I loved this season so much. The chemistry between the two leads was off the charts and the yearning nearly killed me. Kate and Anthony have me in a chokehold.
how can she loves someone for so long and then gives up so quickly?
[7.4/10] My favorite part of this one is Vision realizing something is up, lying to Wanda to try to get to the bottom of it, and trying to break free to get help, even at the cost of his own life. We’ve mostly been focused on Wanda’s trauma to this point, and for good reason. But there’s something equally disturbing about Vision realizing he is a prisoner here, that people are suffering because of the woman he loves, and that something is very very wrong. It’s a kind of psychological horror that’s gripping in an underplayed sort of way.
I like the subtle coldness in his interactions with Wanda, despite the theoretically warming confines of the sitcom form. There’s a painfully believable awkwardness between the two of them in the moments where the facade slips, and it’s good work from the performers and the show. Likewise, I love Agnes’s monologue when Vision jolts here out of Wanda’s control for a minute. Her half-deranged, half-resigned ramblings are striking and just as eerie.
The piece de resistance though is Vision trying to break out of the hex. Watching him slowly disintegrate as he breaks the bonds makes for a tragic and horrific image, particularly when his near-dying words to those who come to check on him are “you must save the people.” There’s something so noble about Vision, from the beginning really, and it makes what’s happening to him all the more sad and terrifying.
That said, I wasn’t as crazy about the stuff happening outside of the Hex this week. It feels too mechanical and generic Shield. As much as I enjoy the trio of Monica/Jimmy/Darcy, Director Hayward has turned into such a generic government suit antagonist that the conflict feels played out. Nevermind the fact that the three of them can apparently take out big dudes with body armor and automatic weapons. Most of their business either strains credulity or feels like a warmed over “good organization gone bad” thing we’ve seen time after time in the MCU.
That said, I’m intrigued at the prospect of Monica and Jimmy choosing to go back into the Hex on their terms, while Darcy seems to get sucked in by Wanda’s expansion. Seeing these performers “in the show” is an exciting prospect, even if the way we get there is a little contrived.
“The show” part of the episode is good too! Malcolm in the Middle is an interesting touchstone to go with, and I suppose it’s the most noteworthy leap in family sitcoms in the 2000s. As usual, WandaVision does the pastiche well, with the jump to single cam clicking nicely and the scrappier, less middle class affluent suburbia vibe of latter day family sitcoms kicking in.
But the most intriguing dynamic to me is not only Quicksilver’s arrival as the manchild brother who sleeps on his sister’s couch, but the way that he casually breaks the fourth wall with Wanda. He talks about the mechanics of the sitcom -- how he’s needed to add some tension and the like -- while also hinting at the way the details don’t add up, the way he’s bending things to make them like she wanted, the way he knows Vision’s already been dead. It creates an interesting role for him in WandaVision, as someone whose cracking Wanda’s fantasy defenses just a little bit, at the same time he’s letting the audience in on the truth at the same time.
I especially like the choice to have it be a product of their being siblings, telling his sister that she can talk to him, in a way she can’t talk to anyone else. It gives her the emotional space to reveal that she’s not fully in control here. She doesn’t remember how it all started, and while the things she wants are coming into play, and she can clearly extend the bounds of the Hex, there’s more going on there than even she knows.
We also get to learn what she’s grappling with here -- survivor’s guilt, something exemplified by the claymation, gogurt-inspired commercial. She confides in Pietro that she felt all alone, having lost her parents, her brother, and eventually the man she loved even after all the dust cleared. Pietro stirs all of this up in her, bringing it to the surface, and Elizabeth Olsen does a particularly good job as a performer conveying all that internal strife while trying to put on a smiling face. The layers in her acting here are really, really good.
There’s also tons of plot-relevant stuff going on here. For one, the twins have powers that mirror their mom and uncle, with one gaining superspeed and the other seeming to have Wanda’s psychic and telekinetic abilities. There’s reason to think the development of these kids, who take more focus here, is a big part of the motivation behind whatever’s causing all of this.
We get more hints in that direction as well. I’ll admit to thinking that Agnes might have been the culprit, but Vision’s conversation with her definitely suggests that she’s not the mastermind, at the very least. Herb (who was surreptitiously chatting with Agnes in a previous episode) seems a little more self-aware than we knew, asking if Wanda wants to change things up. Plus, Darcy’s hacking intimates that Hayward may know more, or have bigger plans for what’s going on here than anyone knew. We’re getting just enough hints toward the mystery to bring things tantalizing closer to being in focus without disrupting the cool and slightly unnerving sense of ambiguity as to who’s really in charge here.
That just leaves the texture, which is also really good in this one. I like using Halloween as an excuse to get the cast into their comic book costumes. Also, this episode does a good job of showing us people on the edge of the Hex being a little less resource-intensive for the simulation, just doing basic tasks and not being as fully hoodwinked by Wanda’s hoodoo as folks closer to her orbit. It too is creepy, in a good way. And once more, the show wrings real unnerving terror from the brief moments where real life and real emotion cut through the sitcom artifice.
Overall, this episode didn’t grab me as much as some of the others have, but there’s still lots of good work within it, matches with some strong character work with Wanda and Vision in particular, with Pietro being a catalyst for it, not just a gimmick or bit of stunt casting.
why are they acting so bad...
I was expecting more deaths from more important characters, that was kind of desappointing. Jon did nothing but after all it was a great episode full of tension. Love it.
Such a refreshing episode! Loved that they included other characters storyline too. Sometime the writers make it seem like no one else lives in Riverdale other than the core four and their families!
I'm secretly soo glad there was no core Bughead or Betty storyline here. Also good to see Reggie & Veronica as partners. Wonder what Gladys's actual motives are! Especially with JellyBean on her side! That last scene was Shady!
Bran: I can never be Lord of Winterfell, I can never be Lord of anything, I'm the Three-eyed Raven.
Also Bran: I'm the King.
In a show with so many characters, one of the most emotional deaths was the guy with one word of dialogue. That's why Game of Thrones is so great.
At least they don’t have to build a new throne now that Bran is king.
I hope Ford faked his death with a Host version of himself.
i'm so emotional over a dragon
What the fuck kind of bullshit was that
So Game of Thrones is musical chairs and the guy who wins is the one who was sitting the whole time
Let me resume this episode without any spoilers:
Death.
Death.
Death.
Lots of Deaths.
Death.
BOOBS!
A FUC**** DEATH!!!!
The End.
P.S.: I may have miscounted the deaths or put them in the wrong order, "Death" might have happened before "Death".
LIST OF DECEASED PEOPLE IN THIS EPISODE:
Queen Margaery
Lord Mace Tyrell
Loras Tyrell
The High Sparrow
Kevan Lannister, Hand of the King
Lancel Lannister
King Tommen Baratheon
Grand Maester Pycelle
Lord Walder Frey
Did I forget anyone?
How do I unsee the cheerleading scene? Archie dry humping a fence and dribbling was something i didn't need
The only thing I didn't like is the fact that Whistledown's identity was revealed ahead of time
This episode is disappointing.
With the action, it’s tiresome and a considerable downgrade from the first episode’s kick-ass opening. It’s short, full of tedious banter and only shows people punching and throwing each other off trucks.
Similarly, the episode’s revelation has little weight; since the episode doesn’t explain why it matters, I don’t know why I should care. Also, they introduce a new character, but we don’t learn why she’s a threat to our heroes or why Sam and Bucky need to catch her group.
Worst of all, though, the character dynamics are awkward. Despite understanding its origin, I found the conflicts messy and confusing. I mean, why the therapy? What’s with this therapist?
On a positive note, I like the social commentary, even if the episode doesn’t explore it that much. In the first episode, the show comments on racial discrimination and they continue it here; I appreciate it.
Finally, the pacing is sluggish, and as a result, I struggled to get through the episode’s runtime. If there were more action, I’d forgive the weak writing, but alas, I’m left disappointed.
Likewise, The Star-Spangled Man feels undercooked, dissatisfying, and left me disappointed. Not only has the storytelling quality faltered, but the action has too, which is all I’m looking for in this TV show. Hopefully, this is the only bump on my FWS journey.
TECHNICAL SCORE: 6/10
ENJOYMENT SCORE: 5/10
Typical for HBO - You'll be so shocked at the end of the episode that you'll see your own speechless expression in the reflection of your monitor during the end credits.
wouldn't it be awesome if everyone got killed? the parents, annoying archie, jug, Betty, babyface Veronica and the shows just done then? maybe by aliens or whatever.
I don't know where to start...
Veronica one minute hates her father, the other she cries by his bed
Archie, a convicted murderer who escaped, returns to Riverdale and noone from the prison looks for him
Tall Boy... That was underwhelming xD
The Hannibal/Clarice theme is laughable
The thing that annoys me the most is that they totally ruined Alice Cooper's character with this stupid Farm storyline
So many inconsistent things happening
Putting a sticky note on your laptop webcam was the most relatable thing I've ever seen. It was such a small gesture, but it made it so realistic that I actually laughed.
I'm glad to see Bryce's mum so skeptical. I can't wait for Bryce to be arrested.
Game of Thrones might be too familiar, too expansive, to have the same force it once did. When a show's been on the air for five years, it's harder for it to surprise you; you know many more of its tricks, and you've seen much of what it's good and bad at. And Game of Thrones is good at a lot of things--humorous asides, daring rescues, and striking character moments--so that even when it's simply chugging along, it's still a very enjoyable show.
But for a season premiere, "The Red Woman" was underwhelming. It wasn't bad, mind you--there were plenty of exciting moments and interesting developments--but little to make you stand up and take notice of a series at the height of its powers moving toward the end game, save for perhaps one scene.
That scene is Brienne saving Sansa, and pledging fealty to her, while Podrick feeds his master's new lord the appropriate reciprocal words and Theon nods in approval. There's several things that make that moment stand out. There are real stakes to Sansa and Theon's attempt to escape from Winterfell, both from the hounds barking in the distance and their clear fatigue and stress from traipsing through the snow. There's genuine character development, in the cold giving the two of them reason to embrace, and Theon's attempt to sacrifice himself in order to save his near-sister. Brienne's daring rescue is a thrill, giving solid moments to Brienne, Podrick, and Theon, and having the action feel anything but gratuitous given what's at stake. The aftermath is triumphant, with Brienne finally fulfilling her oath, the poor, constantly embattled Sansa finally having a true protector, and their seconds each having a hand in the result.
But it also stands out because it's one of the few parts of "The Red Woman" where the story is moving inward rather than continuing to expand or running in place. While I'm sure there's much more to come in each of their stories, this is a major landmark in Brienne's quest to fulfill her promise to Catelyn Stark, to Sansa's endeavor to be safe and in charge of her own destiny, to Podrick's desire to help his master rather than hold her back, and to Theon's quest for redemption. Each of these story threads is tied together in one tremendous scene.
That stands out in comparison to the rest of the episode, which has some moments and scenes that are better than others, but for the most part, feels scattershot. A season premiere for a show like Game of Thrones is difficult, because as the series's plot has telescoped out to encompass so many different stories and characters, there's a sense that at the start of a new chapter, it has to check in with each of them (give or take a warg).
The result is something of a hodgepodge of tones and atmospheres and settings, most of them glancing, many of them pretty good, but few of them truly cohesive in any way. There's not necessarily anything wrong with that. Game of Thrones is a series known for its scope, and by definition that's going to require some jumping around, especially as a reintroduction to all of the ongoing conflicts. It just makes it hard to judge an individual episode like "The Red Woman" as anything other than the sum of its parts.
Three of those parts all stem from the aftermath of last season's adventure in Mereen. The best and most promising of them is Tyrion and Varys's journey through the streets of their new home. I could watch an episode of just the two of them bantering back and forth for an hour and be entertained, but "The Red Woman" uses Tyrion's attempt to get to know the place he intends to govern both to illustrate how he, unlike Varys, is not a man of the people however much he may try and care, and that a civil war is brewing in the contentious land they're trying to keep in order. The worst is Jora and Daario's little horse ride to find their queen, which does little other than repeat character beats we're already familiar with, remind the audience of Jora's cheesy stone infection, and move the rescue plot a few spaces forward.
Somewhere in the middle is Daenerys's encounter with another group of Dothraki. The journey to meet the new Khal is a bit silly and crude, but generally amusing, as Dany's captors appear to be the Dothraki answer to a pair of leads in Kevin Smith movie, and Dany's look of palpable discussion when listening to a conversation they don't think she can understand is perfect. That scene, and the ensuing one where the Khal declares his intentions to lie with her regardless of her wishes will no doubt launch a thousand thinkpieces, but each of them lean into a venerable idea when it comes to the mother of dragons -- the way she is at once attempting to project strength and power, but still quite vulnerable, uncertain, and even frightened at what fate might await her. Emilia Clark does a superb job of showing the many shades of her character as her fortunes wax and wane during her conversation with this new Khal. The promise to transport her to what sounds like the Dothraki homeland is a foreboding one, that threatens to add yet another spot on the map for the show's intro.
The least interesting of the stories in "The Red Woman" centered around the events of Dorne. There's something of a shock to the Sand Snakes' coup at the Dornish palace, but we barely know most of these people, so the impact is blunted. Admittedly, there's intrigue Dorne being ruled by someone who's directly antagonistic to the Lannisters, and to the idea that the people of Dorne resented their leaders and yearn to stand against those who hold sway over King's Landing, but there's more promise in the concept than in the execution thus far. (No pun intended.) Similarly, the hokiest two Sand Snakes taking out the Dornish Prince on the boat only served as a reminder of how pointless he was as a character and how annoying, dare I say Poochie-esque his assassins are.
That said, there was more meat on the bone in Cersei and Jamie's reunion. The excitement in Cersei's voice when she heard of a ship on the horizon and said her daughter's name, and the attendant way her expression slowly but surely fell when she saw the floating shroud heading toward her, and the grave look on her lover's face was devastating. The death of Joffrey brought Cersei to anger, to her most bitter and vindictive, but Marcella's death has a much different effect. She is, instead, simply crestfallen, brought as low as she imagined she could be, slowly but surely losing the most important things in her life. The idea that Marcella perishing is particularly devastating to Cersei because she saw her daughter as pure and good, and it made her feel better about herself and all she's wrought, is one that adds yet more depth to one of the show's most complex characters. Jamie's response that they are neither cursed nor bound by fate, but should respond to this horror by lashing out at those who brought it to their doorstep does more to warrant interest and excitement as to where the conflict with Dorne will lead than all the bloody coups and painful attempts at bon mots that preceded it.
The episode takes time to check in with the rest of those across Westeros and beyond. Arya's still blind and begging on the streets, being tested by Jaqen H'ghar in a bow-fight that seems headed toward a Karate Kid montage. Margaery Tyrell is still in prison, thoroughly cowed and shell shocked after her repeated encounters with her captors. The High Sparrow plays good cop/bad cop with her as she asks how her brother is, with little more than an ominous assurance for her to go on. And even Ramses has a brief moment of humanity, couched though it may be in his usual sadism, as he mourns the loss of the only lover who shared his deranged sensibilities, and feels the blowback from his father for how his extracurricular activities led to the loss of both Sansa and Theon, threatening both the Boltons' hold on Winterfell and Ramses' claim as his father's heir.
But the other major fireworks of "The Red Woman" take place at Castle Black. Ser Davos proves himself both for his kindness, his cunning, and his wits when he collects Jon Snow's dead body, brings in Ghost, and holes up with everyone in a storeroom before sending Edd to rally support among The Wildlings. Davos's dry wit carries the day in these scenes, that still take care to sweep across the desolate environment of The Watch and its guests.
At the same time, Thorne has an impressive moment defending himself in front of his fellow brothers after confessing to the murder of their Lord Commander. As I wrote in my discussion of the Season 5 finale, what makes Thorne's actions and his speech her interesting is that you believe he truly means what he says, that there's a certain noble impulse behind his choice even if it seems foolish or wrongheaded to the audience. Thorne's disdain for Jon Snow has been clear from the beginning, and he admits to the assembled that he had no love lost for the man. But there's something genuine when he says that he never disobeyed an order, that as harsh or self-important as he could be, his assassination, joined in with the other commanders, was about something bigger than him, a tradition and a brotherhood that he saw posed to be destroyed under Jon's care. I don't exactly admire the man, but I admire the show for making him more than the one-dimensional villain he occasionally devolved into in previous episodes.
Finally, there is the titular Red Woman. She sees Jon's dead body and has a moment of questioning. She saw him fighting and Winterfell in her vision, and yet there he lies, white as a stone. She promised Stannis that sacrificing his daughter would lead his side to victory against the Boltons. It becomes much more of a question, smoke monster or not, how much she has or had real power, and how much of her prophecies and persuasions are simply more of her admitted parlor tricks. Then, she undresses and reveals a much older, more withered woman, and the nature of her abilities is at once both more and less a question. It's a revelation, meant to be one of those trademark big moments in Game of Thrones, but for the time being, it just seems strange with little immediately obvious point at this juncture.
Perhaps it simply fits into what appears to be the animating principle for the rest of "The Red Woman" -- giving the audience just enough of a taste to rekindle their interest in the spiderwebbed plots that stretch across Westeros, while pointing us in the direction the balance of the season will follow. The episode feels more like a grand reintroduction, a preview almost, for what's to come than a unified story all it's own, and familiarity with the shape of the series' arcs takes some of the thrill away from events like that closing twist. But it's enough to keep us talking, and wondering, and tuning in next week, so I suppose it'll do just fine.
Typical Downton drama, truly SHOCKING! Probably the most shocking moment after Sybils death
I don't think that I could've cried any more than I did. This episode was beautiful and heartbreaking. The emotions were so real, you could tell. Sad to see Fred (and Luke) go.