A show notorious for an awful ending comes back from the dead and has an even worse second ending.
An ending which wasn't earned at all:
- Dexter is acting sloppy and idiotic the whole time. This is a man who got away with hundreds of murders.
- Angela, who hasn't been able to solve a series of missing persons cases in her own town for 10+ years, solves the BHB case thanks to a series of plot contrivances, a google search and a freaking retcon (the M99/ketamine inconsistency, that made all of this possible). Her conversation with Batista in the final episode makes no sense either.
- The writing for Harrison is all over the place. After ten episodes I barely know who this kid is and what he wants. He keeps running away from conversations until the final couple of episodes and then we get barely 45 min of father-son bonding out of the whole season. His 180° turn in the next and final episode feels incredibly rushed.
- The show completely falls apart when Dexter kills Logan and he didn’t have to. All the evidence they had on Dexter was circumstantial at best, they had nothing solid to tie him to any of the murders. Any capable lawyer would have got him out of this. So his decision to attack a cop and prove himself a killer is the most illogical and out of character action he could have taken at the time. It was all downhill from there.
I am not upset Dexter died. His death could’ve happened in any number of fulfilling ways that honored the journey and the themes of humanity, morality, consequences, personal growth, development of empathy, justice/vengeance, the lasting effects of trauma the show explored in its' original run.
I’m upset they instead had his own son put him down like an animal while undermining years of character development to tell us he was just a psychopath incapable of feeling all along. Vilifying him entirely at the last second to force this outcome feels like weird moralistic bullshit punishing and mocking us for caring. Miss me with that bullshit.
Wonderful Finale for a great series. I cried. A lot. A LOT.
The perfect ending. :)
What can you say about the farewell of a show that has meant so much to so many people?It is the kind of event that you can only judge to some extent because at a certain point the "love letter to the fans" that Craig Daniels wrote draws you in emotionally and you end up loving it. I guess I deserve to give this show the best tribute I can. Let me start here, I am a big fan, and all my life I have been bullied and never had very many friends. The last few years have been especially tough for me and I have struggled with very intense things that have led to some very serious actions, to say the least. I have grown up with these characters as part of my life and throughout my life they have served as friends when I had no other ones. The last few years these characters have been there for me and seeing them grow has helped me grow. A show that means so much to me had to finish perfectly or it all would be ruined. I sat down already teary eyed knowing that they would be gone from my life in an hour. The episode delivered great laughs, but it delivered a lot more. The episode delivered very intimate moments that were much needed. Plot lines that begun throughout the show came to a good conclusion and old stars returned with perfect timing. It was a sweet, beautiful, amazing, perfect love letter from the amazing cast to all of it's fans. I must admit that I was in tears seeing how much the characters had grown since we first visited this little town of Scranton Pennsylvania. The story line of the friendship between Dwight and Jim is particularly heart- warming. Every character ended up just where they should have and the final shot was perfection. "Sometimes goodbyes are a *****" but this perfect love letter softened the blow. The show will be missed, but it did end perfectly.
This episode received three Primetime Emmy Award nominations for the 65th Primetime Emmy Awards. Greg Daniels was nominated for Outstanding Writing for a Comedy Series and Ben Patrick, John W. Cook, and Rob Carr were nominated for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. David Rogers and Claire Scanlon won for Outstanding Single-Camera Picture Editing for a Comedy Series, marking the fifth win for The Office at the Emmys overall and the series' first win since 2009.Rogers and Scanlon also won an ACE Eddie award for Best Edited Half-Hour Series for Television.
Trivias
+Ed Helms was included for the first time on the opening credits. He would be the first actor since the beginning of the show and after 6 seasons to be included on the opening credits. Until then, only Steve Carell, Rainn Wilson, John Krasinski, Jenna Fischer and B.J. Novak appeared on the intro.
+One of three episodes John Krasinski directed in the series. The two others are S8E3, "Lotto", and S9E6, "The Boat".
+The scissors Erin throws Michael during the cold open are made of rubber.
+Owen Daniels, Greg Daniels' son, reprises his role as David Wallace's son Teddy in this episode.
+While singing the Party in the U.S.A., Erin sings "look to my right and I see the Electric City sign" while she looks to her left.
+When Michael and David are in the hot tub, David is drinking a Yuengling beer. Yuengling was started in Pottsville, PA, just an hour away from Scranton.
Goofs
Continuity
When Michael goes to David Wallace's house and asks if he can come in, David says "Yeah, we're just finishing lunch". Later in the scene, David's wife is in front of the microwave which says it is 9:25.
Soundtrack Credits
Party In The U.S.A.
(uncredited)
Written by Jessie J, Lukasz Gottwald and Claude Kelly
Performed by Ed Helms and Ellie Kemper
Sabre
(uncredited)
Performed by Ed Helms and Ellie Kemper
Suck It
(uncredited)
Performed by Andy Buckley and Owen Daniels
Trivias
+During the flashbacks of past episodes, a clip of the hot dog eating contest from the episode "Beach Games" is shown. Michael suggests dipping the hot dogs in the water "so it will slide down your gullet more easily", which a small majority of the group replies "that's what she said." This clip was not a part of the original episode, but an outtake.
+Steve Carell's hair is a bit shorter because he had it cut for his Dinner For Schmucks (2010) character.
+Even though this is a compilation of flashbacks from previous episodes, this is the lowest rated episode out of the entire series.
+Clips from 44 individual episodes were used to create more than 50 flashback scenes.
+Pam's painting of the office is replaced with a picture of a golf green and a sand trap. It reads "Failure is always an option.", and is seen most clearly when Michael is saying goodbye to the banker.
Soundtrack Credits
Sing
(uncredited)
Written by Fran Healy
Performed by Travis
Lazy Scranton
(uncredited)
Performed by Steve Carell and Rainn Wilson
Scranton, The Electric City
(uncredited)
Written by Jason Kessler
Performed by Steve Carell and Rainn Wilson
Features
The Office: Pilot (2005) (TV Episode)
Flashback scene (Dwight finds his stapler suspended in Jell-O).
The Office: Diversity Day (2005) (TV Episode)
Flashback scene (Kelly slaps Michael; Pam rests her head on Jim's shoulder during office meeting).
The Office: Health Care (2005) (TV Episode)
Flashback scene (Dwight discusses medical conditions with employees).
The Office: Basketball (2005) (TV Episode)
Flashback scene (Pam kisses Roy).
The Office: Hot Girl (2005) (TV Episode)
Flashback scene (Jim and Pam encourage Dwight to ask out the purse girl).
The Office: The Dundies (2005) (TV Episode)
Flashback scene (Pam falls off her barstool; Pam kisses Jim).
The Office: Sexual Harassment (2005) (TV Episode)
Flashback scene (Michael refers to a picture of Stanley's daughter as "hot"; Michael hugs and kisses Phyllis; Jim baits Michael into saying "That's what she said").
The Office: Office Olympics (2005) (TV Episode)
Flashback scene (Phyllis and Kevin play Flonkerton ).
The Office: The Fight (2005) (TV Episode)
Flashback scene (Dwight takes a couple jabs at Michael; Dwight finds his desk missing).
The Office: The Client (2005) (TV Episode)
Flashback scene (Pam and Jim listen to music together on his iPod).
The Office: Christmas Party (2005) (TV Episode)
Flashback scene (Kevin asks Michael why he got the Christmas tree so big; Pam looks inside the teapot Jim gave her).
The Office: The Injury (2006) (TV Episode)
Flashback scene (Michael and Dwight in the doctor's office).
The Office: The Carpet (2006) (TV Episode)
Flashback scene (Michael and Dwight dump binders and papers on the floor).
The Office: Boys and Girls (2006) (TV Episode)
Flashback scene (Michael knocks over shelves with forklift).
The Office: Take Your Daughter to Work Day (2006) (TV Episode)
Flashback scene (Michael introduces Creed to the children of various office employees).
The Office: Drug Testing (2006) (TV Episode)
Flashback scene (Pam tells a jinxed Jim, "You can tell me anything.").
The Office: Conflict Resolution (2006) (TV Episode)
Flashback scene (Michael adds a "that's what she said" after he asks about a "Phyllis-Angela dispute", and Angela replies "You already did me."; Michael reads a complaint filed by Ryan about Creed).
The Office: Gay Witch Hunt (2006) (TV Episode)
Flashback scene (Oscar shoves Angela out of his way, and Dwight tries to go after him; Michael kisses Oscar; Jim leaves Pam after kissing her on Casino Night).
The Office: Branch Closing (2006) (TV Episode)
Flashback scene (Kelly kisses Ryan in celebration).
The Office: The Merger (2006) (TV Episode)
Flashback scene (Michael asks "Can't we all just get along?").
The Office: Back from Vacation (2007) (TV Episode)
Flashback scene (Jan forcefully kisses Michael).
The Office: Traveling Salesmen (2007) (TV Episode)
Flashback scene (Jim slams the brakes in his car).
The Office: The Return (2007) (TV Episode)
Flashback scene (Andy punches hole in wall; Oscar asks where Dwight is).
The Office: Business School (2007) (TV Episode)
Flashback scene (Dwight traps the loose bat and Meredith's head inside a garbage bag).
The Office: The Negotiation (2007) (TV Episode)
Flashback scene (Dwight kisses Angela, and Jim discovers them).
The Office: Safety Training (2007) (TV Episode)
Flashback scene (Dwight and Michael test the trampoline with a watermelon).
The Office: Product Recall (2007) (TV Episode)
Flashback scene (Jim impersonates Dwight).
The Office: Beach Games (2007) (TV Episode)
Flashback scene (Michael directs Phyllis to dip her hot dog in the water; Stanley charges at Jim, both in sumo suits).
The Office: The Job (2007) (TV Episode)
Flashback scene (Pam's talking head wishing Jim well on his new job, ending with Jim interrupting the interview to ask her to dinner).
The Office: Fun Run (2007) (TV Episode)
Flashback scene (Michael hits Meredith with his car; Pam walks in on Michael while he is changing in his office).
The Office: Dunder Mifflin Infinity (2007) (TV Episode)
Flashback scene (Kelly tells Ryan that she's pregnant).
The Office: Launch Party (2007) (TV Episode)
Flashback scene (Phyllis throws her crumpled-up notes in Angela's face).
The Office: Money (2007) (TV Episode)
Flashback scene (Darryl advises Kelly to access her "uncrazy side").
The Office: Survivor Man (2007) (TV Episode)
Flashback scene (Dwight tries to knock Michael unconscious while driving).
The Office: Dinner Party (2008) (TV Episode)
Flashback scene (Michael complains to Jan about his vasectomies).
The Office: Weight Loss (2008) (TV Episode)
Flashback scene (Michael wobbles into the conference room in his sumo suit as his Michael Klump character; Jim proposes to Pam).
The Office: The Surplus (2008) (TV Episode)
Flashback scene (Angela kisses Andy).
The Office: Moroccan Christmas (2008) (TV Episode)
Flashback scene (Dwight finds his desk and chair wrapped in gift wrap).
The Office: Stress Relief (2009) (TV Episode)
Flashback scene (Dwight's fire drill).
The Office: Golden Ticket (2009) (TV Episode)
Flashback scene (Jim slaps Dwight).
The Office: Casual Friday (2009) (TV Episode)
Flashback scene (Meredith exposes herself).
The Office: Gossip (2009) (TV Episode)
Flashback scene (Andy jumps onto an empty refrigerator box).
The Office: Niagara: Part 2 (2009) (TV Episode)
Flashback scene (Jim and Pam kiss at their wedding; Pam rests her head on Jim's shoulder at Niagara Falls).
The Office: Double Date (2009) (TV Episode)
Flashback scene (Pam slaps Michael).
Have you seen Narcos? Yes, now you know why the fat guy with a black beard from the CIA was always fucking Javier Peña's joint operations with the Colombian Army, the US ambassador didn’t want to expose the Colombian Government to end the immunity of the Cali Cartel (IRAN-CONTRA) and the real reason for Peña's resignation from the DEA.
The movie is probably the best one starred by Tom Cruise in at least a decade... Not a very difficult achievement, indeed.
While being entertaining, it manages to critique. the US in a subtle and sarcastic way.
The film critiques the self indulged and naif belief that most of the US continue to have about their own country and government, like that they always have the moral high ground and that the motivation for any of their interventions is to save, protect and facilitate democracy in the world... When the reality is that they create and feed their own daemons, in secrecy, for their own interest, but when they go rogue the push the western world into a holy war, like going after Sadam Hussain under the excuse of weapons of mass destruction, the hunt for the former CIA trainned, armed and finaced assets Bin Laden and its group Al-Qaeda, the War on Terror, The War on Drugs,etc...
Lovely to end Jesse Pinkmans story on a high note with a very happy ending
First of all, can I just congratulate the whole cast and crew with the amazing cinematography that really gives a credit to the film with great acting and a great director by Vince Gilligan. This film is not going to surpass the exquisiteness of Breaking Bad, nevertheless it gives us a great slow pace look into Jesses story from the past with his experiences along with trying to flee the country to finally get the life he deserves. This film takes the focus off Walt as we know he was left bleeding out on the floor at the end of Breaking Bad where Jesse drives off through the gate into the distance leaving Walt behind bleeding out finally being free with him and his El Camino to hit the road. We see a lot of familiar faces throughout this movie such as Mike, Badger, Skinny Pete just to name a few. You feel suspense throughout the whole movie hoping that Jesse does not get caught or even worse killed. There were a few comedic jokes in the film to make the viewers laugh, but overall it gives out a dark atmosphere as Jesse is literally running for his life. With some of the flashbacks into Breaking Bad where we see Jesse in a state of depression when he is forced to work for the Neo Nazis, showing the suffering pain that he was going through at that moment in time and being locked up in this cage pit, therefore you really get a look into Jesses mind in that moment. On the other hand we see Jesse in the flashback set in the times of Breaking Bad where he has a benevolent side to him, where Jesse does not want any violence he wants to get out of the drug business to sort his life out and maybe go to college/university where obviously that does not go to plan shown through the ending of Breaking Bad. This movie gives off the vibe as being slow pace yet dramatic more like a tribute to the astounding benevolent Jesse Pinkman, which it gives us Breaking Bad fans the closure that we need, therefore leaving us with a lovely happy ending to Jesses story that leaves you pleasantly surprised. Vince Gilligan did a phenomenal job of producing El Camino I give this movie a ten out of ten as it really does satisfy you with a really nice ending.
When you have a political system and society built on the absolute control of information, and the projection of being all powerful and always infallible, then, when something disastrous happens, the first inclination is denial, then a cover-up, and finally finger pointing, deflection and blame storming with the various people having any sort of authority or power trying to save their own asses. The fact that the party bosses and ministers were "Apparatchik's", the Soviet equivalent of bureaucratic hacks, who had been gifted their appointments with minimal or even no knowledge of the actual workings of the bureaucracies they oversaw, poured gasoline and threw a match on an already untenable situation. It's easy to strut around in a cheap suit and impress the peasantry, especially when you can have anyone who calls you out on your BS sent to the Gulag's or even worse. It gets a bit trickier when peoples hands and faces start melting off, and they're detecting abnormally high radiation 1000 miles away.
I feel worse for the civvies, whose naive faith and trust caused them to believe the lies and half truth's they were being fed, and kept them from not only questioning the official story, but, willingly living and working in such close proximity to a disaster waiting to happen, and, thinking it was a privilege to do so. They had no idea of the dangers lurking near them, and, like Lyudmilla, who even when warned not to get too close or stay too long, hugs, caresses, and even places her irradiated husbands hand on her growing womb, thinking he just has some severe burns, because no one has the courage to speak the truth, even at the cost of thousands of lives.
Granted, it really didn't matter after the fact, because the battle now was to keep from decimating the ENTIRE Soviet Union and most of eastern Europe, so, what's 10 or 20 thousand dead if it means saving the country? So, if the neighborhood cheap suit pulls your name from a hat at the point of an AK-47, you tend to cooperate and not ask too many questions. Unless you're a coal miner extra enough to work butt nekkid in a radioactive hole with no hope of survival, and no thanks or glory. I tip my hat to them. Hero's all, even if Moscow never acknowledged them.
Living under a political system where one must apologize for daring to tell the truth, (even if it saves millions of lives), under the pressure of censure, exile, ostracism, or even death, to the end that lying, or pointing fingers and looking for someone to blame, is more desirable than facing the truth had to have been maddening. (Oh, wait, we ARE talking about the Former Soviet Union, right? Such socio-political nonsense and shenanigans could NEVER happen here......)
Legasov did not know how, or even care, to play the political game and follow the party line and narrative. His only concern was telling the truth and fixing the problem. Shcherbina, was a political hack, but, once he found himself (under party orders) in the line of neutron fire, the TRUTH of the potential annihilation of most of the Soviet Union and eastern Europe, crystallized his mission, and, thankfully, he too became focused on solving the problem. at whatever cost.
As his brilliant speech in the chapel said ",I SPIT on the people who caused this to happen, (and thought they could cover it up by denying it possibly could), but, you will do it.....because it MUST be done! Fortunately, three VERY brave men were up to the task, just as brave men have faced death at the hands of seemingly insurmountable odds, time and time again throughout history. Most of us will probably never face a potentially suicidal task with the lives of other hanging on our ability to complete it, but, I tip my hat to those who have made those choices in the past, and, if my turn ever comes, I hope I can show the same fortitude as they did.
Indeed, that last scene was claustrophobic at best, and just plain terrifying, once the radiation killed their torches, leaving them in pitch black darkness.
[8.5/10] It’s funny revisiting this, because I think of Futurama as a pretty straight comedy with the occasional tear-jerking moment spliced in, but this episode is more the opposite. It’s a fairly straight drama/mystery box setup with jokes mixed in. The jokes are good! Between Bender stomping the whale-shaped detritus from Free Willy 3 into the sewers or Fry’s premature reactions to the paper analyzer or the jabs at the poor leg-shaped mutant, there’s plenty of laughs to be had.
But man, this episode nicely sets up the mystery of who Leela’s parents are, Leela’s quest to figure out what’s going with the hooded figures in the sewer, and her own fragile emotional state from being an orphan, until sewing all three together in one heart-rending climax. Again, it’s not like there’s not jokes here, but the sewer society situation feels closer to the show’s Star Trek roots, and there’s the great sentimental character work that both reveals backstory and tugs at your heartstrings.
That final montage of Leela’s parents secretly being a part of her life is really affecting. I must have seen it dozens of times before, but something about it this time got to me. I think as I’ve grown older, I’m more attuned to what a show like Futurama is trying to do beyond just tell an exciting story and deliver some big laughs. There’s an emotional contingent that’s always been a part of the show, but seeing the way it’s threaded through the entire episode like this, only to climax in a beautiful reunion between Leela and her parents at a moment when they’d rather die than scar her with the truth about where she comes from, it really hit me, especially compounded with the scenes of how Leela truly was loved and had someone to “stroke her hair” even though she didn’t know it. It’s incredibly sweet and hopeful for an often wry and cynical show.
Overall, this is one of the all-timers for Futurama, with an episode that is certainly funny, but which proves the show had other modes that were just as worthwhile.
[9.6/10] What you remember about this episode is the ending. It’s hard not to tear up when you realize that Yancy didn’t copy his sibling because he hated him, but named his son after the little brother he missed so much. There’s a great power in that scene, one of the show’s best emotional gut punches after twenty-one minutes of stellar comedy.
But what’s striking on rewatch is how well the show sets up that twist for maximum emotional impact. It establishes Yancy copying Fry throughout the years. It establishes their sibling rivalry and frustration with one another. It establishes the difference the seven-leaf clover makes. And it even establishes the emotional resonances of the frickin’ Breakfast Club soundtrack!
Beyond just landing that emotional blow in the final minute, the show does a masterful job at setting up everything that builds to that payoff. You can completely buy why Fry would make all these assumptions about his brother, and read the clues that way. That just makes him learning the truth that much more impactful.
At the same time, “Luck of the Fryrish” is a thoroughly hilarious episode. The opening act at the horse races is full of the show’s wacky, quickhit gags. The back and forths between New York and Old New York have a lot of good gothamite comedy. And even Bender’s admiration for the new Philip J. Fry is a consistent laugh. Even as the show is doing all this great setup, it doesn't skimp on the laughs.
It doesn't skimp on anything really! Even the match cuts between the rocket from baby Fry’s mobile, or the clover and the engines of the ship help create a sense of continuity between the past and the present. The mirrored scenes of Fry’s dad talking to him as a baby with Yancy talking to his son add an emotional resonance to the proceedings. Hell, even comic lines like “I can’t wait til I’m old enough to feel ways about stuff” and the cheesy tones of “Don’t You Forget About Me” take on a real emotional weight when Fry really does have a moment of maturity and feels ways about stuff, as an oddly appropriate soundtrack plays.
Overall, this episode is about as close to perfection as Futurama managed. Every bit of its emotion is earned, the comedy is still potent, and the attention to detail is unmatched. One of those all time great episodes of the show.
Great build up at the end to Ray being beaten (baseball bat, Ray's favorite choice of tool.) Was that Aerosmith performing their song Dream On at the end, or was another group doing it as a cover? Sounded like it might have been a different rendition, with a less scratchy voice. I appreciate when other singers do covers. One of my favorite renditions of a cover is how Tori Amos does Over The Rainbow.
As a show, Ray Donovan has great aesthetics; it's gritty but it never sacrifices style. Kingdom is an example of a gritty show that, unlike Ray, did end up having to sacrifice some style.
"Dad, why are you at a psych ward? Dad?!"
"I forgot to eat. It was a misunderstanding."
It's funny how far Ray will go to de-escalate tension. He turns the emotion dial down so hard the dial breaks off.
Out of all my favorite anti-heroes, Ray is the most taciturn by far, a trait that seems to be driving everyone away in droves this season. Ray takes space without asking, then expects people to still be loyal and not question him. Mostly he's in the right, but sometimes he's asks too much.
Trivia
+Michael says that there is no Wikipedia entry for "office robbery statistics." Now, when you look up "office robbery statistics" on Wikipedia, it brings up the Crime Aid episode of the office.
+The call from Michael to Pam at the beginning is a shout out to the Ricola commercial, famous at the time of release.
+While speaking privately to Phyllis, Dwight mentions Angela's affinity for Sheetz. Sheetz is an actual set of convenience stores located throughout the Pennsylvania area and headquartered in Altoona, PA.
+At one point during the auction, there is an extra that makes a bid and raises his hand. This is the same guy that had Michael steal food from his plate at Benihanas. He also comes out of the elevator outside of the office in another episode.
Goofs
Continuity
+Darryl auctions off a drink with the warehouse crew, which Jim wins and they all walk off together, leaving the warehouse. When they auction off the next item, Jim can be seen sitting in his chair behind Creed.
+When Holly locks the camera crew out of the building, the "lock" she operates was not there when the door was open.
+When Jim is driving to New York to see Pam, you can see the dashboard clearly lit up but the hand of speedometer doesn't move as he accelerates and decelerates.
Soundtrack Credits
The Heart of Rock & Roll
Written by Johnny Colla and Huey Lewis
Performed by Huey Lewis & The News
Consider Yourself
written by Lionel Bart
Performed by Ed Helms
Trivia
+Near the end, Stanley delivers a soliloquy about losing seven pounds and then bows his head and raises his right fist. This scene is a homage to two black American sprinters, Tommie Smith and John Carlos, who won gold and bronze medals in the 1968 Olympics. They generated controversy by raising their fists while on the medal stand as the national anthem was being played.
+We find out Pam's weight in this episode. According to the scale calculations, the entire team weighed 2,336 lbs when Pam was on the scale and 2,210 lbs when she got off. So Pam weighs 126 lbs.
+When Jim visits Pam at her Residential Advisor room, Jim misdirects the cameraman away and closes the door. This is the only time where you hear the "documentary" camera crew, namely a sigh.
+Holly's real first name is Hollis.
+When Holly is shown at her desk, right before she finds Kelly making her juice, you can see her name plate revealing her real first name to be Hollis.
+There is a point where Jim is talking about having to spend his lunch with different people while Pam is away, during this time Michael is shown without a goatee, which he has had the entire episode because Ryan has one. Michael is shown afterwards leading a meeting with his goatee still there.
+It is revealed via Holly's whiteboard that the remaining Dunder Mifflin branches in operation are: 1) Scranton, PA; 2) Nashua, NH; 3) Camden, NJ; 4) Utica, NY; 5) Buffalo, NY; 6) Albany, NY; 7) Yonkers, NY; 8) New York City Corporate Center.
+As Pam is running over to Jim at the gas station, she comments that "Montclair would have been closer" (as in, to meet halfway). Montclair is a real city in northern New Jersey popular for its arts centers and restaurants.
Goofs
Continuity
+Michael's goatee disappears in a lunchroom scene and returns for a weigh in. He later shaves it off.
+Pam comments to Jim at the gas station that: "Montclair would have been closer, so you have to buy lunch". This is untrue. Montclair, NJ, is 1 hour/ 50 minutes away from Scranton, PA (Jim) - but only 55 minutes from midtown Manhattan (Pam). That is not at all halfway between the two locations. Newton, NJ, would have been a better compromise.
Spoilers
Jenna Fischer actually kept the engagement ring that her future husband, Jim, gave to her in this episode. She has been seen wearing it sometimes in public and in interviews.
Jim Halpert: [to Pam] I'm in love with you.
Trivias
+In this episode, Michael says he's donating his money to Comic Relief, even though it no longer exists. This was an homage to the original British series, where an entire episode (#2.5) was devoted to raising money for Comic Relief.
+In "Casino Night" Creed is shown stealing from a vending machine. He holds up a candy bar. This a bar made by Gertrude Hawk Chocolates, a company founded in Scranton.
+Creed mentions the excellent pea soup at the soup kitchen. He would be referring to the St. Francis of Assisi Soup Kitchen at 500 Penn Ave. in Scranton (right across the street from the Penn Paper building shown in the opening credits of the show). The soup kitchen is for the homeless.
+In his beginning monologue to the camera, Michael states that he considers himself to be an accomplished "philanderer." This word is often applied to men who engage in sexual relationships with multiple women simultaneously. The word he should have used is "philanthropist," which is more aligned with people who support charities.
+Michael's line, "Jan Levinson, I presume", is a reference to Journalist Henry Morton Stanley's reported first words to adventurer Dr. David Livingstone, "Dr. Livingstone, I Presume", when the former found the latter in Africa.
+After Michael makes his speech to get casino night started, he says "let's get it started--- black eyed crows". He is referencing to the song by the Black Eyed PEAS "Let's Get It Started" but has the group name wrong. This was a deliberate but subtle joke.
+In this scene where Michael and all the others are playing poker, Michael goes all in on the first hand and Toby calls his bet but Michael folds his cards berfore there is a flop. It is never shown what Michael's losing had was.
Spoilers
In "Casino Night" Dwight tells Pam & Jim his tux belonged to his grandfather & that he was buried in it. He again wears it in the beginning of the episode "The Farm", when announcing the death of his Aunt Shirley. However, according to Schrute tradition, they shoot their dead before burial to make sure they are "completely dead". If his grandfather had been buried in this tux, there should've been bullet holes.
Jimmy takes a bus ride out of New Mexico and spends his time writing letters and postcards with the help of other riders as well. Mike takes the Germans out to a strip club and Werner to a bar. Kai stirs up trouble and Mike goes to bail him out and Werner spills some details about the superlab to men at the bar and Mike takes him home. Jimmy comes back home and prepares his office at the nail salon to function as a call centre. The "fake" letters make its way to the judge and Suzanne insists on finding out what makes Huell so special. The phone numbers included on the letters are the phones Jimmy has and pays his filmcrew to play improv if the DA's office calls. Huell's sentence is reduced and Jimmy and Kim celebrate. Soon after, Kim tells Jimmy she wants to do something like that again. (Why Kim??) Mike tells Gus they're about halfway done the superlab but still way behind schedule. Nacho takes some time to reflect on his life before becoming part of the drug world and a new Salamanca at the restaurant makes Nacho worry about how things might change. This episode left me with a wide grin on my face stunned to think that when Jimmy has run out of ideas to do something wild, something new comes along.
Nothing to say really besides: that’s how you do it!
This has without a doubt the most impressive stunts of the franchise, and it really knows how to use its characters and challenge them. There’s a lot of propulsive energy, lush cinematography and great editing. Lorne Balfe does a great Hans Zimmer impression, and Chris McQuarrie does a great Chris Nolan impression. Alright maybe I’m oversimplifying there, because I have to commend McQuarrie for doing another stylistic reinvention of the franchise, the cinematography and general feel aren’t just that of Rogue Nation 2.0. I’m not even sure if the constant evolution of this franchise comes from a place of creative ambition or commercial opportunity, but at least it keeps the films fresh. Some of its core elements will always remain the same, however. For example, the plot’s once again just a vehicle for all the juicy stuff. You could call it out for being generic or basic, but they find so much creativity and fun in these tropes that it becomes very entertaining (intrigue, the mask sequences, the craziness and constantly rising intensity). Sure, there’s a very predictable twist at the end of the second act, but more often than not, it managed to surprise me. Henry Cavill is a great new addition, bringing back Rebecca Ferguson was the best choice they could’ve made, and Pegg & Rhames remain the reliable anchors that add some heart & humour. It’s all exceptional stuff, it could very well go down as the best action franchise in history if the next films stick the landing.
9/10
[8.2/10] Jimmy and Kim are on different paths. That’s been clear for a while now, but this episode’s cold open makes it literal. “Piñata” begins with a flashback to the halls of HHM, when Jimmy was a gregarious mailroom clerk and Kim was a precocious law student. Even then, there’s a rapport between them, but a clear difference as well.
Kim’s strength is her curiosity and understanding. She impresses Chuck (a welcome, understated return for Michael McKean) with her knowledge of the case law that underlied his big win in the courtroom. She’s clearly fascinated by this -- amazed that he was able to get justice for his clients based on some obscure precedent. That’s her talent as well -- squeezing every bit she can out of the finer details to get things right.
But Jimmy’s strength is people. He knows how they work, how they operate, and while he often uses his preternatural charms for his own personal gain, oftentimes he’s just friendly enough to forge connections. It’s clear as he roams the floor, collecting Oscar ballots for an office pool, that he knows everyone in those cubicles as well as Kim knows those old cases. They represent two different approaches, both to the law and to life in general, and “Pinñata” shows them literally headed in opposite directions.
That seems to be the case in the present as well. While Jimmy is making plans for their joint future, scribbling letterheads and logos,- Kim’s expression while seeing his scratchpad says it all. It’s all nicely understated: Jimmy’s obvious enthusiasm for his dream job alongside the woman he loves and Kim’s growing realization that she just cannot be a part of that.
There is something very good about that -- we don’t want good and decent Kim to be tarnished or dragged down into the muck where we know Saul Goodman will one day make his home -- but also something very sad. Jimmy and Kim aren’t particularly high octane as television romances go, but there’s an undeniable sweetness and affection between them. It may not be built to last, but there’s still something warm about it, that makes the viewer melancholy about it headed for an ending, even if it’s what’s best for everyone.
It doesn't feel like what’s best to Jimmy though. At a lunch at their favorite spot (one where Kim specifically shoos away their pseudonyms, a meaningful gesture), Kim tells Jimmy that she’s joining Schweikart and Cokely as a partner, building (and heading) their banking division. It’s a boon for Kim. The move will allow her to both staff associates on Mesa Verde and ensure that no balls are dropped there, while giving her enough leeway and freedom to do the pro bono work that’s meaningful and personally satisfying to her.
But it dashes Jimmy’s dreams, and she knows it. Despite his self-serving nature at times, Jimmy is a good guy (or at least a good enough guy) and puts on a supportive front. He’s gobsmacked though. Director Andrew Stanton (of Pixar fame) frames Jimmy taking a minute to process the news in the door of the kitchen, with creative, ever loudening sounds from the food prep to represent the moment of stress and realization he’s experiencing to see his great hope shattered like that.
It’s hard. This pairing is a sinking ship. But in an episode where people offer words to others that they mean for themselves, Jimmy echoes Kim, and tells her that she has to do what’s best for her, even if that puts them on different trajectories.
And they’re on what seem to be entirely different trajectories from Mike and Gus. Normally, there’s some sort of thematic connection between what could be considered the two mostly separate tracks of this series within a given episode. The “How Jimmy Became Saul” segment of the show might not intersect with the “Breaking Bad Prequel” segment, but there’s typically something that connects them in terms of ideas if not in plot. But Kim and Jimmy’s diverging paths don’t have much to do with Gus and Mike’s efforts to build their big, undetectable meth lab.
The closest thing to a connection is the idea in the Mike/Gus portion of the show that you need both the detail-oriented virtuosity and the people skills to really make something work. The one doesn't function without the other. As Mike is setting up the living quarters for the builders who’ll be working in isolation for six months, he’s on top of both ends of the equation. He says they’ll need creature comforts -- recliners, a basketball hoop, even a bar -- but he’s also on top of security and monitoring, making sure they have everything they need but that if they start “climbing the walls” he knows about it.
He’s meticulous enough to predict everything the contractors will need, but also sharp enough to single out Kai, the smart-mouthed, mildly rebellious worker, as a potential trouble spot. And he, like Kim, is not cold despite his attention to detail. In one of “Piñata”’s sweeter scenes, Mike comes to Stacey’s door to offer her an apology. It’s a quiet, but heartfelt scene. For all his ability to read people, Mike isn’t always great at being with them, and seeing him admit fault and, in his own taciturn way, ask put the unpleasantness behind him and be back in Stacey and Kaylee’s life is unsuspectingly sweet from the gruff old man.
But sweetness is not what Gus has in mind for Hector Salamanca. I’m of two minds on the little parable from Gus’s past that he offers to his comatose foe. On the one hand, the monologue is a little too writerly and on the nose. It’s such an obvious metaphor for the situation with Hector and seems too perfectly calibrated to tell us more about who Gus is, how he views the situation with the Salamancas, and why he’s going to such lengths to sustain the life of someone he hates.
On the other hand, as usual, Giancarlo Esposito knocks it out of the park, conveying the sense that Gus is baring his soul as much for his own benefit as for Hector’s (or the audience). You can hear the emotion in the voice of a character normally so cool and reserved. There’s a quiet seethe, a cold seeking of righteous retribution that comes through in a way that feels genuine rather than the practiced or put on genteelness that Gus usually offers. In the hands of anyone else, the monologue might be too cheesy, but here, the performance is good enough to rescue it, and make you understand and believe in how Gus’s eternal dedication, care, and vigilance, will give him a leg up in this war.
You wouldn’t necessarily put Gus and Jimmy in the same category, but that nevertheless is something that unites them. Jimmy may not have the discipline or the vision of Gus, but he also knows how to work situations to his advantage, to play the long game, and to do the legwork to cover all the angles he needs to.
That’s the takeaway from the steller sequence that closes the episode. When Jimmy tries to offer the three young punks who “rolled” him in the last episode a deal, and is rebuffed at the end of a switchblade, he lures them into a trap. It’s a great setpiece from Stanton, who not only captures the kinetic exhilaration of Jimmy sprinting away from his attackers, but also the disorientation and sense of intimidation, as Jimmy and his goons hang these boys upside down in a pinata warehouse, and make them promise to leave him alone, left they end up like the rest of the quickly-destroyed goods hanging alongside them.
It’s a spectacular set of scenes, both for the creativity the Pixar pro shows in their construction, and for what they tell us about Jimmy. It elucidates his decency. As he did with the music store owners who attempted to stiff him, he tries to give the hoodlums a fair deal, and only turns to subterfuge and threats when they treat him badly. But he also has a plan when things get ugly. That is Jimmy to a fault -- up for doing things the nice (if not exactly legal) way, but ready with an elaborate, well thought out plan to guarantee he gets what he wants and needs if things have to get rougher, just as he always has.
It’s telling, then, that he ends up back where he started in this episode. The phone scheme is (with a one burner payoff) being operated out of his same tiny office in the back of a nail salon where we first met the young Mr. McGill on Better Call Saul. Chuck is gone. Kim is moving on without him. And his law license is suspended. That means it’s time for him to roll up his sleeves (literally in this case) and rebuild.
You see that mentality in his speech to Howard Hamlin. “Piñata” draws a parallel of parallels (a parallelogram?) between Chuck and Kim on the one hand and Howard and Jimmy on the other. In each instance, you have one member of the partnership who is the dedicated and sharp-minded jurist, able to move the dial with their sterling intellect and commitment, and the consummate pitchman, able to be the face of the operation and maximize the value of the name and reputation that the other partner provides.
With Chuck gone, Howard is clearly lost. Howard seemed out of sorts in the last episode, and HHM is “right-sizing” and falling apart under his watch. Jimmy tells him to get it together, that he’s crappy lawyer but a hell of a salesman, so he should get out there and do what he does best in order to right the ship. They are, again, words that Jimmy offers his sometimes rival that he means more for himself.
Because Jimmy is undeterred. Kim going to another firm is a body blow, but one Jimmy doesn't intend to let put him down for the count. He is back to his old scheming ways, figuring out how to use his inheritance to get him enough burners to put him back on his feet. The plan with piñatas is just a start. Kim and Jimmy are moving in different directions, but the difference is that while Howard is rudderless without his partner, Jimmy is emboldened to start his hustle once more, no matter who’s by his side, or who he pushes away in the process.
Absolutely love the direction this season is taking. I feel like there is a lot more "clarity" compared to watching last season and given that you're supposed to empathise with Elliot and see it from his perspective, it really feels like his mind is slightly more clear now, at least when compared to season 2 - he has a goal and is aware of things that are happening, but not everything.
I thought after Elliot realised Tyrell was real/got shot, he had a better grasp of how Mr. Robot operates, or how his mind works, somehow, and that's what shut Mr. Robot down for the most part. This episode suggests the therapy sessions are what help keeping Mr. Robot at bay, though, which is interesting - and so is the fact that Elliot and Krista have discussions about it.
I sort of enjoy the switching between Rami Malek and Christian Slater more than them being side by side. It really adds a lot in terms of making Mr. Robot a frightening presence, and it's written/directed in a way that makes those scenes incredibly good. Even the sound editing in the background set the tone for the transition, such as when Mr. Robot takes over while at therapy, which has happened before - if you go back to the Pilot scene where Elliot does his "fuck society" speech, right before he starts the same thing happens, this being even before the audience knows about the Mr. Robot personality.
My only disappointment is the whole Joanna Wellick thing - only reason why I don't give it a 10. If what happened doesn't factor into the plot (and it doesn't look like it will), then that guy just... killed them for a lame reason. I don't know, that was weird just for the sake of weird.
