[7.1/10] Pick an ending, am I right? First it’s having to remove the soul stone from Mega-Ultron. Then it’s removing all the stones. Then it’s getting them in the infinity smasher. Then it’s using Hawkeye’s Zola arrow on Ultron. Then it’s Zola and Killmonger having an uber showdown. Then it’s Cosmic Dr. Strange trapping them in a pocket universe. Then it’s The Watcher having planned it all this way from the beginning.
It’s a little exhausting, making it feel like we didn’t really build to any of this, but rather, it just happened by fiat. The best you can say is that The Watcher picked these folks knowing the progression and so saw the parts they would play, but it’s not especially clear how and why this was the necessary path or that these were the necessary people to walk it.
(As an aside, why Gamora? I know there was one episode of What If? that didn’t get made because of COVID and other timing constraints. Was it hers?)
Still, some of the interactions are fun. Thor-as-Sterling-Archer is still a hoot, and his happy-go-lucky dopeyness around the other “Guardians of the Multiverse” made me laugh. I also loved the bond between Captain Carter and Black Widow. Captain America: The Winter Soldier is one of the MCU’s better films, and I wouldn’t want to trade it, but this finale definitely made me want to see more adventures of Peggy and Natasha as a team.
And there’s some solid emotional stuff here. Cosmic Strange getting a little redemption after his early mishap is a nice beat. The stinger with Captain Carter getting to see her lost love again much as Steve did is a nice touch too. And I like Black Widow returning to the Avengers-less timeline from episode 3, finding a new home and place to belong, with that being the abiding moral of the series. The overall themes and character beats work well.
It’s just the big climactic battle -- which in fairness, is most of the episode -- that falls flat for me. There’s some cool visual moments, mostly in the way of Cosmic Dr. Strange channeling the dark forces with some multicolored splendor and turns into a tentacle monster. For the most part, though, it’s just a bunch of undifferentiated fireworks and fisticuffs without even the imaginative fun of The Watcher and Ultron’s smash-tour through the multiverse. It wasn’t bad by any means, but nothing we haven’t seen before, without any new twists or wrinkles to set it apart despite the advantages of working in an animated medium.
Overall, I still enjoyed What If? quite a bit as an entertaining lark. The anthology format is a good one for a comic book universe, and several of the remixes were inventive and clever. It’s just the attempt to put them all together, and leave several of the stories unfinished so that they could be concluded in the grand finale, that I’d count as a misfire.
Continuing to confirm my theory that everything involving Wakanda is leagues above everything else in the MCU, this is a big improvement over last week's disappointing outing, even if the show continues having problems pacing itself. This is a big concept to do in 30 minutes - one that involves literally removing one of the MCU's biggest characters from the equation entirely - and while it does a great job in setting the stage, once the stage is set, it just... stops. This is a shame too cause the concepts explored here are really cool and fascinating, and like some prior episodes clearly needed more time to breathe.
Still, the good stuff is damn good here. Killmonger is one of the MCU's best villains and here we get another glimpse into just how good his planning, manipulation, and intelligence is. And just like in Black Panther, you can't help but root for him despite his obvious lust for power here, even if it's with extremely noble intentions. I do wish we got a more interesting, longer conversation between him and Rhodey about their differences in ideology, but the short runtime is once again to blame there. Still though, enjoyed this quite a bit.
That was an interesting episode for sure.
First things first, what the hell happened to the animation? After stepping up the game last episode, this one took a serious nosedive in quality up the point where some movements and facial expressions just look motionless and ugly. Disney has a huge budget for this show, make use of it.
Again, many former (and current) MCU actors return to voice their characters, with notable exceptions of Robert Downey Jr, Scarlett Johansson, Liv Tyler and Brie Larson.
The replacements did a solid job, especially since their parts where not that big, with the unfortunate exception of Lake Bell, who tried her best impression of Johansson but made Natasha come off as robotic and emotionless (didn’t Laura Bailey, who can do no wrong voice her in Ultimate Spider-Man? How about that instead?)
The concept was interesting. What if the Avengers where killed off one by one before even coming together? What other options would Fury have?
The snippets of the OG Avengers were something to say the least. Most of their deaths felt (unintentionally?) funny and the episode didn’t really seem to know what tone to aim for. Or maybe by focusing mostly on Nick Fury they took the more emotional element out of purpose. Who knows? I believe that could have been made clearer.
Loki is the best part of this episode, because he is Loki and always the best part in anything he shows up in. It was fantastic seeing him as a respected leader among Asgardians, leading his people, fighting our main villain and wrecking absolute havoc on Earth in the most dramatic way possible to avenge his brother. He is Loki, of course he goes over the top.
I admit, despite Loki being awesome and the concept being interesting, I almost rated this episode down, if it weren’t for the twist villain in the end.
I should have seen this coming and it makes so much sense in retrospective, but in the moment it caught me off guard. Tragic and well-executed, it actually deserved more attention.
In other news, it was nice seeing Betty Ross again and since she plays such a huge part in Bruce‘s life, I‘m still puzzled Marvel never brought her back before (either with Liv Tyler or another recast).
Some funny tidbits are actually delivered by Coulson and his man crush on Thor and his overall gorgeousness. And his password.
It’s a solid episode. Definitely better than the mostly dull first one, but not nearly as great as the second one.
"He's dead." — Black Widow
Natasha just killed Tony Stark
Fury: "They look like they're from Earth?"
Coulson: "Maybe Middle-earth?"
Loki: "We are not allies."
Fury: "Then let me help you."Uh... Fury... that's how this works
Coulson: [Sighs] "Hashtag-Steve-Steve-Steve-I-heart-Steve-0-7-0-4."
Same.
Fury: "I'm not the only Avenger left."
Ouch, that hurt
Best one yet? Best one yet.
This one is the most interesting by far. Like, while Captain Carter hits the same beats as TFA and T'Challa's is original, I like this one because of its scale. It meets all the Avengers and kills them all! Like, that's an insane number of changes compared to the "sacred timeline". Anyway, this show is getting better with each episode.
7/10
[7.7/10] I was so pleasantly surprised by this! I didn’t really know what to expect, with this being Marvel Studios’ first foray into animation and the high concept premise of the show. But I really enjoyed what we got.
For a while, I expected that this was really just going to be the plot of Captain America: The First Avenger except with Peggy slotted in rather than Steve. And that would still have been perfectly fun! Watching this show hit the same beats of that film, except with small but significant difference thanks to Captain Carter being in the role rather than Steve Rogers would have been worthwhile on its own.
For one thing, I like how this episode, as Agent Carter did, focuses on how even with her accomplsuhments, Peggy faces discrimination because of her gender. Of all the people for the MCU to bring back, it’s funny that it’s Bradley Whitford’s returning from the all-but forgotten Agent Carter one-shot. But he makes sense as someone who always thought too little of Peggy, stepping into a leadership role after Col. Phillips is shot, and creating an internal impediment.
To the same end, I like how the episode flips the dynamic with Peggy and Steve, but tshowing how they still understood one another and would bond with one another, even if their situations were changed. The two still falling in love, only to have Peggy making the heroic civilization-saving sacrifice play instead, is still heart-rending, and a nice sign that even as major things change, some things stay the same.
But I also liked the places where this episode goes off the reservation! Howard Stark building a proto-Iron Man suit for Steve Rogers called “The Hydra Stomper”? Yes please! Captain Carter saving Bucky, thereby avoiding the Winter Soldier situation (at least with him)? Hell yes. Her finding the tesseract and bringing it back to the good guys on an early mission? Awesome!
The further along the plot of First Avenger that this episode gets, the more it diverges and makes its own rules and own story, and I really appreciated that. Her team’s attack on Red Skull’s stronghold made for a rolokcing conclusion. I don’t know who Red Skull’s “champion” was. (Hive? A Chithuri?) But watching Peggy fight a giant squid monster while the Howling Commandos rescue Steve made for a killer conclusion.
I was especially impressed by the fight sequences here. I have to admit that I had some reticence about the cell-shaded graphics. In truth, the vocal tracks didn’t always sink perfectly. But the action was surprisingly fluid and well-staged. The show uses the freedom of animation to add greater flow to Captain Carter’s badassery, and some of the combat has a more impressionsitic style that makes it top tier MCU fisticuffs. Even the use of lighting and color in these fights stand out. Going into What If...? my biggest concern was the visuals, but they came through like gangbusters.
Overall, this was an exciting start to this new show and raised my expectations for What If...? to be more than a shiny lark, and instead be a meaningful exploration of what these changes in the path might look like.
I don't like dream sequences at all. Like any tool, I guess they're neutral, and dependent on the hands that wield them, but I can honestly count the number of dream (or vision) sequences I've seen that have felt narratively and/or artistically engaging on two hands. Which makes it even more impressive that this teen super hero show just did an episode that was at least 50% dream sequence and managed to knock it out of the park to a degree that's honestly a bit scary.
I'd enjoyed the parts of the previous episodes where we got a taste of Tyrone and Tandy's empathy powers, and in hindsight, I really appreciate the way those glimpses built towards what this episode did. The creative team manages to lend a weight of emotion and purpose to these abstract happenings that made them feel both moving, scary and consequential. I think the most important part is, that even if these powers are rooted in trauma, the prevailing mood in the dream sequence is one of empathy, sympathy and connection. Tandy and Tyrone recognise each other's pain, they recognise the pain and joy in the people they're channeling, and the show manages to make that connection feel comforting and uplifting for me as a viewer, even if I'm intermittently (and deliberately) unsettled by the imagery and trauma involved.
I'm honestly a bit flabbergasted at how well the show does these things, and I'm really happy it exists.
Side note: Still a bit on the fence when it comes to Olivia Holt; the directors/producers don't quite seem to have cracked how to get the same level of performances out of her compared to those of the rest of the ensemble. It's not like she's bad or anything, it's just that the level of the rest of the cast have been such that her perfectly competent-but-nothing-more performance sticks out a bit.
Just like the other three finales, Hawkeye's final episode turns out to be more personal and less focused on big reveals, much to it's benefit. This is a blast of an episode, and manages to find it's footing in the midst of all of the moving parts to find a grand unifying theme of found family and shared loss. All of our major players here save Clint - Kate, Yelena, Maya, and even the LARPers to an extent - all have found their homes not in their blood relatives but in those they come to find to be family. Kate's ultimate rejection of her mother in their final moments together cements that theme and I really love how messy that is. Not every family is good, some just kind of suck and unfournately Kate's isn't really that great. As for Clint's side, his confrontation with Yelena is one of his best scenes in the entirety of the MCU, mainly for how much you really get to see Jeremy Renner showcase his acting chops. This is a tired, tired man who is sick of the fighting, and seeing him only restrain Yelena as he is nearly beaten to death is hard to watch - and it only makes their subsequent talk over the impact that Natasha had all the more impactful.
Oh, and how could I forget about Vincent D'Onofrio as our favourite crime lord himself? While certainly not here for long, he slips right back into the role like he never left, and while certainly toned down from his Daredevil days (an impossible to avoid side effect of being in a more lighthearted, family friendly show like Hawkeye), he's still the Kingpin we know and love, and his physical acting is impeccable. Especially love how beefier he is like in the comics, beefy Kingpin is best Kingpin. Excellent finale!
After some of the big emotional beats that permeated all of last episode, Hawkeye decides to step back and focus on another character in particular this time around - specifically that of Yelena Belova, the standout from Black Widow this past summer and her experiences during and after The Blip. In fact, Natasha's ghost is felt throughout this entire episode, and while it's called "Ronin" it's clear that Jonathan Igla and his writing staff is more interested in how somebody like Barton became the Ronin rather then the persona itself. Grief has been a consistent theme throughout Phase 4 and here it's clear that grief, once again, is what propelled Clint to do what he did and continues to rule over his entire life. Both him and Maya are two sides of the same coin in that regard and their scene together (plus a great action beat) is an easy highlight here.
But yeah, this is Yelena's episode to lose, and her interactions with Kate are the easy standout here. Florence Pugh is great as per expected, and while this episode doesn't shine visually or even camerawork wise like some of the prior episodes it's got some strong writing. Really love Yelena's almost nonchalant attitude towards talking to somebody who was fighting her just a couple of hours prior, and her comedic timing is impeccable here. The reveal at the end is also a gamechanger, not just for the show itself with our new mastermind unveiled but also for the rest of the MCU as the possibilities of who can show up and when has officially changed - let me tell you, I nearly screamed. Top tier stuff once again from Marvel.
I'm tired of stories that tell and don't show. Yet none of this rubs me the wrong way as much as character arcs. You see, in many MCU media, there are character arcs where the writers are only concerned with moving from Point A to Point B. The problem is that they disregard the middle part, the journey from Point A to B. And if you've heard the saying "it's about the journey, not the destination", you might understand what I mean.
Well, this episode went against this trend!
After a fun montage with Clint and Kate, Clint starts opening up to Kate for the first time—it's beautiful. Not only does he call himself a weapon, but he reveals that he doesn't want anyone else to die because of him.
"He doesn't bend over backwards to see himself as 'defending' anything. He knows what he's done and what he can do. There are no illusions to cling to. But what I like about this attitude is that it actually extends to his actions afterward." — Film Crit Hulk
For Clint, this episode has some great character work! Not only is his previous screen time reincorporated in this series, but it becomes his motivation and goal.
"There’s this clean clarity in that he knows his Ronin past will haunt him, but he’s not going to ever put that guilt ahead of a future with his family. He’s simply taking responsibility for it." — Film Crit Hulk
Anyway, this is a solid episode! Hopefully, the show keeps this up!
Clint: "I really appreciate what you did tonight,"
feels like an earned line and
Clint: "Prioritize a quick exit over a quick entrance,"
is great advice! Thanks, Clint!
Re: boomerang trick arrow: "You'd have to dodge." Oh, Kate.
Why can't I take happy Vera Farmiga seriously?
Nat is such a crucial part of Clint and the show despite everything. And I am all for it. The talk about Clint's "best shot"/the one he didn't take had me tearing up. It also took me a while to realize that that pause Clint had when reaching down for Kate was a call out to their Endgame scene, but when I did, god damn it.
Yelena's BW moves, oh yeah! Wish it didn't end there. I wanted her to beat their asses lol. I do like that Yelena zipped Kate up before dropping her off the side of the building (that was homicidally sweet of her) because she was there just for Clint.
I'd really like for Clint to at least know of Yelena, like when she finally tells him why she's after him, that she's doing it for her sister, he'll know and just go "Yelena?" or something. She's supposed to be one of the most important people to Nat, next to her found fam Avengers, and since Clint's her bff and she knew about his family, it would make sense that he would know about hers. Since there was never really any allusion to Yelena before the BW movie, I feel like we need this for some continuity.
[7.8/10] My favorite episode of the show so far. “Partners, Am I Right?” finally delivers the lived-in, layered dynamic between Clint and Kate that I’ve been wanting, while also delivering some top flight action, and making Kate’s family situation compelling for the first time in the series.
I’ll confess, I abhor the schmuck bait from the end of the last episode. If you’re going to have Jack hold a sword to Clint’s neck, it’s pretty cheap to immediately deflect into one big misunderstanding when you start this one.
Still, I’m willing to forgive it because the interactions between the assmeled are legitimately good here. I don’t know what the cinch is exactly, but Tony Dalton’s Jack is more recognizable as someone wearing the masque of the genteel bumbler while hiding a sinister side beneath. Likewise, I initially thought Eleanor took her daughter teaming up with an Avenger a little too much in stride (maybe it was just being starstruck.) And yet, the show assuaged my fears, having her take Clint aside and basically tell him “Don’t get my daughter mixed up i this dangerous shit.” There’s a patina of realism in this heightened reality in that. I’m increasingly suspicious that Eleanor herself may be involved in some malfeasance, rather than being hoodwinked by Jack, but it’s still nice to see her responding to all of this the way a mother might.
If that weren’t enough, II love love love the scene of Kate showing up to Clint’s place to spend the holiday together. It gives us a reason to like Kate a little more -- she has empathy for her would-be partner, knowing he’s been through a lot and wanting to make sure he’s not alone at a difficult time. In the same way, it makes us like the two of them together more too. The way they banter about trick shots and trick arrows, shuffle through holidays movies, and come up with plans using what turn out to not be dry erase markers is funny and endearing.
Things get serious too though. I’ll admit I forgot that, in the right hands, Jeremy Renner can be a damn good actor. As much as I enjoy the MCU, he hasn’t always had the chance to show that. But hearing him talk about sparing Natasha when he found her, processing what he’s lost and the depths he fell into when he became Ronin is powerful. Some of that’s thanks to the writing, which is better across the board here. But a lot of it comes down to Renner’s performance, which makes Clint an open wound who’s still living with his pain and trying to warn Kate off from it. Seeing him confide in her a bit, open up to her a little, helps cement the partnership in the episode’s title.
After indulging in some of the slack tide hangout vibe that, vitally, let’s us get to know these characters and see them together when they’re not adventuring, the episode also provides them each with solid missions and objectives. Clint strongarms Echo’s lieutenant, Kazi, with a persuasive argument that Maya’s personal vendetta against Ronin is a losing battle that’s going to lose both her and Kazi standing in the eyes of “the Boss.” For her part, Kate gets her own amusing set of interactions with the Larpers, using the connection to retrieve the trick arrows and secure themselves the studio/merchandise-mandated new costumes. One is dramatic and convincing, the other is fun and light, and it’s a good balance. (Hello Thanos fans!)
But the climax of the episode pays things off in a big way. Snooping through Maya’s apartment and discovering that she’s after Clint’s family ups the stakes here. There’s a threat here that goes beyond Clint himself putting his life on the line. The set piece itself is strong, with too many quick cuts for my taste, as usual, but a lot of hard-hitting action and neat wrinkles like Kate's ziplining adventure to liven things up.
There’s the added benefit of making this a four-way fight where who’s on whose side isn’t necessarily clear. Clint and Kate are a team, of course, but Echo has her own agenda, as does the Widow sent after our hero. The shifting alliances, coupled with Clint’s efforts to keep Kate out of harm’s way, makes for a unique dynamic to the fight.
Plus hey! Yelena! It’s nice to see Hawkeye paying off the tag from Black Widow. The debut is well-handled, with the masked assassin fighting like a widow and giving hints of who she is before the reveal happens. At the same, Yelena’s presence is a complicating factor, in a good way. She’s the sister of someone Clint is still mourning, and as he tells Kate, her mere presence means business has picked up. If Clint’s going to keep his word to Eleanor and stop Kate from falling into serious danger, then he has to dissolve their partnership almost as soon as it truly begins. That’s good stuff, which serves both the plot and the characters.
Overall, this is a winner of an outing which kicks things into gear. The dynamic between Kate and clint has never been clearer or more compelling or more endearing, and with connections to other events across the MCU, we’re getting meaningful developments for Clint as he processes the events of Endgame, while orienting Kate within a wider world.
We were gonna reach a boiling point for Clint and Kate at some point, and having it here is probably the smartest choice they could have made. While not a lot of progress is made on the overarching mystery (outside of confirming some small details), the real treat is all of the strong, strong character work being done here for pretty much the entire cast. Clint in particular I think stands out here as the real treat - the PTSD of his time as Ronin, as well as the death of Natasha, still cast a shadow over the entire series and I love how the show is making that the main emotional hook for him to overcome here.
Just as interesting too is how the show continues to handle Kate, whose naive attitude towards crimefighting and lack of planning is starting to really backfire. The final argument that occurs, a hot kettle of these two opposing arcs clashing with each other, really works because of that, and the action scene that proceeds it - which features a wonderful four way battle including a really great surprise - uses that backdrop for strong emotional beats and great choreography. Cinematography is aces as well here. Still absolutely in love with Hawkeye, and with two episodes left to go I'm eagerly awaiting what they have next.
That was a good, no-nonsense episode! Instead of plot, we get more character! And what better way to start the episode with a villain's backstory? Plus, this villain shows the struggles of a deaf person with a prosthetic leg. I'm not deaf or don't have any prosthetic limbs, but the representation seemed tact and sympathetic.
This representation continues with Clint after the villain destroys his hearing aid; the sound design only puts you in the characters' shoes even further. And when Clint has that conversation with his son while Kate helps him, it's bittersweet. The irony of
Clint: “So happy to hear your voice.”
hits particularly hard. And his
Clint: "Thank you.”
to Kate feels vulnerable and genuine. And it's great since these characters have had the time to bond (the attack on Hawkeye in the previous episode was too soon).
But it's not all character stuff; there's plenty of fun to be had, too! The long take—reminiscent of "Children of Men" is thrilling as Kate uses more trick arrows, while trying to communicate with a handicapped Clint. The Christmas tree moment was hilarious. But when Kate hits that one Russian guy freaks out over the USB arrow, my parents and I burst out laughing.
But personally, I got a little kick out of Hailee Steinfeld's burn on Imagine Dragons, considering they created the theme song for another series she's in, "Arcane".
Anyway, this episode is a step-up from the previous two. I just hope they can keep it up in future episodes!
Also, Clint better wear that comic book costume, I swear.
A much action heavier episode then the prior outings, but now that we are into the full swing of things we can really let loose. The Fraction/Aja influences are still on display, maybe now more then ever, as Kate and Clint's banter is almost directly taken from the pages here mixed in with a clear adherence to it's tone and themes. Kate's naive yet optimistic outlook on life and superheroism contrasts directly with Clint's world-weary, cynical viewpoints, and seeing that dynamic in full swing here is clearly the highlight. Or at least, a highlight, as this episode has much to adore beyond that.
Of course the action scenes are among them, continuing Phase 4's trend of having much stronger action then prior Phases (with maybe the exception of Loki, but that didn't focus on action as much and was pretty much stellar otherwise). Echo's introduction is a standout as well and I love what they are doing with her character thematically - having her be a direct foil to Clint is an inspired choice. And the emotional stuff worked as well despite the lighthearted tone of the rest of the show, with Clint's talk to his son being one of my favourite scenes of the entire show thus far. Another stellar episode for a show, and Phase, that keeps on delivering the goods.
Just knew that it was gonna get goooood the minute Clint pulled off his flip and shoot (when he shot at Kate's binds). And I loved that shot of Kate shooting the first trick arrow with the camera right in front of her. That was probably my favorite, but I loved the rest of that chase scene. All the trick arrows were so fun! ... it reminded me of how not fun Arrow became when this was the kind of buffoonery I wanted from that show. * nervous laughter * And that Pym trick, daaang! Plus the dongle arrow! ;)
And Clint and Kate finally communicating.... just not going very well at the moment. :laughing: I did like seeing a glimpse of Kate realizing how she kind of messed up Clint's Christmas plans. But alas, thus is the life of a superhero. One optimistic Kate doesn't quite get yet.
Kate's line about her father... when someone says a certain character's "all about helping people", it makes me think the exact opposite. Maybe whoever his father was in business with (Uncle?), her mom took over it, thus today's dilemma.
LOL at the classic Hawkeye suit nod. And Pizza Dog! :heart:
And I guess I take back my comment from the previous episode. I guess we're getting introduced to a lighter, somewhat still new to the scene, Tracksuit Mafia-leading Maya, not ninja Echo whose dad got murdered then got raised by Fisk (Uncle!! hand cameo) when she was a kid, given how she almost throttled Kate here (Star-Lord flashbacks), and I'm okay with that. Realized we don't really need all our badass heroines to be sulky, be level-headed, or have unlimited resources lol. Also remembering that this is supposed to be fun and lighthearted (I honestly forgot, the wait for this was long). And since they're planning a spin-off for her already, it makes sense to not introduce her as a fully-developed character immediately.
AAAAHHHHH!
"How did you find me, Kevin?"
"I went through the machine"
CAN YOU IMAGINE HOW EPIC THAT WOULD'VE BEEN?? And it was like the perfect setting, it looked very heavenly, and everyone was at peace and happy, there was a wedding and everyone seemed to have a good time, I was sure that was the afterlife/heaven/the beyond the machine.
I would give every cent I have (which it's not much but it's very worthy to me) to watch Nora's odyssey instead of those 35 minutes of pigeon madness, don't get me wrong, Nora's narration was beautiful and mesmerizing and I do believe her, but still I WANT TO WATCH IT, I'll never known satisfation in life until I get to see it, and I think 35 minutes would've been great to fit that. And it makes sense cause we know Nora went through, how else would we explain she being here? and also if the scientist is there he would be able to build the machine and probably he never thought about building/using it cause being reunited with the person you are missing you don't have that need, but I wonder if those in the 2% can also use the machine to pass through dimensions?
I went in not expecting an explanation of what happened, cause I thought it was a fact that we were never gonna get one, and I was ok w it cause I thought no explanation would be good enough until Nora said "FOR US A FEW OF THEM ARE MISSING, FOR THEM ALL OF US ARE MISSING" WHAT... that was so perfect! better than anything I could've dreamed about, it makes sense and it doesn't use a religious non-sense and I think that also gives a lot of answers to other supernatural stuff that happened, like if science allows for interdimensional travel, it can be that a man has a round ticket to the afterlife, so it was just so satisfying.
And reading all the comments, you guys are right, IT IS A LOVE STORY, it was all about Nora and Kevin letting go of everything other than life and to find each other over and over again, so this is a love story for the ages, but Kevin was so wrong for pretending not to know Nora, it was so trippy!
I'm so glad Laurie is still alive and most importantly LIVING HER LIFE!
I still have a lot of questions and I think this show needed a couple more seasons, it's just amazing, I'm gonna check out the books and blogs to see if any of those can answer my questions. I think my main question is what did maggie's mom was supposed to tell her? was Wayne for real? is Lily a magic baby? What was Kevin's wish? what the fck was going on w Evie? what happened to the kids' shoes? and that's just on the top of my head.
SAME TIME NEXT WEEK?!
Lots of great stuff again, and this time it's mostly centered around Clint as well meaning we get to see him in the spotlight as the show explores what it's like to be the most human Avenger. Clint Barton, despite his limited screentime in the movies, as always struck a cord with me as one of the most relatable and ultimately likable characters in the roster, and this episode plays that to it's advantage story wise. The LARPing subplot, while also very funny, is a great example on how Clint's sensibilities are far more grounded then something like a Tony Stark or Carol Danvers, and seeing him extremely uncomfortable with his own fame feels very real and human.
But honestly, this series is leaning more into being an origin story for Kate, which isn't a bad thing in the slightest when her stuff is just as excellent. The direction is kind of obvious where it's going but I see a couple of curveballs coming in true Fraction fashion. The fact that each major beat is a "one bad thing after the next" kind of setpiece makes this even better, as those kinds of narratives are an absolute delight. Another winner.
Watching Hawkeye makes you realize that outside of the Netflix and Hulu installments (whose canonicity is debatable at this point), the MCU really hasn't delved into the street level heroics of the franchise all that much. Spider-Man and Ant-Man are the closest characters to that end, but their respective sequel went for bigger scale, and even then only Spider-Man: Homecoming kept the stakes relatively small. As such, Hawkeye feels like such a genuine breathe of fresh air - the rare superhero show that keeps it's stakes as small as possible, with it's tone light on it's feet while also focusing squarely on being character driven first and foremost.
Seeing as this is based on the rightfully acclaimed Matt Fraction run, this isn't a shocker. Kate Bishop is an instantly likable character, and Hailee Steinfeld absolutely nails her in a way where it's clear why she was the only one ever looked at for the role. Jeremy Renner, while noticeably in less of the first episode then you would think, is also predictably great and gives the character his trademark humanity and wit in spades - plus the depiction of his hearing loss is extremely well done and realistic in a way that's poignant and understanding. Combine that with killer action scenes (seriously, the shot work here is exceptional) and you have yet the fourth winning pilot in a row for the live action side of the MCU. They simply just do not miss - pun intended.
[8.6/10] A wonderful little Star Wars fable. This one consciously gives us three major characters in three different stages of life. Dan, the padawan, young and hungry. The master, in his prime, possessing calm and perspective. And the titular elder, a former Sith, wild and looking for a challenge.
The episode’s constructed beautifully. We get plenty of time with Dan and his master before the excitement starts. While slower and talkier than some of Star Wars, that downtime lets us understand their different deanors and establishes their bond. Despite his experience and skill, the Jedi master is very sanguine, slow to act and one apt to consider well before he does. Dan, by contrast, is anxious for the thrill of adventure, and bristles a bit at his master’s calmer ways.
So by the time the master senses a disturbance in the Force amid the planets of the outer rim, the relationship between master and apprentice is a familiar one. And we see the differences and merits in their approaches.
The former Sith is a pip. He’s old, wily, threatening, and even playful. His wrinkled look, devilish smile, and twin short lightsaber blades gives him a distinctive look versus the padawan. Their fight is a thrill, if only for the sense that the Elder is toying with his young foe. He uses Dan as a means to an end, and Dan sees how far his spoiling for a fight nature gets him. Here too, the combat is measured, with downbeats before crescendos, but that just adds to the tension.
And it adds motivation for the master, who senses his learner’s near-death experience while he’s far away. We see what would spur the normally reserved Jedi to action. His fight with the ex-Sith is just as exciting, with a particularly cool method of execution, as the master places his unlit blade to his opponent’s abdomen and then penetrates his torso with it.
But what puts this one over the top is the closing moments of compassion and understanding between Dan and his master. The master lays bare the lesson here: Dan is ascending, the Elder was diminishing, and even the power of the master himself is fleeting. The nature of the things in this universe is impermanent, and but for a shift of the clock, the outcome in both fights might have been different. Power can be used to protect people, but it must be wielded hubly, with the knowledge that it too will fade, and must be used judiciously and with kindness.
The tone, archetypal relationships, and action here are all top notch. Another winner for Star Wars: Visions, with a vignette that feels like it could belong to any era of Star Wars, given how it embodies the solemn spirit that runs through all of this galaxy’s best stories.
It's fun! It's a little undercooked at points, for sure, but as a unique take on the mythos it's actually really interesting and visually stunning to boot. That seems to be the main defining goal here - unique "visions" on the universe that take risks and do something new, and on that end a rock opera on Tatooine is the last thing I expected a Star Wars thing to be about but here we are. It helps that the characters are really likable here and they do a good job in the limited time that you have making you believe this band has a real comraderie to them. Studio Colorido does great work animation wise, particularly in the character animation and colour design, which just look fantastic.
It's all building to the song though, which is fine in English but in Japanese? It's stellar - definitely a case of "sub over dub" for this short at the risk of sounding like an anime purist (in reality I watch both so I'm not too snobbish on that front) but here you can tell the song was written for Japanese lyrics and singing. Not the best thing they've done but fun and cute!
Who knew that all it would take to make me truly love Star Wars again would be a short, 14 minute experimental samurai story? The Duel is phenomenal on pretty much every front, particularly from a visual stand point. The franchise has always owed a lot to Kurosawa films and old school samurai dramas, and this takes it to the literal apex of that degree. It's a simple a story you can get with these things - a Ronin walks into a village and must defend it from bandits - but it's told so effortlessly and confidently, and with it's black and white animation and cinematography just simply popping. Kamikaze Douga, whose work is mainly in that of the JoJo's Bizarre Adventure openings, showcase their chops here for striking cuts, incredible single shot work, and some insanely choreography.
And yes, as a hardcore anime fan who also happens to be a massive Star Wars nerd, it's just fantastic to see this universe rendered this way and with such love and care. If anything, this shows that Star Wars Visions is likely the best thing to happen to Star Wars since The Last Jedi back in 2017, which is saying something. Just incredible.
[9.5/10] Holy hell. This was incredible. I love that after A New Hope pulled a lot from classic Japanese films like Yojimbo and The Hidden Fortress, the franchise is coming full circle. Japanese artists are now translating the tropes of Star Wars back into a feudal Japan setting, and it could hardly be cooler.
The art here is just gorgeous. This is the most beautiful blend of 3D animation with 2D flourishes since Klaus. The choice to go black and white, with only electronic things like lightsabers, droid lights, and whistling birds appear in color creates a striking aesthetic. And the design choices are downright stunning, from straw-covered R2 units, to the force-sensitive combatants and their artistically-conceived hair and clothing, to vehicles, weapons, and whole species reimagined with an ancient Japanese flair.
The basic premise works just as well. The notion of a Sith warlord coming to harass a humble village, while a calm ronin springs into action to save the innocent from their oppressors, fits wonderfully into this new rendition of Star Wars. That’s no shock. Episode IV reinterpreted a number of standard ronin tropes into a space setting, and watching those tropes reabsorbed and remixed back into a feudal setting is a thrill.
The action here is top notch. This is one of the best lightsaber battles we’ve seen in ages, with stellar choices in the blocking, shot-selection, and choreography. I love the little choices like letting the “camera” focus on the Sith’s hood floating away in the wind while we only hear the sound of her clashing with the hero. There’s a real mood and atmosphere which adds to the epicness of the confrontation. Intensity in the pace, eye-catching poses, and clever shifts and ruses to get the upper hand all make this a stand out among Star Wars skirmishes.
I’m also a big fan of the texture to this one: little moments that don’t contribute that much to the fairly simple “story” but which add color and intrigue to the world the characters inhabit. A ten-year-old being the chief because his dad’s asleep or ran-off, the hunched tea-maker fixing the droid, the bounty hunters fighting back against the Sith are all little details, but make this world feel more alive and lived-in beyond the immediate story.
On the whole, this is one hell of a coming out party for Star Wars: Visions. I’ll confess, I’m not much of an anime afficionado. But “The Duel” is enough for even a relative neophyte like me to sit up and take notice.
I wasn't sure whether I was watching an episode of Supergirl or Captain Planet... But seriously, there was zero plot development, no meaningful character development, no subtle metaphorical lessons (the whole point of scifi, which Star Trek, BSG, Stargate, and X-Men did superbly), and only ideological moralizing, empty rhetoric, and dogma. Most plot points didn't even make logical sense, as everything in the episode was in service of making a point about environmentalism.
The issue of pollution and its effects is very serious and requires sober, thoughtful analysis, not casual philosophic drive-bys. Such a topic is unlikely to be able to be treated with the care it deserves in an episode of a TV show, and the effect of trying to be so blunt and explicit about it in such a superficial way is that (1) people who already agree are unaffected (or else, taught to engage in similarly superficial rhetoric), (2) people who disagree are not convinced and dig their heels in more, and (3) children are indoctrinated with often-repeated dogma instead of learning how to think carefully about these (and other) complex issues.
Unfortunately, I see the whole Arrowverse devolving in a similar fashion, especially Batwoman. It's really disappointing to see viewpoints (many of which I agree with) to be conveyed in such an unintellectual, ineffective, disrespectful way. There's nothing worse for the success of the right ideas in a culture than their poor or false defense.
Oh wow, that was an epic one!
I'm glad there was more to that rockhopper(?). It's nice that the bird mother is fine, although it didn't look that healthy/strong yet. Cara seems a bit naive though :D "It's fixed"... That's good but I'd be quite unsettled about the fact that something on that planet could fix their drone. I guess this is due to the protomolecules? Anyway, I guess in the next episode we'll learn more about it and how they'll likely revive Cara's little brother.
The message from Prax was great as well. I'd love an increased focus on such scientific aspects if there was more time.
Monica is in quite a lucky position. She certainly has a lot of impact and reach. That soldier was concerning though... :o Hopefully that explosion at Ceres wasn't caused by the inners! Luckily it seems very unlikely that they would hurt their own but one never knows...
That battle at the end was amazing! The railgun shots were epic and I'm glad their genius plan worked out. Marco did take a huge hit there. I wouldn't want to be him, loosing a 3v1 battle to a small ship... xD I'm also really glad that Bobbie took the shot but Holden disarming the missile sucked (but not that much since it would've been over too fast - however, if that gets out, Holden (that idiot!) will be in really really deep trouble... :o).
It still feels like it's going a little bit slow with only four episodes left but it was great nonetheless.
The best thing was of course Bobbie rejoining the crew of the Roccinante :) I was hoping that this would eventually happen but I thought it would take at least one more episode for Bobbie to get to them. Glad I was wrong. With Bobbie and her Martian armor suit this brought quite some interesting action (even if her jump to the other ship felt like a huge stretch... :D). Anyway, some great/fun dialogues between the crew members as well. I also really liked the conversation between Avasarala and Monica at the end. Avasarala knows how to get things done :D
PS: Holden calling Clarissa Peaches was awkward. And her becoming part of the crew was a little bit unexpected but she did a really good jobs so far - it's just that her past actions are hard to forgive.
And I wonder if/how those stories with Cara at the beginning will become relevant. IMO they have a lot of potential but it feels like there's too little time. I also wonder how much they know about this planet. That little girl doesn't seem to be afraid of the animals at all... And this rockhopper(?) isn't small. And I wonder if he's really eating the bird (which seems the most likely) of if there's more to it.
[7.4/10] Blaise Pascal came up with a philosophical concept known as “Pascal’s Wager.” It’s an argument to believe in God. Pascal maintained that if you believe in God, and He turns out not to exist, you’ve lost nothing, or comparatively little. If He turns out to be real, you gain the infinite rewards of Heaven. Whereas if you don’t believe, and God is real, you risk the infinite pain of Hell, the chance of which would outweigh any meager reward disbelief might grant you on this mortal coil.
Now there’s four centuries’ worth of counterarguments to this famous wager, so if you’ll pardon the expression, don’t take it as gospel. But it seems like the same argument He Who Remains makes to Loki and Sylvie: believe me and gain the power and glory you’ve always wanted, or don’t and face a terrible calamity. Our heroes (or anti-heroes) have to weigh that proposition, whether two beings innately prone to betrayal and mistrust should take this odd man’s pronouncements at face value, or instead assume he’s lying and risk multiversal catastrophe to bring free will back to the masses.
I don’t know what I would choose. There’s been enough lies and, frankly, weird shit in the last six episodes that I’d be ready to believe both that this mysterious, calm-but-deranged figure’s tale of inter-dimensional battle quelled into harmony and that he’s yet another huckster trying to preserve the status quo because it suits him and because agitators like our protagonist soon become flies in his ointment.
It’s enough to divide the Lokis. Sylvie is ready to kill him, tired of other people controlling her destiny, willing to believe that her counterpart has succumbed to the lures of glory and a throne. Loki is ready to buy his story, willing to leave a system he’s risked everything to overthrow in place and offer his trust to someone for a simple reason -- because he wants to keep this woman he loves safe. Do you unravel a lie that keeps the world stable and relatively peaceful, or do you slay the liar, discard his stories, and let the chips fall where they may?
The announcement of future films with subtitles like “Multiverse of Madness” and “Quantumania” tips the MCU’s hand here. But the ultimate choice, the debate, and the willingness to sacrifice oneself rather than betray another, have meaning despite that. The finale of Loki’s first season is essentially one big conversation with God, the Devil, or maybe just the showrunner personified in their own work, and it’s a compelling conversation.
It should be said, after fireworks-filled swan songs for the likes of WandaVision and The Falcon and the Winter Soldier, it’s nice to have a season finale to an MCU show that is, outside of little swordplay, all talk. The rollicking action came last week, giving us a climactic and cinematic battle which cleared the decks for the major characters to mainly consider their actions here, and listen to the pitch, rather than blow things up before reflecting on them.
Perhaps that’s more possible since, as our mid-credits surprise indicates, Loki is the first MCU show to announce a second season. This is, then, a major mile marker along the series’s journey, not the end of it. More ground to cover gives the show room to hinge its finale on a choice and a discussion, rather than on fist-fights and explosions.
That discussion is led by Kang (Can we call him Kang? They don’t call him Kang, but it’s definitely Kang), a scientist and conqueror who spins the tale of forging multiversal peace from his own warring variants. I don’t know quite what to make of the character’s debut. Jonathan Majors (of Lovecraft Country fame) makes big choices as an actor, which I’m always inclined to admire, but there’s something off about him here.
Then again, maybe that works. Taken generously, this variant of Kang has “lived a million lifetimes.” He’s tired. He’s at peace with either two gods of mischief running the show or the throes of inter-dimensional combat beginning anew. He should be weird! Too often these godlike beings fall into the same tropes of stentorian-voiced automatons (something the Time Keepers’ presence low-key spoofs).
It’s refreshing, in its way, to have the man behind the curtain turn out to be some unpinnable weirdo, sitting in a big empty castle, shuffling papers and reacting with awkward bemusement to each new development. I’ll confess to having trouble connecting to the performance in the moment -- a little too much “Jesse Eisenberg as Lex Luthor” quirkiness for my tastes -- but the acting choices align with the strangeness of the character, and the more I think about that, the more I can appreciate it.
We also see confrontations and teases from the rest of the cast. Hunter B-15 is spreading the word to her comrades, using proof in front of their faces that Renslayer is a variant, and by extension, so’s everyone at the TVA. It’s a smart, succinct way to show the fire spreading.
Better yet is the confrontation between Mobius and Renslayer. Just as Sylvie and Loki take differing approaches to the choice laid out in front of them, so do their TVA counterparts when deciding what to do with the knowledge that the TIme Keepers were a lie. Mobius announced last week that he was ready to burn it all down. But Renslayer stays firm, reasoning that even if there’s more to the story than they thought, there must be a reason for how things are, a justification to maintain the status quo, even if it’s not the one they thought.
It speaks to the essential question Loki has been asking from the beginning. What do you do when what you thought was your purpose is taken away from you, when the person you thought you were is upended? Renslayer clings to the wreckage, hoping the tides will push her where she needs to be. Mobius aims to bring the truth to the people, to stop what he once supported, as the best way forward. Sylvie breaks in the same direction, championing free will and a life unbound to a dictator, benevolent or not, no matter what transdimensional boogiemen he conjures up in warning.
And Loki too finds his purpose -- to save himself, only for once, that means saving someone else. There’s a meta quality to Loki’s season finale, with plenty of comments on this all being a game, or an effort to rewrite the story. You can even read it as a commentary on Marvel Studios’ quality control, maintaining this cinematic universe with consistency so that dozens of hours of entertainment can feel reasonably cohesive and connected. In a post-Endgame world, with gutsier and more out there concepts at play, this could be the MCU’s declaration that things are about to get wilder and woolier.
But for Loki, who tries to stave off that all-but inevitable unraveling of the multiverse, it’s about holding onto something, a bond to someone outside of himself that’s worth holding the rest of existence in thrall for, if it means keeping her near. Since his abduction and deconstruction by the TVA, Loki has found his new glorious purpose, and it’s Sylvie. Whatever infinite pleasures and punishments this would-be god presents to him, they can’t outweigh the presence of this person who changed his life. He bets on her. Let’s hope he doesn’t lose anyway.
Wow wow WOW. The first 2 episodes i didn't have much to say other than being excited for more. Episode 3 was something, but this one. Nexus Event.
ok, so i would like to say that i feel sorry that i don't think Sylvie is perfect. honestly i think it's mostly her appearance, the short wavy blonde hair, maybe the way she holds herself, maybe it's even the accent... but i really try to just focus on the aspects of her than make her a Loki. so in episode 3, yes we do get real connection between Loki and Sylvie, and yes it could have been partially romantic, but i was sure it was just connecting due to being one in the same. so the scene here where the hold hands before the apocalypse is just confusing? maybe just strange, since Mobius does a good job of explaining how of course Loki is so narcissistic he falls for himself. i guess giving Loki vulnerability is the intention here, but somehow it felt out of character for Loki to be so caught up about someone who isn't him, even if it kind of is him in a way?
ugh. one thing i could talk about from the first 2 episodes is how much I love the Loki/Mobius dynamic. (no I'm not a shipper). the conversations and jabs were glorious. so i really had to take a step back during the conversation they have where Mobius realizes Loki is attached to Sylvie and Mobius is done with him... and then later on in the episode they step back together as friends... just felt like being thrown around.
i gasped when they pruned Mobius and cried at Loki's reaction. the time lizards were so rediculous and obviously fake, especially with all the haze. loved a fight sequence with Loki and Sylvie back to back. and even though I wasn't really on board with the romantic relationship part, i really wanted that kiss to happen with that build up Loki had...
when i tell you i was so excited to see a snake with a crown and more Lokis! ugh I'm hyped!
Some more characters and elements from the book are introduced, as Istredd is doing his research and visits Codringher and Fenn (Fenn is a woman in contrast to the books but it does not seem such a big problem), they are both shown in a bit more positive light than in the novels rather as researchers and collectors of old literature (pity it's going to go down in flames together with Codringher & Fenn) and they tell Istredd about Lara Dorren and Ciri's ancestry. Mother Nenneke and the temple of Melitele are also introduced. Nenneke shows a lot of empathy and support towards Ciri, and the temple is atmospheric with its addition of the candle burning custom. It is really a nice touch that they included the historian apprentice Jarre, who was not a crucial character so it is great to see him included as well. I wonder if Shani and Yola would make their appearances later on? They become important in further volumes of the saga. Jarre also tells Ciri about oneiromancers and the tower that can be a portal, which suggests that the events with Tor Lara and the character of Condwiramurs Tilly would be introduced in further seasons? I hope so.
I do not really care about the Cintrean storyline, it is nice that Francesca finally has her baby (Fringilla seems genuinely happy about having helped the child to survive) though that does not have much to do with the novels. Cahir seems bent on following Emhyr's orders and finding Ciri, he seems rather a cold-blooded person who does not have any feelings for the girl, whereas in the novels he was secretly in love with Ciri and wanted to find her only to protect her. His character seems to be permanently changed for the worse. Just like with Lydia, who works with Rience rather than being an innocent mage blinded by her love to Vilgefortz, here she seems to be a conniving and calculating person. Rience attacks Kaer Morhen and almost kills Vesemir, but manages to steal the vial with Ciri's blood (this resembles a bit the story from the game Witcher 1, where the gang of Salamandra steals the witcher mutagens). Triss helps the wounded Vesemir but finally decides to teleport to Tissaia and inform on Ciri.
Yennefer and Geralt reunite in the temple of Melitele, they kiss but from their conversations later it does not seem like they are fully reconciled. And anyway, Yennefer is yet another person who wants to use Ciri for her own purposes, this time to regain her magic, Geralt senses that she is nervous but cannot really detect the reason behind this, but Yennefer is here to kidnap Ciri. It seems that only Geralt cares about Ciri herself and not for the purpose she can be used to gain, he is the one who protects her rather than use her. He doesn't think what Ciri can do for him but rather how he can save her. It turns out that Ciri is not treated fairly by any other characters, even the positive ones, who perceive her as a means to their end rather than as a person with her own feelings and dreams, even Vesemir, Yennefer, Triss and others do it.
This episode is alright. Not as strong as the others, but it's still fun. The action scenes are cool, and Loki and Sylvia's banter is fun to watch. Although I enjoyed them venturing down this planet , some scenes seem either too easy or like a waste of time. They could pay stuff off later, but I'm unsure.
Anyway, I'm still invested, but I'm not in as much suspense as I was in the previous two episodes. Wondering "who is this variant Loki?" and "where did they go?" is a lot more intriguing than "how will they survive?!" Like, I don't believe they'll die, or that they'll use character instead of plot convenience to get them out. We'll see.
SCORE: 7/10
I'm not sure about this episode. The premiere seemed better. Even though it was a slow start: and had only a tiny bit of story progression. This episode had more progression, involving Geralt and Cirilla arriving at Kaer Morhen; and whatever the sections with Yennefer, Fringilla, and Francesca were about. Yet, it felt tedious. Almost. Something to do with that. Regardless of that, this episode was still entertaining to watch.
Here are some of my minor beginning thoughts:
At the start of the episode, I noticed that, in her dream, the room Yennefer was in looked like Cirilla's room in Kaer Morhen. They could merely look similar, but I'm guessing that they were both the same set-piece (?) or actual castle-type room. I found that interesting.
I had a feeling that it was elves at the end of the premiere, but I'm a little mad that I didn't bring that up in my review. Elves are always depicted alongside archery, and I found it doubtful that Tissaia/the Aretuza mages would be using harpoon-like weapons to shoot. Two plus two equals four.
Even though I haven't read the books, the casting choice for Francesca is a bit dubious, appearance-wise. I think she was said to be the most beautiful woman in the world. Yet Mecia Simson doesn't seem to reflect that. Considering she's part Jamaican, her looks emanate somewhat of an "other-worldly vibe."
cont.) But Anya Chalotra, MyAnna Buring, Jodhi May, Emma Appleton, and Anna Shaffer all look "more attractive" to me. It's all relative, though: isn't it? And she does look somewhat otherworldly; I feel like everyone else doesn't have that factor. At least to the extent that she does, so I guess the casting choice for the character was, in actuality, pretty decent.
Here are things that I liked:
It was nice to see Kaer Morhen in live-action. Everyone involved in bringing it to life did a great job. The first shot of it from the inside, as Geralt and Cirilla were coming in, looked very much like in The Witcher 3: Wild Hunt. Since Cirilla will probably begin training more seriously in the next episode, I wonder if something big will happen at the end, like in the game. Or maybe the equivalent of that was leshy-infected Eskel.
I liked Eskel's character, despite the very little of him there was. Basil Eidenbenz did a good job with the tiny bit of material he had to work off of. His death was disappointing, even though I haven't read the novels. That should be a testament to how killing him off wasn't a good decision.
The fight sequence against leshy-infected Eskel was much better than the one against the Bruxa in the premiere. Henry Cavill's movements were pretty smooth; although, I wish more was done by Eskel. But maybe that would've cost a lot more to do, as well as being harder to film/coordinate.
The score during the end credits was super good. I liked it a lot. The beginning of it was reminiscent of scores in Assassin's Creed games, specifically the ones with Ezio Auditore da Firenze: and then it started sounding reminiscent of scores in the Modern Warfare trilogy. Very nice.
Here are things that seemed iffy to me:
Having prostitutes at Kaer Morhen was weird, given how Cirilla never heard of Kaer Morhen in the premiere and how Geralt told her it's because they like it that way. Bringing any outsiders to there would be risky, given that what almost wiped them all out was because the attackers knew where it was. The writers seemed self-aware regarding that based on the dialogue by Vesemir to Geralt after the latter asked him about the party. But that doesn't make it any better.
cont.) Maybe it was only fanservice for those who've played the games. In the games, I think some moments considered iconic involve parties. But they may not have taken place in Kaer Morhen. This series is based on the book series. There probably were parties in the books and probably in Kaer Morhen, too. But something about how it happened in this episode is iffy.
How did Danica, the prostitute from the first season, know about Cirilla? Geralt seemed taken aback, so I was expecting him to ask her. But he didn't. I guess one of the other Witchers brought it up to her. Pretty stupid if you ask me. I can't think of how else she would've known that Geralt "has a daughter now."
I remember the leak/rumor a while back that Eskel was killed; people were pissed. I wonder if they're more pissed now: because it was correct. Seemingly, there was no point in doing that. His death didn't seem to serve a purpose. Supposedly, it was never said in the novels or even the games that someone can be infected/turned into a leshy. And even Vesemir said that's not possible to Geralt when the latter told him that the leshy infected Eskel.
cont.) In the premiere, Nivellen did say that the world is acting of its (own) strange accord these days. He also mentioned the Wild Hunt. Maybe Eskel getting infected was done to coincide with that. If so, that counts as a purpose behind killing him, I guess. Still, his death could've been done better. Or better yet, no need for that if he wasn't off-ed.
In short, the premiere was better. But this episode was still somewhat entertaining. The first ten minutes up to the title sequence was good, so was the second half and everything in Kaer Morhen; that had the best parts. The plot with Yennefer and Fringilla, while necessary: to introduce Francesca and bring the elves back into play; as well as revealing that Yennefer is having a magic problem; was the weakest. The ending with Cirilla's training starting was nice, too.
I was going to give this episode a seven out of ten. I did, initially. But after getting to this point of writing all of this, I decided to change it to a six. It's still close to a seven, but I think a seven would be an overstatement. It had its perks, though.
2021-01-01T00:00:00Z2021-12-31T23:59:59Z