It‘s just gotten plain stupid. No more words. Just sad. That show died with Glenn and hasn’t moved on from there. 1.5 seasons with not moving forward even the slightest. The only thing that gained some weight is Norman Reedus. That annoying dude Negan with his dull companions is so hard to endure. Killing off Carl? Dumbest decision. Rick getting his face bashed in again and runs..again. Can’t help but laugh about this parody it has become of itself.
What the hell was that? Today's on Rick's "plan" goes off the rails. What the hell were Tara and Daryl doing? He needs to understand that going full on Rambo doesn't solve anything. He basically screwed the whole plan up. When Rosita is the voice of reason, you know you're doing something wrong. "I believe in Rick Grimes". That scene really seemed like a turning point for her character, which only makes me think death is ahead for her.
Poor Gabriel! The look on his face when Eugene left got me cracking. He had a "wtf? Was he real? Did that happen?" look on his face. He went there to take Negan's confession, to free Dr Carson and to make Eugene get his courage, and besides Negan's he failed in the rest of them. I loved the lightning in the scene where Gabriel was talking to Eugene. it felt like divine inspiration. Great visuals!
I liked the scene where the walkers came on flooding the Sanctuary. It was good.
At this point I'm trying to figure out who's better to understand, Eugene or the garbage people. They just need subtitles attached. Speaking of, Eugene seems a completely unredeemae character at this point. "They're former travelling companions, nothing more". Though, I liked hiss truffle, it seemed very real.
Jadis has a huge crush on Rick. He wants to sculpt him? Wtf? Although, their negotiations ways crack me up. Btw, Jadis is their leader, why didn't the other garbage people shoot Rick? He had no weapon! And Winslow 2.0, nah, the original makes it better, lol.
Let's hope the mid-season finally improves.
I want to say that I really liked this episode, but that wouldn't be totally true. It was obviously the best one since the season started, however there are so many bad decisions by the writers, not only in terms of plot but especially characterisation. Every single person in this show has been dumbed down since Negan's first appearance, I think the only one for whom that did not happen was Carl, and look where that got him. For the last two seasons his character has clearly improved, if only for actually being the only rational person among all of the group... so let's kill him off!
This show keeps getting more frustrating with each episode, I keep watching it because, like mostly everyone else, I've invested too much time in to only drop it now.
And it's official folks, after months of waiting they announce that the episode will air in October and lead into their new series. Blaming covid-19 was low. Funny how they aren't having any issues post-producing that new show eh? Also funny that NO other show had this unique "issue" of not being able to finish an already finished season. Westworld aired an entire season while we waited for one stupid episode of this show to get it's crap together. What a load of horse shit this entire show has become. I hate starting things and not finishing them, but in this case I'm calling it quits before I waste any more of my time just like most of the actors did. I can tolerate bad writing and the show going to hell, but being lied to and lead on was the last straw.
Fuck off walking dead.
I love this show, I don't know why others don't. I'm praying for a season 2
Who is writing this crap? It's absolute hot garbage.
For example the garbage truck attack on the savior compound... Who were the snipers covering Daryl from? How were the walkers supposed to get in with the garbage truck still in the hole? Why was it gone from the hole when they are seen entering?
Or, when Rick had the garbage patch kids' leader. There was no threat there, the zombie was decapitated and Rick had no weapon on her. Why wouldn't one of the 20 people surrounding him with guns just kill him?
When you're sitting in front of your TV, rolling eyes, yelling at the screen "Come on, just die already!", then there is something fundamentally wrong with the pacing and presentation of an episode.
Does anyone else feel emotionally detached from everything that happened? Maybe it's because of the long gap. Or maybe it's franchise fatigue.
The many adventures of Carol and Daryl. Today Dog will knock over Carol's soup, Carol will capture a rat, let it free, and chase after it on the floor, Daryl will fix his bike with some black cords he tore from cars, and Carol repeatedly stabs a wall with a knife. Spare yourself.
TWD writers be like "We have no idea what to do in this episode. Let's just trip on some acid, use some old footage and call it a day."
This season has been really shit. Seriously hope S4 steps it up.
This episode felt so awkward. I enjoyed the previous two ones but this, I don't know why but it felt weird. I like that the writers introduced the moral dilema of war prisoners. And of course Jesus would be the moral compass. and we all know what happens to people being the moral compass on the show. But really? The Saviors are ruthless killers. They basically enslave people and threaten them to submission. Of course there're some of them who could arguably be saved but getting them to live in the Hilltop after what they did it's risky to say the least. The fight between Morgan and Jesus was kind of absurd. I just thought someone will come to knock Morgan off. However, it was a good was to show Morgan's inner fight. But leaving the Saviors escape without no one even trying to stop them. Like I said absurd. I get the feeling that Daryl is gonna gun down each of the Saviors right in front of Jesus. I like the extra savage Daryl this season.
I was kinda expecting an ending like this. Sometimes this show is way too predictable. "We will lost no one of our ranks", well, you just did. He totally jinxed it. I just hope Jerry is not among them. but I do like that this is going to change Ezekiel's mentality.
Gregory's ability to become a bigger dick episode after episode is astonishing. Now he steals pancakes? lol. the comic relief with Kal was great.
That Morales' scene. Well, so much for his appearance. He told us everything: no family, no life, no nothing I'm Negan, bye bye. 15 minutes on scene and he gets killed off. He just came back after 7 seasons to monologue Rick. I loved how Daryl gave no shit about killing him.
Seeing Aaron with the baby right after losing Eric was a great touch. Aaron is slowly becoming one of my favourite characters. His performance today was outstanding. His pain looked so authentic. We hook on his grief but honestly, Eric hasn't been given any character development so I didn't feel bad cause he died, but for Aaron.
It's hard for me to admit this since I've been a fan for such a long time, but what the f**k is going on this season? Why are those people getting dumber and dumber with each episode?
The whole season is unnecessarily stretched out, don't get me wrong, I would have understood and loved it if it was because of character development but there's been almost no character nor plot development. Are they trying to set up the second half of the season or what? If that's the case, it feels like they've been doing it wrong.
We've been sent good weather today.
The Sinnerman plot line was getting dumb and, quite honestly, I felt it was dragging this season down, so I'm glad they've evolved it into something more interesting. We obviously knew there was something fishy going on with Captain Smallville, now we finally have confirmation he's not like everyone else. I'm curious to see how this new character will fit in the story...
Oh, and I just couldn't take Sinnerman seriously anymore as soon as Lucifer drew those cute eyes on him. Really, I can even hardly remember what he said since then, I was too busy laughing about it.
Anyway, Nickelback on repeat? LMAO!!
Last week's episode fucked me up so hard. This one did too, although in a slightly different way.
First of all, a little piece of advice to Serena and Aunt Lydia: if you care about this pregnancy so badly and want June to carry to term, then maybe it's not the greatest idea to try to strangle her or show her the body of the guy who helped her and force her to admit that it's her fault. Just a thought.
There is a weird amount of sexual energy between Serena and June. Every time Serena confronts June, it's like she's 2 seconds away from hate fucking her against a wall. I don't know. Maybe I'm reading too much into it, but that's genuinely the vibe that she gives off.
Speaking of Serena, this is a character that I literally think about all the time. I read an interview with Yvonne Strahovski once where she really nailed this on the head: Serena is an incredibly intelligent, presumably well-educated woman who had a successful career before Gilead. And now she's trapped in a world - a world she helped create - where she can't work, can't read, can't be in charge of anything and her opinion on most things doesn't matter. She's like a caged animal with nothing stimulating to do all day. To her, this baby will be an escape from her terribly boring reality. I'm sure she wants to be a mother, but I think a part of her also craves something to occupy her mind and that's what motherhood will provide her with.
(Sidenote: all the horrible religious bullshit and ritualistic raping aside, I'd rather drown myself than live in a world where your only entertainment is sitting around all day and knitting. I would die so fucking fast in Gilead, you have no idea.)
And no, that ending didn't give me anxiety at all, why do you ask?
WHY DOES THIS SHOW MAKE US HATE CHILDREN SO MUCH
Next episode might be about them watching the paint dry on the wall.
[8.4/10] We live in the finite. Everyone reading this has a limited amount of time on this plane of existence. Maybe you believe there’s an eternal paradise waiting on the other end. Maybe you believe in reincarnation. Maybe you believe that we’re simply waves whose essence is returned to the fabric of the universe. Whatever you believe, almost all of us can agree that whatever we have here, our fragile world and fragile bodies, are not built to last.
That is both terrifying and maddening: terrifying because, like Janet, none of us truly knows what’s on the other side, and maddening because there is so much to do and see and experience even in this finite world, and given how few bearimies we have on this mortal coil, most of us will only have the chance to sample a tiny fraction of it.
So The Good Place gives us a fantasy. It’s not a traditional one, of endless bliss or perpetual pleasure or unbridled success. Instead, it imagines an afterlife where there’s time enough to become unquestionably fulfilled, to accomplish all that we could ever want, to step into the bounds of the next life or the next phase of existence or even oblivion at peace. The finale to Michael Schur’s last show, Parks and Recreation, felt like a dose of wish fulfillment, but with this ending, The Good Place blows it out of the water.
Each of our heroes receives the ultimate send-off. By definition, nearly all of them have found ultimate satisfaction, a sense of peacefulness in their existence that makes them okay to leave it, having connected with their loved ones, improved themselves, and accomplished all that they wanted to. If “One Last Ride” seemed to give the denizens of Pawnee everything they’d ever wanted, “Whenever You’re Ready” makes that approach to a series finale nigh-literal for the residents of The Good Place.
And yet, there’s a sense of melancholy to it all, if only because every person who emerges from paradise at peace and ready to leave, has to say goodbye to people who love them. Most folks take it in stride, with little more than an “oh dip” or an “aw shoot”, but there’s still something sad about people who leave loved ones behind, and whom the audience has come to know and love, bidding what is, for all intents and purposes, a final farewell.
But The Good Place finds ways to make that transcendent joy for each of our heroes feel real. Jason...completes a perfect game of Madden (controlling Blake Bortles, no less). He gets loving send-offs from his father and best friend. He enjoys one last routine with his dance crew. He inadvertently lives the life of a monk while trying to find the necklace he made for Janet. It is the combination of the idiotic, the sweet, and the unexpectedly profound, which has characterized Jason.
Tahani learns every skill she dreamed of mastering (including learning wood-working from Ron Swanson and/or Nick Offerman!). She connects with her sister and develops a loving relationship with her parents. And when it’s time to go, she realizes she has more worlds left to conquer and becomes an architect, a fitting destination for someone who was always so good at designing and creating events for the people she cares about. Hers is one of the few stories that continues, and it fits her.
Chidi doesn't have the same sort of list of boxes checked that leads him to the realization that he has nothing more to do. Sure, he’s read all of the difficult books out there and seemingly refined the new afterlife system (with help from the council) to where it’s running smoothly, almost on automatic. But his realization is more from a state of being happy with where everything is, with what he’s experienced.
He has dinner with his best friend and Eleanor’s best friends and has so many times. He’s spent endless blissful days with the love of his (after)life staring at the sunset. His mom kissed Eleanor and left lipstick on her cheek, which Eleanor’s mom wiped off. I love that. I love that it’s something more ineffable for Chidi, a sense of the world in balance from all the bonds he’s forged rather than a list of things he’s done. And I love that he felt that readiness to move on for a long time, but didn’t for Eleanor’s sake.
Look, we’re at the end of the series, and I’m still not 100% on board with Eleanor/Chidi, which is a flaw. But I want to like it. I like the idea of it. And I especially like the idea of someone being at peace, but sacrificing the need to take the next step for the sake of someone they love. The saddest part of this episode is Eleanor doing everything she can to show Chidi that there’s more to do, only to accept that the moral rule in this situation says that her equal and opposite love means letting him go. Chidi’s departure is hard, but his gifts to Eleanor are warm, and almost justify this half-formed love story that’s driven so much of the show.
Unfortunately, no matter how much peace he finds, Michael cannot walk through the door that leads to whatever comes next. So instead, he gets the thing he always wanted -- to become human, or as Eleanor puts it, a real boy. Ted Danson plays the giddiness of this to the hilt, his excitement at doing simple human things, the symbolism of him learning to play a guitar on earth, on taking pleasure in all the mundane annoyances and simple fun and things we meat-sacks take for granted. Each day of humanity is a new discovery for Michael, and there’s something invigorating about that, something heightened by his own delight at not knowing what happens next in the most human of ways.
The one character who gets the least indication of a next step is Janet. We learn that she is Dr. Manhattan, experiencing all of time at once. We see her accept Jason’s passing, hug our departing protagonists, and take steps to make herself just a touch more human to make her time with Jason a little more right. But hers is a story of persistence, of continued growth, in a way that we don’t really have for anyone else.
Along the way, the show checks in with scads of minor characters to wrap things up. We see the other test subjects having made it into The Good Place (or still being tested). We see Doug Forcett deciding to party hard now that he’s in Heaven. We see Shawn secretly enjoy the new status quo, and Vicky go deep into her new role, and The Judge...get into podcasts! As much as this show tries to get the big things right for all of its major characters, it also takes time to wrap up the little things and try not to leave any loose threads from four seasons of drop-ins across the various planes of existence.
That just leaves Eleanor. She takes the longest of any of the soul squad to be ready. She tries, becoming okay with Chidi’s absence. She overcomes her fear of being alone. But most importantly, she does what she’s come to do best -- help people better herself. There’s self-recognition in the way her final great act, the thing that makes her okay with leaving this plane and entering another, is seeing herself in Mindy St. Clair and trying to save her. The story of The Good Place is one of both self-improvement and the drive to help others do the same. Saving Mindy, caring about her, allows Eleanor to do both in one fell swoop.
So she too walks through the door, beautifully rendered as the bend between two trees in a bucolic setting. Her essence scatters through the universe, with one little brilliant speck of her wave, crashing back into Michael’s hands, reminding him of his dear friend, and inspiring him to pass on that love and sincerity back into the world. It is, as trite as it sounds, both an end and a beginning, something circular that returns the good deeds our protagonists have done, the good people they have become, into some type of cycle that helps make the rest of this place a little better.
Moments end. Lives end. T.V. shows end. The Good Place has its cake and eats it too, returning to and twisting key moments like Michael welcoming Eleanor to the afterlife, while cutting an irrevocable path from here through the crash of the wave. It embraces the way that the finite gives our existence a certain type of meaning, whether we have a million bearimies to experience the joys and wonders of the universe, or less than a hundred years to see and do and feel whatever we can. And it sends Team Cockroach home happy, wherever and whatever their new “home” may be.
In that, The Good Place is a marvel, not just because it told a story of ever-changing afterlife shenanigans, not just because it tried to tackle the crux of moral philosophy through an off-the-wall network sitcom, but because it ended a successful show, after only four seasons, by sending each of them into another phase of existence and made it meaningful. There’s a million things to do with our limited time on this planet, but watching The Good Place was an uplifting, amusing, challenging, and above all worthwhile use of those dwindling minutes, even if we’ll never have as many as Eleanor or Chidi, Michael or Tahani, Janet or Jason, or any of the other souls lucky enough to be able to choose how much eternity is enough.