Holy shit. I underestimated Ava as well there. Absolute power move and will really turn their dynamic on its head.
Props to Jimmy for walking away from that meeting.
I thought it was heading to a predictable path (they fight in the season finale, they make up the next season...) . I did not expect that chess move. Looking forward s04 shaking things up.
This was riveting to watch, the same way Mad Men is. I felt like laughing hysterically at how wonderful this show is.
“I would. Wouldn’t you?” - This was brutal, crazy, insane, amazing! That was TELEVISION. So carefully and intelligently constructed. This episode is a masterclass in everything - writing, directing, and acting.
Laughing at Jimmy’s plane 'proposal.' So perfect and I liked him realizing Kayla’s value!
Deborah moving her parents to Vegas. Unhinged behavior! That is so her.
I cannot wait to see what's in store for us in season 4 as we experience another power shift between Ava and Deborah.
I am unsure how I feel about the show at this point. Is it just me or are they playing fast as loose with "the facts"?
"Are you okay? I don't know you, this could be your personality." Great line, and seems very applicable in real life.
[7.8/10] I appreciate the choice to conflate something as geopolitically momentous as the end of The Troubles with something as personally momentous as the act of leaving your childhood behind. The choice to vote yes on the titular agreement is juxtaposed with the choice to accept adulthood, and the inevitable changes that come with it. Granda Joe lays it out -- it’s easy to be afraid that it could all be for naught, but it’s tougher, in some ways, to imagine there could be something better, even if it’s scary.
The finale does some of those full-circle things that help mark that this is a big closing event for a show. We open with a montage of the major developments, big and small, that have taken place over the course of the series. The whole thing ends in a big dance party and celebration that includes most every character of note boogieing down together in one big brouhaha. They dust off the Cranberries again and show most of the cast making their choice on the ballot before venturing into that big wide world and with it, the future. The show does a good job of marking the milestone, for the series and for the lives of its characters, that this represents.
And I like that for all Erin’s literary aspirations -- devolving from Hamlet to a “Shakespeare Simplified” book to a teen magazine -- these experiences genuinely did give her a voice that helps her to articulate not only her own perspective on growing up, but on her country’s perspective on emerging from ages of sectarian violence into a new period of peace. The hints that this show is, more or less, what Erin was talking about when she said she’d write this down “someday” are a little too cute, but I like that idea as the capstone to her growth and her arc over the course of the show.
The side stories we get along the way are good too. Sister Michael is my favorite character in the show, so pretty much anything they did with her was going to meet with my approval (including her chalking up Jenny Joyce’s song as another “atrocity” that the troubles has visited upon them). That said, I really like where they went. More than anyone, Sister Michael seems perpetually disgruntled about her job and this school. But when the bishop is ready to reassign her, she looks wistfully about the place that’s been her calling for the last several years, affirms that she appreciates her work and feels as though she makes a difference, and ultimately succeeds in her fight to stay. Watching her fight for the thing she seemed to disdain, because deep down she appreciates it, is softly moving.
I also appreciated the fight between Erin and Michelle over how the agreement would free her brother, who killed a man amid The Troubles, from prison, and whether or not that’s a good thing. (Did we know that before now? Feels like a line that got tossed off semi-joking in season 1 that’s being played straight now.) The show wrings good comedy from their tiff, with Clare’s inadvertent game of phone tag being the funniest bit in the episode. But it also pays off the dispute nicely, with both acknowledging the shades of gray, the lack of clarity in resolving what’s good and what’s bad, and in line with the broader ideas of this episode, connecting their own uncertainty over how to reckon with such things personally with the people of Ireland’s difficulty in doing the same.
Connecting it to dueling parties between Erin/Orla on the one hand, and Jenny Joyce on the other, makes for some good set pieces. The fact that Erin has to share her party with Orla, share her theme of literary heroes with Orla’s of monkeys, and share the parish hall with a first communion, adds to her parade of amusing indignities. By contrast, Jenny’s party is appropriately tricked out, replete with a famed singer from Derry. The big shindig gives the show a chance to go a bit wild. And the imagery of Clare blacking out Jenny’s party to bring it to the rest of the Derry Girls on foot is a nice way to give everyone a win.
(As an aside, I don’t know if it was covid or scheduling commitments, but Nicola Coughlan was apart from the rest of the cast for a lot of this episode. It’s not a hindrance to the episode necessarily, but it’s a little conspicuous in a series finale.)
The other bits we get here are all solid. Gerry bristling at having to house cousin Eamonn, who’s in no hurry to get his roof fixed and is ready to take advantage of the Quinns’ kindness, is worth a laugh. Granda Joe puzzling over what the agreement actually means, and the family’s reactions, are worth a few laughs. And my favorite part of the episode may actually be the opening, with Orla’s free-spirited, musical wandering through the town, which comes with a great energy and carefree air that signifies the spirit of hope amid uncertain possibilities “The Agreement” represents.
The thought that lingers with me is Joe’s prophecy to his granddaughter, that one day she’ll tell these tales to her kids like they’re ghost stories. I didn’t grow up amid the end of The Troubles, but I’m old enough to know what he means, to feel like your childhood took place in a different world, one you can describe and explain, but never truly account for to someone who wasn’t there before so much changed. This finale isn’t perfect, but it and Derry Girls as a whole, is the best way to capture a few of those ghosts, share them with people who might appreciate them, and conjure those days again. It did it all with great humor, an incredible sense of place, and a poignancy that remained until the final moments of the show.
they really should've let the kids play the adults during the flashback scenes
By her character's nature she probably wouldn't appear beyond this ep, but Christina Hendricks' cameo in episode 6 is so, so good. "I was really looking forward to pissing on a caddy" lmao
Great cinematography at the end here. Brilliant comedy as always.
It's a hard watch, but great nonetheless. It covers so many topics and it goes places you don't imagine. Best watch of the year so far.
It's so good and so well made you'll never want to watch it again.
This show utterly gutted me, but I'm glad I saw it.
I broke down when his dad finally hugged him, shedding his own shame from the abuse in his past.
Martha is insanely annoying. Why would Donny keep giving her free drinks? He's at fault here too. She's a psy**opath. But, if he would have told her right away, that she's crossing every damn line... It wouldn't have escalated like this.
Martha is insanely annoying. Why would Donny keep giving her free drinks? He's at fault here too. She's a psy**opath. But, if he would have told her right away, that she's crossing every damn line... It wouldn't have escalated like this.
After the great, great season 2 finale that can function as series finale if they want it, they really do a fantastic job of having the leads orbit then gravitate back towards each other. The two episodes are already very fun even when Deborah and Ava are apart, but when they are together (hotel room talk in episode 1, the texts and (very funny) host show in episode 2), their dramatic/comic chemistry is pure electric. And that the show makes this a clear codependency both toxic and intoxicating just makes it all richer. Great start to the season.
[8.0/10] A wonderful end to the season. I like how this one pivots from the show’s usual low-stakes hilarity and casual infighting and ribbing among both the adults and the kids, only to show that they stick together when it really counts. In other hands, it could be saccharine, but here, it feels earned.
I like the low-stakes hilarity though! Gerry having to dicker with the photo shop clerk over whether or not he has his claim slip to get his pictures, despite the fact that he’s in them, is a hoot, especially when Granda’s undermining him at every turn. Sarah’s obsession with getting the pictures back because she was so thin you can see her collarbone, only to find that the clerk has a crush on her because of her stately clavicle, is equally absurd and amusing. And I like what a hard time the clerk gets from Grandda after Sarah brings him home, suggesting that his animus for Gerry isn’t personal. Maybe, it’s just that Mary and Sarah are reflections of his “perfect” dear deceased wife, and so nobody's good enough for them in his eyes.
Likewise, the happenings at the school are pretty hilarious. As in episode 4, I like this as a story of Erin trying to be bold and magnanimous in publishing a story about a gay classmate, only for the cosnequences to demonstrate that she was self-centered and self-serving about it, and blanches at other people having needs beyond her own. The way she rejects Clare after Clare admits to being the one who submitted the essay is low-key heartbreaking for Clare and infuriating for the audience.
Apart from the seriousness of it, the humor here is stellar too. Oh my god, Sister Michael is my favorite character on the show. Her deadpan asides and wry barbs are just winners every time. Comments about letting things happen out of boredom, facial expressions in reaction to poor talent show acts, and jabs about amateur singers making her appreciate professionals are all brilliant.
Plus the rest of the shtick is good too. Michelle trying to make this about her and missing the irony of accusing James of homophobia is funny as always. James gripes about censorship and yells of “I support gay people, though I myself am not gay” is chuckle-worthy. And even Mary’s line in the sand about doing a half-load of laundry being against everything she stands for was a funny bit.
But it’s the ending that takes this to another level. Orla doing a step routine that everyone laughs at is an odd inciting incident. And yet, it works as a way for Erin to take a stand in favor of supporting her friends, no matter what they’re doing, in a way that subtly communicates her support to Clare. It’s a little rushed, and I’d still like to hear an actual apology from Erin, but the spirit of the thing works, and the image of them all dancing silly together on stage as a show of solidarity with their pals is downright heartwarming.
Likewise, maybe I’m just a sucker for the Cranberries, but seeing the adults stand aghast at news of a terrible attack moved me. There’s great meaning in the cuts between their agape faces and the girls dancing away -- a sign of how terror and violence was always right there in the corners of the frame, but how they were living their lives and growing and maturing, if not blissfully unaware, then at least undeterred in continuing to live their lives at teenagers.
The peak, though, comes from two unsentimental characters. Sister Michael showing the slightest appreciation for their show of friendship gives it extra oomph, since she is not quick with praise or shows of emotion. And Grandda putting his hand on Gerry’s shoulder shows the gravity of the incident and the similar sense of solidarity that runs through the Quinn family. The world may be falling apart in places, threats may be right outside the door, but despite their squabbles and foibles, these people care for one another and stand by one another. It’s hard not to be moved by that, even in such a hilarious show.
The ending scene cutting between the sheer joy of teens living their lives and the bombing while Dreams is playing is honestly one of the most gut punching scenes I've seen on TV. Like yes this is a comedy but it pulls no punches when it reminds you of just how bleak real life can get
[8.4/10] Oh man, the comic dialogue in Derry Girls is just so good. I’ll confess that I need subtitles to follow it sometimes, but the rapid-fire, back and forth lines about this and that are so darn funny. I just love it.
I also love Gerry as the last sane man in this family, trying to keep all of these nuts together and getting no respect for it. I feel bad for the poor chap, but I’d be lying if I said it weren’t hilarious to watch him finally stand-up to someone, at his family’s urging, only to get nothing but guff from them when he inadvertently makes a waitress cry. Likewise, Granda’s big talk of knowing what to do and having a handle on things, only to get his family trapped in the middle of the Orange parade is a hoot.
If that weren’t enough, the unexpected arrival of a Catholic rebel in the family’s trunk is a nice bit of comic escalation. Emmett is an amusing character in and of himself, with his matter of fact tone about needing to get out of Derry and hiding in a random family’s boot to do so. Everyone’s debates about what to do about him leads to even more laughs.
Plus hey, comedy about people overreading into psychic predictions is always my jam. Sarah’s tarot card guess that they’ll face grave danger on the road, Erin’s attempt to deny it as nonsense, only for her to mistake the “big clock” for a bomb and Emmet’s lighter for a gun is a hoot. There’s some great physical comedy from the actress who plays Erin, and everyone’s deadpan response to it is great.
The smaller gags are good too. Michelle also buying the tarot reading that she’ll meet her soulmate soon, and trying to talk herself into Emmett as the beau got a laugh out of me. Clare’s obsession with finishing Moby Dick and applying it to everything they’re experiencing was worth some yuks. And poor James, everyone slating him for being English/”gay” and making him responsible for the neighbor’s “second best tent” is quite amusing as well. His rant about wanting someone to explain Derry to him because “sometimes I feel like I’m through the fucking looking glass here” is classic.
More than anything, I just love a taste of this cultural experience. I know vaguely about The Troubles, but putting the experiences of cultural anxieties and tensions and even freaking out about having to use different money in a lens of comedy makes it feel like an off-kilter but still fascinating form of tourism. I guess I’ll have to put on my best Australian accent for it.
Overall, another real winner from this show.
I like Wes Anderson. In fact Life Aquatic is one of my favorite movies and I love Moonlight Kingdom. Asteroid City unfortunately was unwatchable and my honey and I agreed to turn it off after about 15 minutes. Hopefully Wes is not senile and will get his mojo back with the next one… What kind of bird are you?
This is just a movie about a movie about a play about a play. And that's where the disappointment lies.
There's no arch. No heroes or foes. No obstacles to overcome. Nothing gets solved, and there's no real payoff. It's just a story within a story within a story and you the audience is expected to marvel at how terribly clever it is. It's incredible clever. But it's not very watchable.
Ultimately it's just a series of scenes, one after another, that you don't care about.
Scale it down, Wes. I’ve been a fan of everything he’s done since Fantastic Mr. Fox, and this is the first one in a long time that doesn’t sit well with me. It’s easily his loosest film since The Darjeerling Limited, and as a result he kinda lost sight of a coherent narrative here. It simply has too many characters, and while they’re all decently interesting, none of the arcs are developed to a point where I felt an emotional pay-off. The postmodern/meta stuff tanks the pacing and adds little to the overall narrative. There’s an attempt to use that layer to give the film a deeper meaning in the third act, but it feels like an anticlimax. The deeper meaning is that there is no deeper meaning, we’re just putting on a show . Ok? Did Rian Johnson have input on this script? Is this Wes trolling the people who claim that he’s style over substance? Add to that that this is one of his films that relies the least on comedy, and I can only conclude that this might just be his weakest screenplay. The reason why I still like it, however, is mostly because of the technical aspects. The cinematography, set design, editing and music are all fantastic and I’m continuously amazed by how this man is able to build a complete, original world for every new film. There’s always enough quirk and detail in the frame to keep the movie alive. The acting’s also really solid, I don’t quite get the complaint from some people that it’s emotionless. While the delivery is as deadpan as ever, the actors add plenty of emotion though the tone and cadence of their voice. Overall, I think he really needs to stop worrying about topping the scale of his last film, because it’s making him lose focus as a director and writer. It’s enjoyable, but for me it’s his worst next to The Life Aquatic.
6/10
I would rather shit in my hands and clap than watch this movie to the end.
This was the first movie I have ever walked out of the cinema after 45 minutes.
[7.7/10] Super fun start to the series. This does a nice job of not only setting out the tone for the show -- irreverent, cynical, fast-paced, and whimsical -- but also does a nice job of introducing the characters.
Erin is the put-upon protagonist, denied her dreams like so many teenagers. Michelle is “the mouth,” a rule-skirting troublemaker who instigates and gets the rest mixed up in her monkeyshines. Clare is the dorkier one, who has causes and high-minded preoccupations but can’t quite stick with them. Orla’s the weirdo who’s chill and seems otherwise unaffected by everything else. And James is...uh...the English fella.
It’s a good cast! The actress who plays Erin overdoes it a bit at times, but there’s a good group dynamic, and you can see the various elements of their little contingent sustaining the show. The setting also works well, with a 1990s Northern Ireland setting which places the girls in the thick of sectarian conflicts amid different Irish groups, while also being focused more on their own little ecosystem of a Catholic school and crushes and the other vicissitudes of teenagerodm that gives the show color.
We get just enough of a glimpse at the girls’ parents, their classmates, and their teacher to hint at other colorful characters who can drop in and help fuel stories and humor. The head nun in particular is a hoot with a dry but straightforward wit that makes her an early standout.
The show’s dialogue (while requiring subtitles for this sodding yank), is one of its best features. The staccato rhythms among the characters feel sharp and clever without ever seeming over-mannered, and there’s a lot of fun repartee and misunderstandings played through the lines. At the same time, while the show veers a little toward the ridiculous in places, there’s a nice sense of comic escalation, balanced out by the relatable struggles of young adulthood that ground Derry Girls, while also giving it room to run in terms of absurdity.
Overall, a strong coming out party for the series, doing a stellar job of establishing the tone, setting, and major players for the show, while leaving the audience wanting more.
I changed my rating six times between 9 and 10 before finally settling on 10 - which I wish would say less about how much I tend to overthink and more about how surprisingly good and exciting this episode was. It's a perfect pilot for a teen series and then some, and it has got me pumped up for the rest!
But it's a sitcom above all and I can hardly ever stay committed to one. So we'll see how long it takes me now to finish this.:unamused:
this show changed my life, it changed my perspective and it cemented the cranberries - dream as a soundtrack of life.
tried to watch this because of an edit of sister Michael, got genuine laugh from a long time from watching a sitcom.
