Thank whatever higher power is up there that this show is finally back. Had I had to wait one more week, I swear I would've exploded from anticipation.
Unfortunately, every once in a while real life gets in the way of my watching TV shows, which is why I was unable to review 4x15 when it first aired. So, if you don't mind, I'd like to very quickly say a few things about "Self Control":
That was the best fucking episode this show has ever done and I still haven't fully recovered from it.
I CAN'T BELIEVE ELIZABETH HENSTRIDGE AND IAIN DE CAESTECKER INVENTED ACTING. These two smol humans are so incredibly talented and their performances in that episode were earth-shattering.
I love FitzSimmons. I really do. But I ship Jemma and Daisy so hard that it actually hurts a little bit. The sweaty hug, the lingering looks, the hand-holding, it was all so gay that my brain short-circuited. I've spent the last month binge-reading BioQuake fanfiction. Send help.
Robot May made me cry like a baby. Yup. That's another sentence I never thought I'd write, but here we are!
And now, moving on to 4x16:
I can't believe they just went and changed the logo to Agents of HYDRA. I'm internally screaming. That is so extra.
So, the Framework is a bleak, nightmare-inducing reality. I don't get it. If you had the power to create a whole new world, why would you make it like this? It's awful.
I love Brett Dalton and it's good to see him again, but damn, I hate Ward's bitch ass. Watching that slimy motherfucker put his hands on Daisy made me want to throw up. And then he turned out to be a good guy? That's a twist I didn't see coming. I think it's very cool. It doesn't redeem real-life Ward's actions, of course, but it's interesting to see a different version of the character, one that isn't a homicidal lunatic.
Evil Fitz is terrifying. His dad must've been one messed up dude. Also, I sincerely hope that Jemma will punch Aida in the face for seducing him. I was so grossed out when they kissed. It's just wrong.
I appreciated all the little things that Coulson had in his file. The references to Tahiti, the Cellist, LA Quake (good one, writers) and Lola made me smile.
Jemma, my baby! My tiny badass! I love her so much. She just doesn't give a fuck. She'd fight all of HYDRA by herself armed with nothing but a plastic fork and a lot of determination if she had the chance. And yet another wonderful performance from Elizabeth. I shouldn't even be surprised anymore, but she still blows my mind.
"- Are HYDRA all Nazis?
- Every last one of them."
Cue the "My longest yeah boy ever" video.
"Daisy, they're coming! You need to do something before Psycho Stalker shoots us!"
I've never wanted to marry anyone more in my life. Your fave could never.
To be honest, the thing I would like to see the most in the Framework is FitzSimmons meeting. It could be such a fantastic scene. Just imagine, Fitz interrogating Jemma or something and feeling oddly drawn to her despite the fact that she's an enemy of HYDRA, Jemma desperately trying to get him to remember, emotions all around... I really want this to happen.
Seeing Daisy with long hair and hearing people call her Skye made me reflect on how much she's changed since the show started. I definitely prefer season 4 Daisy to season 1 Skye. I mean, I've loved her since day one, but her character arc has been phenomenal and I adore the person she's become.
Coulson remembers Daisy! Agents, assemble! Aida's electrical ass won't kick itself!
I can't wait for the next episode. I'm so excited that I can't breathe.
I don't get nearly as excited about the MCU as I used to (mostly because they're churning out movies and TV shows at a rate that I just can't keep up with), but I thoroughly enjoyed this one. Definitely worth watching.
Some loose thoughts/things I enjoyed below (spoilers are marked):
- the story is good, the 2nd act is kind of slow, but it picks up towards the end
- the fight scenes are super cool and creative (especially the one on the bus and the one on the scaffolding)
- I liked the way they utilized the rings in fights, it felt really fresh and like something we haven't seen before
- the final battle is actually awesome (monkey brain loves big monsters and explosions)
- the cast is excellent (I'm particularly thrilled to see Awkwafina getting more recognition)
- the soundtrack is beautiful and I love the way they used traditional Chinese melodies
- badass women all around (Michelle Yeoh my beloved)
- impeccable CGI
- some gorgeous scenery
- MORRIS
- loved the callback to the Mandarin mess from Iron Man 3
- Brie Larson cameo (I know the fandom has collectively decided to hate her, but I don't care, that was a treat for me and me only)
- Xialing effectively utilizing girl power by taking over her father's crime empire (I feel like there was definitely some comic book reference flying over my head there but who cares). My friend and I joked that she'll be getting a Disney+ series shortly
Overall, it was a treat. Strongly recommend.
throws an Emmy at Chyler Leigh's head because somehow she manages to outdo herself every week and it's ridiculous
I didn't expect Supergirl to do a horror episode, but they actually kinda pulled it off. The scenes at the research station were sufficiently creepy. And the parasite looked really good.
Drunk Kara was absolutely adorable and hilarious.
The Guardian is fine. I liked James and Winn's interactions in this episode. Kudos to Jeremy Jordan for his angry speech at the DEO. It was amazing. And the idea to lace the suit with lead so Kara can't see inside it was pretty brilliant.
Is something going to happen to J'onn because of White Martian blood?
Well, Mon-El is dead. I mean, not really, but I can't say I'd miss his pasty annoying ass.
Now, let's get to the more emotional and less comprehensible part of this review:
Alex came out to Kara, and of course there had to be a misunderstanding, but that scene at Kara's apartment was beautiful. Everything about it was perfect, from the soft music and the warm lighting to all the acting choices. Alex talking about Maggie and calling her beautiful was just so pure and cute and it made me want to bite my hand off. You know the feeling. Don't lie to me.
AND THEN ALEX KISSED MAGGIE! I had to pause the episode and calm my racing heart. I was so excited and happy that I felt like I was about to explode. But underneath all that there was a nasty little gremlin sitting in my stomach, whispering "Maggie's gonna reject her", so I hesitated for a good minute before hitting play.
And guess what?
The gremlin was fucking right and I hate life.
Don't get me wrong. I want Alex and Maggie's relationship to develop slowly. And Maggie had a good reason for not wanting to get involved with a baby gay who's just starting to figure herself out. The calm, reasonable part of me knows that. But the far more vocal, far less logical part wants them to get together immediately.
Alex's heartbreak destroyed me. Holy shit. My poor baby. I'm sobbing because of her. The way she choked and stuttered and could barely talk... so real and completely devastating.
Great episode once again! Besides te whole 'aliens are bad, people are good' stuff, which has been with us since the fish season, the whole episode was quite good. Those hate crimes they were commenting on the show need to be talked about, but to me, it's getting a little bit repetitive. It's as if they just picked up one topic only to drop it at the next minute but keep on talking about it.
The whole Kara trying to use her powers without actually showing that she's Supergirl was actually quite good and pretty funny. Lena's gotta be suspicious now. So Kara leaves the room and 5 seconds later Supergirl appears. Coincidence? I think not!
Silly me for thinking that this would finally be the episode when Lena found out Kara is actually Supergirl. They're seriously dragging it way too much. Now I'm not buying the whole Lena already knew. If she knows she wouldn't be all buddy buddy with Kara. But writers, please, just let her know. It's seriously dragging Lena. She's one of the most intelligent people in the world, yet she's still clueless about her identity.
I love Nia. I seriously love her talks. So passionate and warming. I love that she waited until it was necessary to mention that she's transgender. That's actually how people talk and I'm glad the writers went that route.
Also, something tells me that Nia went to that pizzeria for a reason and not just to get an expresso. Who goes to an Italian pizza place to get a coffee when there are dozens of coffee places near your office? Her scene with Brainy was totally worth it, though.
I'm disappointed. If I'm not mistaken, Brainy ordered 12 pizzas, but he left with just 5?!?! Come on! I'm disappointed.
His relationship with Alex is starting to warm my heart. It's great to see both if the bonding. I'm really happy to see them growing up.
I wonder what Russian Kara is up about. I thought they might talk about it a little, but nothing. Guess we'll have to wait to see what happens.
[5.8/10] Here’s what kills me about Inhumans. There’s good ideas here, and solid takes on characters and conflicts that, in other hands, could be compelling. Maximus struggling with his insecurity with being a human, Auron realizing that her leader and lover’s intentions were not pure or idealistic, and Black Bolt struggling with being lethal vs. being merciful are all solid at worst stories to play out on this show.
And in brief moments, they work. Maximus feeling stung by the perception that Auron only thinks he’s good “for a human” is a good beat. Auron realizing what she’s aligned herself with and trying to save Gorgon is an interesting turn. And Medusa talking to Black Bolt about the idea of people sharing different versions of the same pain is nice, even poignant thought.
The problem is that the clunky dialogue prevents most of these scenes and ideas from really working at anything other than an abstract level. And they’re only fodder for corny story beats that leave the viewers either bored or rolling their eyes. To the point, Maximus’s frustrations only lead him to a cheesy “parlay” with Black Bolt where Maximus predictably double-crosses his brother. Auron’s part, while leading to a solid bit of chemistry with Karnak, just leads to a standard “why isn’t this working?!” attempt to revive Gorgon. And Black Bolt’s initial attempts to be merciful and then later attempt to be more forceful is just a tired version of an old trope that builds to a standard supervillain plot.
Inhumans seems to want to go for complexity with Black Bolt as a leader, but that’s hard because the character is speechless and Anson Mount isn’t nearly good enough of an actor to convey the range of emotions required without dialogue, and Scott Buck & co. aren’t good enough at writing around that limitation, and the direction and editing and production of the show isn’t good enough to convey that visually. So the result is that Medusa (who’s quickly become the standout of an underwhelming series) makes an understandable demand that she be included as an equal in big decision and not lied to, and it all kind of amounts to nothing because she’s talking to a cardboard stand-in of a character and the episode just keeps on trucking.
At least there’s some good action in this one. While Karnak’s fight is still a little awkward in its pacing, the Matrix-like leaps and perspective ships make for a pretty cool moment as he disabled some attackers. And while the soundtrack chosen was silly as all hell, Triton’s Assassin’s Creed-esque ninja moves to corner Maximus on Attalan were well-done as well.
But that’s the thing about Inhumans -- for every one good thing, there’s two bad things. Triton’s moves are cool, but the show makes a big deal out of the character despite the audience having seen him for about two personality-less minutes, so his return has no impact. And Maximus’s ensuing confrontation with Black Bolt should be the climax of the series, but instead it culminates in a Bond Villain plot that would make Blofield blush.
And don’t get me started on the Gorgon crap. Last week felt like a fake out anyway. But between bringing back Triton and Gorgon in the same episode (not to mention Auron earlier in the season) the show has basically guaranteed that death is meaningless and shouldn’t be taken seriously in this series.
Overall, this is another underwhelming outing from the series, and if it was just uniformly awful and lacking in any redeeming qualities, it would be easy to just write it off as a completely unsalvageable misfire. But by finding interesting things with the characters, and being completely inept at doing so, Inhumans is an all the more frustrating sort of failure.
Far and away the best episode Agents of Shield has ever produced. The only episode that can give it a run for its money is last season's spotlight episode on how May earned her nickname. There's a lesson there -- centering an episode on an individual story, particularly one that centers around one of the better actors in the cast, gives the show a focus that is often lacking when trying to juggle multiple intersecting plotlines at once.
This was a hell of a showcase for Elizabeth Henstridge. The production design team helped. (Production design as a plus in 'Agents of Shield"? I"m as surprised as you are.) The blue tint was a cheap way to sell the alienness of the world, but it totally worked, and the dessert topography really sold the desolateness of the environment and contributed to the sense of hopelessness in that world.
But Henstridge is what made the episode work. She sold the isolation, the small moments of crestfallen loneliness and discouragement, the little joys of success and friendship, the simple humanity of a survival story. Her burp, her wistfulness when she says "My dad would like you," and her conversations with an imaginary Fitz (a nice nod toward Fitz doing the same routine last season) all made her feel like a three-dimensional person in an extreme situation. There's a sense that this is Marvel's take on 'Castaway' or even 'Last Man on Earth', and doing this kind of laser-focused narrative requires a lot of the actors involved. These types of stories are, by necessity, character pieces; Henstridge was more than up to the challenge, and it deepened my appreciation for Simmons.
The actor who played Will was pretty good as well, and while his story could have felt too cliche, it worked in the context of the episode as a whole. Really, this felt like a well-structured science fiction short story as much as it did an episode of an ongoing series, and that's not a knock. Knowing Fitz and Simmons's relationship helped give certain moments more weight and significance, but it could almost work as a standalone piece. That's how strong and self-contained this was.
There was also a legitimate sense of menace from the planet. The zomibe-like astronaut, the tentacle creature, and the dust storms all suggested something frightening and alien about this world. It prompted so many great emotional moments from the two characters stuck on it. Doing an episode like this, so unlike AoS's usual M.O., was something of a gamble, but it paid off like gangbusters here.
[9.8/10] Growing up is hard enough. Figuring out who you are, figuring out the balance on what’s in the core of your soul and what parts of it you’re willing to share with the world is a difficult endeavor under the best of circumstances. Throw in the difficulties of living in a household of addiction, of a sexual preference that earns you additional scorns, and an already fraught journey becomes a cruel and unforgiving one.
Despite the harshness of these difficulties, Moonlight finds the beauty forged within that crucible, the kindnesses large and small, the transcendent moments and connections, that help a sweet, put upon young boy have something to hold onto as he becomes a man. It is, despite the aesthetic pleasures of its gorgeously shot scenes, at times an ugly, dispiriting film, but ultimately a life-affirming one, centered on the unique challenges of its protagonist, struggling to define himself, and finding his way among the pitfalls and gentler paths of growing up.
It is a lovely (and to my mind, superior) companion piece to Richard Linklater’s Boyhood, another coming of age tale told in pieces with a reserved but introspective bent. Certainly, the circumstances of Chiron and Mason are markedly different. And Moonlight does not share Boyhood’s ambitious ten-year film schedule, instead relying a trio very talented actors who manage to turn three separate performances into one remarkably unified character. But both gain strength and meaning from the contrast of who the young men at the center of these films are at various points in their development, and how they explore what lessons, ideas, modes of being, stick with them or come back later in life, and what falls by the wayside.
It is a film that is both strikingly specific but also universal. Director Barry Jenkins does well to explore the particular hardships of being stuck in the middle of a parent who doesn’t know how to deal with her son’s differences and labors under an addiction and a mentor who accepts those differences, who guides this young man and gives him tools to survive, but who also feeds his mother’s dependency. Moonlight also succeeds in its focus on Chiron’s fraught attraction to his best friend, Kevin, bound up with all the fears and insecurities of teenage affection, with the added challenges of homosexuality and race that deepen the sense of unsteadiness, self-doubt, and betrayal that come with such steps into adulthood. There is a specificity to these threads, a depth and particularity to Chiron’s unique struggle through uncharted waters.
And yet, it is rooted in such recognizable emotions and motivations that the film transcends his individual story at the same time it embraces it. Moonlight explores the perilous effort to define yourself – in relation to, in opposition to, in the shadow of blessings and pain – from the misfit kid who doesn’t know where he belongs, to the troubled teenagers who find comfort but make their choices, to the adult who remakes himself in a loved one’s image. That struggle is an eternal one, one experienced by everyone, even as its given poignant life in one young man’s story.
The most universal, heartening, and at times heartbreaking aspect of Moonlight, however, is that it is also a love story. As much as the core of the film is about Chiron’s development, about the man he would become and the boy he was to get there, the heart of the movie is in the relationship between him and Kevin. In their gentle companionship as children, to their shared vulnerabilities and comfort on the beach in adolescence, to their cautious but tender reunion as adults, Moonlight depicts one of the most complicated, most believable, and most compelling love stories to make its way to celluloid in years. There is a truth in the pair’s few tentative steps, in the hesitant way their romance moves forward and crumbles in turn, and the baggage and lives lived that hang in the background as it’s rebuilt, that gives it a force unmatched.
The shape of that love story is given form by the incredible art direction, editing, and cinematography in the film. At a time when where the two stand in relation to one another is very uncertain, Moonlight lingers on images of Kevin lovingly preparing a meal for Chiron. The warmth of the process, the tactile effort of it, become the focus in a fashion that tells you everything about how Kevin feels without anyone needing to say it. At other point, the camera swirls around, giving you a view of the tumult in this corner of Miami and the man at the center of the orbit. And by the same token, the film’s use of color is outstanding, with crisp blues that stand for the choices confronted Chiron, as outlined by the man who takes him under his wing, often isolating it amid white space or primary colors. There’s a warm naturalism in how the film is shot, where every hue pops and a gentle glow that permeates moments harsh and beautiful.
But all that beauty is in service of what is, unassumingly, a tremendous ensemble film. As the film passes through the years, only Naomie Harris (who gives an incredible performance as Chiron’s mother Paula) appears in all three segments. And despite their comparatively brief appearances, Janelle Monáe and especially Mahershala Ali make big impressions as the early lights in Chiron’s life. But with that lack of continuity, it falls to the tripartite collection of actors who portray Chiron and Kevin at different points in their lives to carry the whole, and each rises to the occasion. There is a unity to these two young men, from youth to adulthood, a cohesiveness to their struggles and their character even as each changes dramatically, that speaks to the overwhelming talents of the actors young and old, and the quality of the writing that support them.
Moonlight is simply a superlative film, one whose merit and impact, I must confess, are hard to capture with the clumsy implements of the written word. It is wide in scope, spanning years and grazing eternal truths, but also focused and succinct on the compelling story of Chiron and committed to providing a glimpse of his inner life. It shows harrowing events in gorgeous ways, and tender moments with artistic care. It is a film about who we are, and who we choose to be, that finds power and beauty in the spaces in between.
This episode is simply stupendous.
Space combat in this TV show is different than other sci-fi shows. It's more realistic, and just plain cool. It would be worth watching the show just for that, but the writing is excellent too!
The population differences are interesting: Earthers, Martians, OPA, and Belters (and Ceres inhabitants, if they are different.) I especially like the Martian culture. The humans who come from Mars are vaguely similar to Romulans in Star Trek (TOS); their difficult life on Mars has resulted in a fascist-like dedication to the state and fierce militarism, yet also a noble dedication to their own people. There is also a sort of Cold War type stand-off between Earthers and Martians, with little information flow and a lot of mystery and suspicion. The ending of this episode also brings to mind Romulans. And yet, the Martians are unique and don't seem derivative at all. One nitpick: the red lighting in the Martian helmets is trying too hard to say, "These guys are the Martians!"
Belters are tall and thin. In this episode or the previous one, we learned that Belter prostitutes are very striking in lingerie. Belters are even more culturally different from Earthers than Martians are, in that Belters have their own language, which apparently includes body motions.
The Earthers we've seen have mostly been corrupt upper class and bureaucrats. They enjoy fine wine, while giving lip service to plans of recycling that they'll probably never actually implement.
Oh, and then there are the Mormons. LOL. They count as their own faction. And they have a Plan.
I liked it better when the four DC shows aired on four different nights, but whatever. I guess the people at the CW wanted to boost the ratings by airing Legends after The Flash.
I can't believe that they made an episode about the Legends trying to convince George Lucas to become a movie director. That is so wild. I love it. And there were so many awesome references to Star Wars, like "You're our only hope" and the trash compactor.
Rip forgot who he is and to be honest, I hope he won't remember anytime soon. I like the team as it is.
Every now and again I randomly remember that Arthur Darvill played Rory Williams on Doctor Who. Apparently, he was destined to play characters travelling through time and space on a ship.
It was such a small moment, but I love the trope of a super intense scene with people running or fighting cutting to a shot of someone riding in an elevator with soft music in the background. It always makes me laugh, no matter how many times I've seen it.
"- I have an idea.
- So this would be a new milestone for you then."
Professor Stein went in and took no prisoners, huh? How did Mick manage to recover from such a savage burn?
First when I heard that Mark Ruffalo is playing the Hulk, I thought "Awww man, no way!".
But he was terrific! I really enjoyed the quiet way he was speaking and thanks to Lou Ferrigno's screaming, for the first time the Hulk was really scary to me. I was like "Oh shit! You better run Black Widow!" ;D
Combined with a great sense of humor he probably was the best charakter during the 2 hours.
The scenes I liked the most were: "Thor vs. Iron man" & "Thor vs. HULK" :D
That was something that every Marvel fan was waiting for - just awesome!
Iron man is totally rocking it again. Tony Stark's presence is sensible all over the screen.
And how could it be bad with the support of Alan Silvestri. He did a great job with the soundtrack.
It's fun, it's great action, it's very entertaining - but there are two things I have say:
1st: Cobie Smulders (alias: Robin Scherbatsky from HIMYM) did absolutely not fit into that movie. I was always waiting for her to say something stupid & her role was maybe completely useless.
2nd: The plot - it was nothing new. You know one world get pulled onto the earth, invasion, destroying the city... It's pretty much like "Transformers 3" but with super heroes.
Anyway, I suggest you go and watch it - it's one of the best Marvel's.
Can't wait for part two!!!
