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Anyone else feel the movie suffered from a bit of "unfulfilled potential" in not really closing the full circle of its plot?
Okay, so the world of the lands surrounding that Stygian railroad weren't as thoroughly thoughtfully fleshed out as I'd've liked. But, it was a nice way for Donna and Tim to meet and return, and it gave us a last (and better) goodbye for Hank.
And for everyone mad that Hank didn't get his return, consider: Donna and Tim woke up in the bodies they'd left behind: how would that have worked out for Hank? :-(
"With all due respect, Madame, where are you going with this?"
"Wherever I goddamn like!”
"Whoever the fuck you are, stand down and let her speak."
Yup. Gotta love Chrisjen Avasarala more and more all the time.
"We are chaotic."
"But Chaotic Good."
Indeed. :dagger_knife::dragon:
Now that was The Ultimate Odd Couple Saves the World (and Each Other).
Taking "screwing things up for the better" to a whole new wormhole x-treme.
Ever so oddly—paradoxically, perhaps?—Legends of Tomorrow seems to perform at its best when it goes full-out timey-wimey wacko.
I had forgotten how much I missed ProtoMiller. Daaamn.
Gaahhh! MK! Dammit. In some ways, she basically pulled a Beth: suddenly just couldn't take it any more, and found a train named Ferdinand to throw herself in front of. But still... Dammit. Would like to have seen more of and from her before she went and did something like that... Sigh.
Even so, I'm kinda hoping that, somewhere down the line, we'll find out that MK left some sort of surprise running on some computer server somewhere that'll suddenly spit out valuable information or crash some big neo network at just the right time... Ah, well. I can hope, at least.
And maybe we'll get lucky and Ferdinand will go the way of Aldous Leekie.
So I suppose the final Answer is that the world split into two identical worlds, most of the people continuing on in only one of the worlds and a small fraction of the people continuing on in only the other, those in each world baffled at where everyone else "departed" off to. That's the what Answer, anyway. The why is left as an open mystery that may never be solved in either world...
But the story never was about what happened that day or why, was it? It was about what happened in and to the lives of those who continued on in the more populated world from which 2% had apparently "departed", and especially the lives of the Garveys and those around them, most especially Kevin and Nora. And in that it did deliver. Wow. And given all of that, what an ending. It would probably have taken too much and too long to depict all of what happened to Nora, so I appreciate how the story-telling summary approach fit in more easily. And how these two people, terribly broken by the massively complex fallout of the "departure", finally rejoined, each (mostly) free of the baggage that'd been haunting them for so long...
Oh, yeah. And: Yay! Laurie lived! :-)
Thank you White Rabbit Productions, Film 44, Warner Bros. Television, and HBO Entertainment for this wildly imaginative and richly illustrated ride, and for not giving up on it before giving it a true and fair conclusion.
Good tough start to follow last season's cliffhanger.
I do wish that the Stormtroopers weren't always portrayed as hosing great splays of blasterfire and still utterly unable to hit any actual target (at least come up with some reasons why these professionally trained too-accurate-for-sand-people soldiers still miss every single shot).
But other than all that, good stuff. And wondering if we're gonna see more hints of A New Hope comin'.
Muriel is so oddly adorable in her utter cluelessness.
Definitely got the impression that Sidious was very much enjoying this (then quite rare) opportunity to flex.
Best line:
"Oh, look at the time!" —Hondo Ohnaka
This combination of decent story-advancement with sloppy details can be a little frustrating at times.
For example:
Brainy's insta-leap in determining the local Leviathan headquarters location?
Lena's an instant expert in programming Kryptonian control interfaces?
The writers have demonstrated stronger writing skills before, so we know that can do it. But... Sigh.
Between her intense training from childhood by no less than Nyssa (now that was a surprise) to that "this is going to be fun" fight (albeit clumsily led into), I couldn't help thinking for a moment of Mia as future Star City's own Hanna (if not quite as realistically so).
Mostly enjoyed it overall, but...
That nonsensical technobabble about how Chuck finally figured out how to end the blackout was complete gobbledegook. Please, writers, learn a little about your subject before you go waving your magic story wands like that.
Anyone else see those snowy mountains outside the cell window at the end, and think of the long training time spent far away from Gotham that made Bruce Wayne into the person ready to become The Batman? Hmm... Too soon?
Wow. Just...
Okay, if you're one who truly hates musical episodes and just can't fathom the thought that a non-musical TV show can come up with a concept that fits a musical into the storyline and execute it well, then maybe skim through this one or find a synopsis somewhere and move along.
But, if you can open your mind a bit and give it a chance...
Musical episodes just aren't the cool concept that they were some decades ago. I still cringe whenever I hear that a show I watch is doing one. But I've learned to give 'em a chance, 'cause sometimes they don't suck. I think that most productions these days have learned that, if they're gonna do a musical episode these days (as opposed to forty years ago), it can't just be a cheesy sort of fun; it has to be solidly good or it'll backfire hard. They can't all live up to what The Magicians did with the concept (especially with "All That Josh" S03E09 and "All That Hard, Glossy Armor" S04E10), but...
Then again, Doom Patrol already has such a pantheon of all kinds of Weird about it...
IMO, this one was actually pretty good. It made sense within the plot (especially concerning Isabelle's super-naïve experience and wannabe musical theater background) and it was executed surprisingly well. (And we got to see Keeg as a Disneyesque Happy Fun Ball.) Personally, I found it fun and it suited the story. And knowing that the actors all sang their own songs kinda adds to it (especially since since of 'em are pretty good).
Not everyone will agree, and that's okay. This show's wide range of weird almost guarantees that not everyone will enjoy every episode.
In case anyone's interested, more about what went into the episode at https://www.tvinsider.com/1108762/doom-patrol-season-4-episode-9-musical-songs-immortimas-day/
The story/plot overall was good enough to be fun, but not especially good.
But this show really does know how to have loads of fun with its characters.
And so,
Robo-Sarah,
following a brief bout of discovery and resistance,
gets her invitation renewed
to remain
in the Twilight Zone.
Hmm. Let's let two superpowered but very emotionally and socially immature children play completely unsupervised for a couple of days. What could go wrong?
Okay, so for some reason, the 100+ year old kid still is still physically a kid. The show already has weird anti-aging phenomenon sprinkled all over. Okay. But, after 100+ years of life experience (even if a bunch of it was spent locked away), she still has the emotional maturity of a little kid? How does that happen? It just makes it a little more difficult to take her or her issues seriously.
So the Fountain of Imperium is sort of a cousin to the Mycelium? Iiinteresting...
As fun as all of that was, who else thinks that not hovering a while to search for Kayla (before blasting away into space) is going to come back and bite them later?
Nice seeing that brief cameo-moment of original-timeline Zari. I hope we get to see more of she who was the center of one of the best time-loop episodes ever.
C'mon, Jess, you know not to touch evidence like that. DNA? Fingerprints? Evil genius booby traps?
Otherwise... iiinterestinger...
Did anyone else wonder what Pyg was really up to here, what his point was? No cameras to publicize and expose the rich's eating of the poor? No poisons in the pies to punish the rich? Did he really think that he'd be teaching these rich a lesson that they'd actually take to heart? What was the point? Just seems inconsistent with his earlier intentions to actually clean up Gotham's corruption. And who else was surprised that Pyg seemed trying to kill Jim, the one GCPD officer he actually respected? I get the desperation of escaping capture, but...
Oddly, it ending up being a good thing that Oswald left that one knife in the odd place that he did... :-O
Other than those niggling bits, great episode. So many threads winding their wiggly ways all over Gotham, I'm sure to eventually collide in myriad interesting ways...a
Damn. As if it wasn't enough, last season, to have to sit helplessly and watch Kendall Malone executed and obliterated in front of her, but now Cosima's stunned out her attempts to calm Yanis by the unexpected bullet slamming into Yanis's skull. She may never see the quiet intellectual experience of the laboratory quite the same way again.
Wow. Something about being a Marvel TV character named Ward just really screws a guy up, doesn't it?
Every season needs one Matt-centered episode. Filled with a dizzying mix of utter wackiness and seeming arbitrariness, but with that stubborn thread of persistent-if-evolving Purpose almost guiding him through to... somewhere...
