This is getting harder and harder to watch.
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@gloom8 I’m worried about where this is heading.
A good finale. I guess I did wanted a bit more of black and white in this show. The portrayals are great, the satire is good, but I think it needed just a bit less, just a bit less, of gray areas. Like, don't give any triumphant tone to a finale where all the rich people get away with everything.
Just to clarify, I think it's a great way to end, in a sour note, just make that sour note a bit more obvious (focus, soundtrack, etc), and not end with the liberating tone of the white kid going for his dream.
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@funger92 I liked the ending. The whole thing really. Felt real. The teenage boy is the only character that really showed any growth. And maybe Rachel a little too. A good example of how dicks continue to be dicks. Looking forward to another season with different guests. Felt very sorry for Belinda. Not surprised, but still sorry.
Review by Andrew Bloom
VIP9[9.8/10] It seems like every season, there’s one episode of BoJack Horseman that just floors me, and this may be the best of them all. More than BoJack’s dream sequence in S1, more than his unforgivable act at the end of S2, more than the even the harrowing end for Sarah Lynn in S3, “Time’s Arrow” is a creative, tightly-written, absolutely devastating episode of television that is the crown jewel of Season 4 and possibly the series.
The inventiveness of the structure alone sets the episode apart. It feels of a piece with the likes of Eternal Sunshine of the Spotless Mind for finding outside the box ways to communicate the idea of dementia and the brain purging and combining and reconstructing dreams and memories into one barely-comprehensible stew. The way that the episode jumps back and forth through time is a superb way to convey the way this story is jumbled up and hard to keep a foothold on for Beatrice.
And that doesn’t even take into account the other amazing visual ways the show communicates the difficulty and incoherence or what Beatrice is experiencing. The way random people lack features or have scratched out faces, the way her mother is depicted only in silhouette with the outline of that scar, the way the images stop and start or blur together at emotional moments all serve to enhance and deepen the experience.
What’s even more impressive is how “Time’s Arrow” tells a story that begins in Beatrice’s youth and ends in the present day, without ever feeling rushed or full of shortcuts. Every event matters, each is a piece of the whole, from a childhood run-in with scarlet fever to her coming out party to an argument about the maid, that convincingly accounts for how the joyful, smart young girl we meet in the Sugarman home turns into the bitter husk of a woman BoJack is putting in a home. It’s an origin story for Beatrice, and a convincing one, but also one of the parental trauma that has filtered its way down from BoJack’s grandparents all the way down to poor Hollyhock.
And my god, the psychological depth of this one! I rag on the show a decent amount for writing its pop psychology on the screen, but holy cow, the layers and layers of dysfunction and reaction and cause and effect here are just staggering. The impact of Beatrice’s father’s cajoling and her mother’s lobotomy on her development as a woman in a society that tried to force her into a role she didn’t want or necessarily fit is striking in where its tendrils reach throughout her development. The idea of rebelling against that, and the way BoJack’s dad fits into that part of her life is incredible. And the story of growing resentment over the years from a couple who once loved each other, or at least imagined they did and then found the reality different than the fantasy is striking and sad.
But that all pales in comparison in how it all of these events come together to explain Beatrice’s fraught, to say the least, relationship to motherhood and children. The climax of the episode, which intersperses scenes of the purging that happens when Beatrice contracts scarlet fever as a child, her giving birth to BoJack, and her helping her husband’s mistress give birth all add up to this complex, harrowing view of what being a mom, what having a child, amounts to in Beatrice’s eyes.
The baby doll that burns in the fire in her childhood room is an end of innocence, a gripping image that ties into Beatrice’s mother’s grief over Crackerjack’s demise and whether and how it’s acceptable to react to such a trauma. The birth of BoJack, for Beatrice, stands as the event that ruined her life. BoJack is forced to absorb the resentments that stem from Beatrice’s pregnancy being the thing that effectively (and societally) forced her to marry BoJack’s father, sending her into a loveless marriage and a life she doesn’t want all because of one night of rebellion she now bitterly regrets. For her, BoJack is an emblem of the life she never got to lead, and he unfairly suffers her abuses because of it, just like Beatrice suffered her own parents’ abuses.
Then there’s the jaw-dropping revelation that Hollyhock is not BoJack’s daughter, but rather, his sister. As telegraphed as Princess Carolyn’s life falling apart felt, this one caught me completely off-guard and it’s a startling, but powerful revelation that fits everything we know so well and yet completely changes the game. It provides the third prong of this pitchfork, the one where Beatrice is forced to help Henrietta, the woman who slept with her husband, avoid the mistake that she herself made, and in the process, tear a baby away from a mother who desperately wants to hold it. It is the culmination of so many inherited and passed down traumas and abuses, the kindness and cruelty unleashed on so many the same way it was unleashed on her, painted in a harrowing phantasmagoria of events through Beatrice’s life.
And yet, in the end, even though BoJack doesn’t know or understand these things, he cannot simply condemn his mother to suffer even if he’s understandably incapable of making peace with her. Such a horrifying series of images and events ends with an act of kindness. BoJack doesn’t understand the cycle of abuse that his mom is as much a part of as he is, but he has enough decency, enough kindness in him to leave Beatrice wrapped in a happy memory.
Like she asked his father to do, like she asked her six-year-old son to do, BoJack tells her a story. It’s a story of a warm, familiar place, of a loving family, of the simple pleasures of home and youth that began to evaporate the moment her brother didn’t return from the war. It’s BoJack’s strongest, possibly final, gift to his mother, to save her from the hellscape of her own mind and return her to that place of peace and tranquility.
More than ever, we understand the forces that conspired to make BoJack the damaged person he is today. It’s just the latest psychological casualty in a war that’s been unwittingly waged by different people across decades. But for such a difficult episode to watch and confront, it ends on a note of hope, that even with all that’s happened, BoJack has the spark of that young, happy girl who sat in her room and read stories, and gives his mother a small piece of kindness to carry with her. There stands BoJack, an individual often failing but at least trying to be better, and out there is Hollyhock, a sweet young woman, who represent the idea that maybe, just as this cycle was built up bit-by-bit, so too may it be dismantled, until that underlying sweetness is all that’s left.
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@andrewbloom agreed. Don’t always agree with your reviews but hugely appreciate them and the thought you put in. I’m beginning to agree more and more as well.
I will genuinely be surprised if the father is anyone other than Jesse.
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@callmeco my guess is it’s the guy from Australia. If the show ever gets cancelled, they just bring him back in at the last minute…
HOLY SHT! Ha that was insane! That person was on my list of possible victims but I never imagined it went down like that!
So who do we think won in this Armond vs Shane conflict? Cause yeah Armond is dead but Shane is gonna have to live with the fact that he killed him! and if this series does something is literally show us that white rich americans are good at moving on from inconvenient stuff BUT we also see Shane’s flaw is holding on to stuff and throwing a tantrum like a big baby, so he’s never getting over this, Armond is gonna hunt him down in his nightmares, so if you ask me Armond won! I hope that gives him peace in the beyond
I loved this show so much, I loved that it was subtle but captivating, and like some of the other comments mentioned it focused on the gray areas, and I love gray areas cause that’s life! I’m always complaining about shows being so focused on right vs wrong but that’s so unrealistic! Like with Tanya and Belinda, did Tanya owe Belinda to become business partners? :asterisk_symbol::asterisk_symbol:Nope:asterisk_symbol::asterisk_symbol:. Did Belinda have to be so compassionate, helpful and go out of her way to help a guest? :asterisk_symbol::asterisk_symbol:Nope:asterisk_symbol::asterisk_symbol: and she should never (unless they are in danger) cause that isn’t her job. Was Tanya in the wrong getting Belindas’s hopes up about a business? :asterisk_symbol::asterisk_symbol: Totally:asterisk_symbol::asterisk_symbol: Was Belinda kinda trying to take advantage of a clearly mentally unstable woman? :asterisk_symbol::asterisk_symbol:Totally!:asterisk_symbol::asterisk_symbol: So I loved how this show makes you have an internal debate about who or if someone’s in the wrong.
What I didn’t love of the show was that sepia filter! I hate when filters are used in shows/movies; and I feel like Jennifer’s character didn’t interact that much with the other guests, she just had the boat scene with Shane and Rachel, but she was missing a connection with the Msomething family. Also I would love for Tanya to come back in the next seasons and that’s totally realistic cause we know her relationship with Greg isn’t gonna last so she’s repeating the cycle, and she’s gonna come back but this time with his ashes. Oh and for next season I hope Lani comes back too!
I wonder what happens with Quinn, my guess is the family don’t even notice he stayed till they arrived to California? (I think that’s where they live?) so then the parents go back to get him and then they make a deal about him coming back next summer or going with them to that one trip but then coming back and finishing high school, regardless I love that he had this grow as a person and found this new love to life! I’m envious of him!
And I guess the one thing didn’t make sense was the Msomething family booking a single suite instead of booking a two bedroom suite, so the parents had a room, the girls another one and Quinn could’ve slept on the sofa bed, we know money isn’t an issue (but I guess this was on purpose for plot purposes)loading replies
@aars26 agree with everything in this post
Wow. Lyra steps through that portal and ages 18 months and none of the characters seem to realize that they have all aged 18 months as well.
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@strykar weird considering they filmed season 1 and 2 at the same time!
A gazillion Bearimy later, the show manages to bring itself back from the dead for one last breath, giving us an emotional, heartfelt, sweet, sappy closure. Farewell, The Good Place! May you find your own Better Place.
Also — interesting note —, I realised something quite striking (maybe) a few hours after watching the episode: every single one of the humans who were a part of the main cast disappeared into oblivion, except for Tahani, who still lingered on. Eleanor, Jason and even Chidi fell into the egocentric routine of "I lived a full afterlife, I did all the things that gave me pleasure, I am satisfied with myself". Tahani went through that, too, she was even ready to also blow the essence of herself into smithereens, but she took one step further and realised she could "live" on to help other people. Was Tahani, in the end, the only truly selfless human of them all, the only one genuinely worthy of being in The Good Place? I guess that will depend on what is considered to be a "good" human being but, quite honestly, that ship has sailed a long time ago.
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@misnomer maybe they kept her alive for an”Tahani” spin-off series.... :joy:
Shout by melkiades96
At one point I got bored. The scene where she falls off the stairs again and again, it seemed like sloppy writing to me. They could have come up with more creative and realistic ways that she could have died.
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@melkiades96 it was comedy, and a quite good concise comedy bit.
The regular characters are so boring so I loved the evil doctor :joy:
It amazes me that 10-15 years into the apocalypse they still have medicine & medical supplies :face_with_raised_eyebrow:
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@tasa24 and electricity. And pretty sure petrol would be stale by now.
Definitely not what I expected, but it was still interesting.
But wouldn't time have kept resetting in a loop since Nixon got elected, so travers goes back to win, but then he drops existing so Nixon wins, but then Nixon indirectly causes the robot uprising, etc.
Ah well, it probably doesn't matter.
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@caleb-p-a46bc3b5-e62b-451e-be32-7a7dbd4058b1 yes I was thinking this. It hurt my brain.
Review by Andrew Bloom
VIP9[9.5/10] They got me. They really did. I believed that Saul would do it, that he would find a way to lie, cheat, and steal out of suffering any real consequences for all the pain and losses he is responsible for. I believed that he would trade in Kim's freedom and chance to make a clean break after baring her soul in exchange for a damn pint of ice cream. I have long clocked Better Call Saul as a tragedy, about a man who could have been good, and yet, through both circumstance and choice, lists inexorably toward becoming a terrible, arguably evil person. I thought this would be the final thud of his descent, selling out the one person on this Earth who loved him to feather his own nest.
Maybe Walt was right when he said that Jimmy was "always like this." Maybe Chuck was right that there something inherently corrupt and untrustworthy in the heart of his little brother. This post-Breaking Bad epilogue has been an object lesson in the depths to which Gene Takovic will stoop in order to feed his addiction and get what he wants. There would be no greater affirmation of the completeness of his craven selfishness and cruelty than throwing Kim under the bus to save himself.
Only, in the end, that's the feint, that's the trick, that's the con, on the feds and the audience. When Saul hears that Kim took his words to heart and turned herself in, facing the punishments that come with it, he can't sit idly by and profit from his own lies and bullshit. He doesn't want to sell her out; he wants to fall on the sword in front of her, make sure she knows that he knows what he did wrong.Despite his earlier protestations that his only regret was not making more money or avoiding knee damage, he wants to confess in a court of law that he regrets the choices that led him here and the pain he caused, and most of all he regrets that they led to losing her.
In that final act of showmanship and grace, he lives up to the advice Chuck gives him in the flashback scene here, that if he doesn't like the road that his bad choices have led him, there's no shame in taking a different path. Much as Walt did, at the end of the line, Saul admits his genuine motives, he accepts responsibility for his choices after years of blame and evasion. Most of all, he takes his name back, a conscious return to being the person that Kim once knew, in form and substance. It is late, very late, when it happens, but after so much, Jimmy uses his incredible skills to accept his consequences, rather than sidestep them, and he finds the better path that Kim always believed he could walk, one that she motivates him to tread.
It is a wonderful finale to this all-time great show. I had long believed that this series was a tragedy. It had to be, given where Jimmy started and where the audience knew Saul ended. But as it was always so good at doing, Better Call Saul surprised me, with a measured bit of earned redemption for its protagonist, and moving suggestion that with someone we care for and who cares of us, even the worst of us can become someone and something better. In its final episode, the series offered one more transformation -- from a tale of tragedy, to a story of hope.
(On a personal note, I just want to say thank you to everyone who read and commented on my reviews here over the years. There is truly no show that's been as rewarding for me to write about than Better Call Saul, and so much of that owes to the community of people who offered me the time and consideration to share my thoughts, offered their kind words, and helped me look at the series in new ways with their thoughtful comments. I don't know what the future holds, but I am so grateful to have been so fortunate as to share this time and these words with you.)
EDIT: One last time, here is my usual, extended review of the finale in case anyone's interested --
https://thespool.net/reviews/better-call-saul-series-finale-recap-saul-gone/loading replies
@andrewbloom it’s good that it can be interpreted different ways. For me the flashbacks show he is incapable of change and the colour in the cigarette shows that there is still a spark from his past is not yet extinguished…
Review by Andrew Bloom
VIP9[9.5/10] They got me. They really did. I believed that Saul would do it, that he would find a way to lie, cheat, and steal out of suffering any real consequences for all the pain and losses he is responsible for. I believed that he would trade in Kim's freedom and chance to make a clean break after baring her soul in exchange for a damn pint of ice cream. I have long clocked Better Call Saul as a tragedy, about a man who could have been good, and yet, through both circumstance and choice, lists inexorably toward becoming a terrible, arguably evil person. I thought this would be the final thud of his descent, selling out the one person on this Earth who loved him to feather his own nest.
Maybe Walt was right when he said that Jimmy was "always like this." Maybe Chuck was right that there something inherently corrupt and untrustworthy in the heart of his little brother. This post-Breaking Bad epilogue has been an object lesson in the depths to which Gene Takovic will stoop in order to feed his addiction and get what he wants. There would be no greater affirmation of the completeness of his craven selfishness and cruelty than throwing Kim under the bus to save himself.
Only, in the end, that's the feint, that's the trick, that's the con, on the feds and the audience. When Saul hears that Kim took his words to heart and turned herself in, facing the punishments that come with it, he can't sit idly by and profit from his own lies and bullshit. He doesn't want to sell her out; he wants to fall on the sword in front of her, make sure she knows that he knows what he did wrong.Despite his earlier protestations that his only regret was not making more money or avoiding knee damage, he wants to confess in a court of law that he regrets the choices that led him here and the pain he caused, and most of all he regrets that they led to losing her.
In that final act of showmanship and grace, he lives up to the advice Chuck gives him in the flashback scene here, that if he doesn't like the road that his bad choices have led him, there's no shame in taking a different path. Much as Walt did, at the end of the line, Saul admits his genuine motives, he accepts responsibility for his choices after years of blame and evasion. Most of all, he takes his name back, a conscious return to being the person that Kim once knew, in form and substance. It is late, very late, when it happens, but after so much, Jimmy uses his incredible skills to accept his consequences, rather than sidestep them, and he finds the better path that Kim always believed he could walk, one that she motivates him to tread.
It is a wonderful finale to this all-time great show. I had long believed that this series was a tragedy. It had to be, given where Jimmy started and where the audience knew Saul ended. But as it was always so good at doing, Better Call Saul surprised me, with a measured bit of earned redemption for its protagonist, and moving suggestion that with someone we care for and who cares of us, even the worst of us can become someone and something better. In its final episode, the series offered one more transformation -- from a tale of tragedy, to a story of hope.
(On a personal note, I just want to say thank you to everyone who read and commented on my reviews here over the years. There is truly no show that's been as rewarding for me to write about than Better Call Saul, and so much of that owes to the community of people who offered me the time and consideration to share my thoughts, offered their kind words, and helped me look at the series in new ways with their thoughtful comments. I don't know what the future holds, but I am so grateful to have been so fortunate as to share this time and these words with you.)
EDIT: One last time, here is my usual, extended review of the finale in case anyone's interested --
https://thespool.net/reviews/better-call-saul-series-finale-recap-saul-gone/loading replies
@andrewbloom not sure if this thought crossed your mind but I had a thought… could Saul mentioning that prison and how he hates it and doesn’t want to end up there all be part of another elaborate trick in which he knows something about this place that will allow him to easily escape and disappear? After Kim’s visit I had the thought that she has given him something they had previously figured out that he can use to get out of there… wouldn’t surprise me… I guess you can interpret this ending a couple of different ways…
Phil is becoming too annoying. makes the whole show annoying.
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@ferdioss came here to say this. Trying to keep going because I love the idea but man Phil is annoying. Almost unwatchable.
I was ok with them including the pandemic in the storyline but at this point it is like they are not sure what to do with it anymore. We get all these moments where the pandemic is emphasized and then others where it doesn’t seem like that big of a deal, like Kate choosing that specific moment to confront Marc or Randall deciding to travel and find out about his mom!
Now about that whole Kate/Marc story, the show gave us glimpses here and there and really took its time teasing us about Kate’s past but never divulging all the truth, and now it seems the reveal and resolution were rushed. Kate suddenly decides to confront Marc (during a pandemic nonetheless) and after one talk with him, she is suddenly free of an abusive past that has taken years of her life. She never even spoke about it! I mean good for her but how realistic is this? In one episode, she is triggered to remember her past, tells Toby the truth, stalks Marc, confronts him, and then done, chapter closed!
I still don’t like the whole Randall’s mom story but I am kind of curious to see what will be the reason for her not looking up William or her son all these years?
Kevin calling Randall for advice really got me all teared up… BUT what is going with his storyline? The whole disagreement between him and Madison really came out of nowhere! It is not like she suddenly discovered that he is an actor, and Kevin really doesn’t travel that much! Specifically, it came right after she pushed him to accept the location change of his latest movie. Why can’t you just sit and talk and maybe come to some agreement, like she can stay with the kids in LA and Kevin can travel back and forth when needed. One line that cracked me up though was when she told him “you come from a family of great speech-givers.” :joy:
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@tago1987 if they are including current real events (pandemic, blm) then that means next season (which I’m not up to yet) must include the capitol and sept 11 in the 20 years earlier story.
What's in the damn photograph?!? :question:
Hope Siobhan gets her own spin off. Just kidding, can you imagine. :laughing: Episode 7 will finally answer the question on everyone's mind: will Siobhan go to Berkeley!! I know she is the only way Mare can deal with her grief that she has been avoiding but Siobhan's storyline feels like filler, and her scenes are bad. I start scrolling on my phone whenever her side story starts up.
Mare going out to arrest a suspect with no backup like she didn't just lose a friend and colleague last week? :rolling_eyes: I'm kinda annoyed that she hasn't learned her lesson.
That bathtub scene was unnecessary. Definitely a cheap suspense scene. I know it's to show Carrie is not ready and she will need Mare and her mom's help to raise Drew. I get it, but still it's was a little too much.
When the penultimate episode of a murder mystery ends with the protagonist saying, "X character was the killer", I feel like it's safe to say that X was not the killer. John is definitely hiding something. He knew Lori would tell Mare. He is pinning the murder on Billy. I think in the next episode John is going to kill his brother and frame it as a suicide. John has to the baby's father, and the murder weapon is Mare's fathers gun that is stashed in the attic "where no one goes anymore".
Kate Winslet and Jean Smart are an amazing team. All of their scenes, comedy or drama, are :fire:.
Is it possible that Guy Pearce is just a normal and regular dude Mare met at a bar? Hmm. There must be a reason a random stranger shows up in the plot.
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@cutecruel agree with all these points! Exactly what I am thinking. I will find out how right it all is when I put on the last episode now.
It was just a matter of time someone would start killing the others. Of course, if it means more money.
What I find almost more interesting than the players themselves is whatever is going on with the staff and managers. We clearly have more people on the inside than just the detective. Who's the staff members bringing people to the doctor? Old players? People who didn't stay anonymous? I don't see many chances for them to be talking to each other and making big plans. Wondering greatly how they came to get together in the first place. And why. So they took an eye off of one of the players? Huh.
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@kyria-crosszeria I’m wondering if the detectives brother is a dead player or is he one of the staff… I guess I will keep watching.
Shout by Agnetė
Gihun really could've helped the officer, we don't even know what he wanted from Gihun and now he just looks like an apathetic asshole
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@agnetebu he did help him didn’t he? By telling him where the pickup was and he is following? I think that’s what was happening. I will know more as I keep watching…
I loved the scenes with Toby and baby Jack
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@soraia-silva they were my favourite part of this episode as well.
[7.7/10] It’s amazing to me how fully formed Futurama is this early. All the characters are recognizable, to where when you do an episode focused on Bender changing and going out of character, it still totally works.
The first act is probably the weakest, with the Beastie Boys material being perfectly entertaining concert riffs, but nothing that really jumps out at you. By the same token, the Bender as junkie stuff is funny enough, but not outstanding or anything. (Though the sequence where he first trips out is creative and well done.)
But it's the second act, after Bender finds religion, that things really pick up. It perfectly captures the way that you want to be supportive of previously neer do well friends who find something wholesome to occupy their time, but then you get annoyed at their new, button-down presence. Jokes about Bender's "exceedingly long, un-air-conditioned baptism ceremony" are great, as is Bender's new goodie-goodie persona, where he hugs Fry and says "you're my friend" in a loving but kind of creepy tone. It's well-observed, very funny stuff (along with Fry and Leela tempting him with sleaze).
The third act capitalizes on that, with Bender being dragged to Robot Hell. It's always a boon to cast Dan Castellaneta in just about anything, and he hams it up delightfully as the Robot Devil. The "Levels of Hell" song has clever and amusing lyrics, and the "Devil Went Down to Georgia" homage and great, angel-tinged escape are all fun comic set pieces.
Overall, a fun, Bender-filled way to close out the show's first season, that brings the laughs and the well-observed character-based stuff early on in the show's run.
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@andrewbloom season one is good but the one character I would have liked to see more of is zoidberg. Doesn’t have much to do this season.
I almost fell asleep as I watched this. I'm not exaggerating or talking figuratively.
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@rosetheflower I did fall asleep... :sleeping:
Damn, I find it hard to get through an episode because I have to pause it so often to grab music from it
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@tombmaker it’s a great series. I wish there were more shows for music lovers.
Finally something actually happened after they dragged the season for absolutely nothing.
After four mediocre episodes in a row with three of them being filler, this episode is decent enough. Those previous episodes serve no actual purpose other than waiting for the plot to trigger itself by that call.
The dialogues in this episode could be better and so could the way the scenes are cut, especially for the first half. People seem too eager to join The Mando in his quest for the sake of moving the story. However the last 5-10 the minutes is quite watchable with enough tense. The brute killing in the last scene seems to suggest they're going with the "evil Empire" cliche, but I wish they could do better than that next episode.
It seems like the story just started to be set in motion and we will be left with more questions as Season 1 ends, which unfortunately seems to be Disney+ business model: just make cute Baby Yoda stuff for moms and Star Wars reference for dads, figure things out later in Season 2.
On positive notes, it's nice that they attempt to do more world-building like shocktroopers having signature tattoo, each Imperial province having their own insignia, and the Imperial warlord trying to convince people that the world is better with colonialism.
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@xaliber why do you bother even watching if you don’t like it and just want to complain. :person_shrugging_tone1: I’m quite enjoying it.
If what Chidi said to Eleanor didn't make you cry, what is wrong with you?
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@maryjanewatson the Michael on earth stuff was more emotional I thought.
I’m @vicquelly thanks I also removed mine
I'm a sucker for the whole Groundhog Day routine —and for redheads —, so I had to watch this. I was disappointed by both. The characters are annoyingly pretentious, Nadia is too much of a dick to be likeable and, worst of all, it isn't even slightly funny.
But now I have to watch the whole thing because I really want to know what will happen to Oatmeal. FML(But not everything was meh, at least they ended the episode with one of my favourite Light Asylum songs.)
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@misnomer I hope so. I struggled with episode one. But the stairs bit made me laugh out loud when I was watching on a crowded train, I thought the timing was perfect and gag was spot on. Her line about trying to get down the stairs was the bit that made me lol. Not so much the “physical” comedy.
Janet was brilliant at playing everyone except for Chidi.
So now we know why nobody gets into the good place. Yet another new plot wall they're rushing to tear down; these writers rip through plots with such alacrity, as if they're starving dogs chowing down. Don't know if I should admire or condemn them for it.
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@dewdropvelvet I thought her chidi was very well done. The way he pauses in his speech and stresses certain words really came though and she did it so well.
Tremendous episode, both among the show's funniest ever -- the kids together are pure gold, but the humor is firing on all storylines, really ("He's still just kinda walking around, but with a slight sense that he might kill someone. It's like Jaws if everyone in Jaws worked for Jaws." lmao) -- and also just so complicatedly, emotionally bruised, as in that whole karaoke room scene.
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@pongpeng “like Santa Claus, if Santa Claus was a hit man”
I don’t even know why I went through the whole season without liking a single episode. I guess after my Brooklyn 99 binge I was just excited to see Melissa Fumero in something but this show just isn’t good. The characters are bland, the writing is way too reference-ridden, the plots are formulaic and worst of all, the jokes don’t land 99 out of a 100 times.
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@tadici 100% agree. This is the exact same reason I watched, I just finished 8 seasons of B99 but this was just such a let down. I feel like it started showing promise mid-season but then went bad again.
I love the way Amy finds out the gender haha best bit of the episode. (But as many other comments said: gender reveal things are dumb).
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@waltandmartha closely followed by the second best bit of the episode: the blindfolded “cleaning” of the kitchen hahaha :joy:
