I don't like nasty food! The ONLY nasty thing I like is a nasty GROOVE!" Just shows the level to which EVERYONE had checked out and put blinders on. You KNOW they ALL walked through that kitchen every day, and no one ever said, "hey, hand me a rag and some hot soapy water!"
Pan frying chicken takes at LEAST 10-15 minutes for drumsticks and thighs and up to 25 or even 30 minutes for larger thick pieces like breasts. It took me a minute to learn the timing too. I'm guess pressure cookers are too hard to teach proper, safe usage in only a few hours, so he let's them go with what they already know.
I'm on a BOAT!!!!
Ahhhhhh i’m so happy they are not shying away from the tough conversations on what it means to be Captain America in this decade. I love symbolism in storytelling and there’s no stronger symbol than that shield, and the way they have used it as a vehicle and representative of the different American identities (good and (really) bad) has been incredible.
Steve Rogers, John Walker, Sam Wilson and Isaiah Bradley all represent sides of the US that co-exist, and John Walker being the effective Captain America for most of this show isn’t accidental - he’s the side of America that’s most present and salient right now (in the world off the screen), but ending the show with Sam Wilson carrying that shield - and going through all the issues that that might bring up - is as powerful a message as any - one of hope and of what the US should aspire to be. Steve Rogers is no longer enough, Steve Rogers is the American Dream - Isaiah Bradley the American Reality - and Sam Wilson is both. This show, and all of Captain America’s storyline, is about so much more than just men in spandex and they’ve done a fantastic job taking it even further here. Glad Marvel is still delivering after so many years, makes me proud to be a fan!
