Teenage drama in a world of The Boys. This episode emphasizes that in a sense Gen V is still that teenage drama focusing on youngsters involved in a bigger problem that they can handle. But as a part of The Boys world those youngsters, as supes with impunity, come with their own selfishness, indifference, and cruelty - as shown with the scene of exploding dick (and the attempted assault that preceded it).
I think it's quite an interesting angle. Albeit the episode moves a little bit slowly with the teenage drama sequences, it still delivers The Boys typical uncertainty, anxiety, and... strange sex fetish. The ending is a very abrupt cliffhanger/jumphanger(?) though.
Right amount of thrill, teenage drama, and comedy. Gen V so far is really what The New Mutants should've been.
I also like that the episode shows what supes really are: performers. The scene where Polarity switched from dead serious face to big grin is that sort of "career laugh" you always see in those kind of parties. The episode also explore more the toxic parent-children relationship The Boys brought with Soldier Boy and Butcher, it's good to get more of it here.
The episode is about a naive protag with a strong sense of justice and an unusually strong power/genetic/etc capability found only in X hundred years. His day went like normal until an incident happened and a more senior person in the field appears. Fight ensues, protag finds his heroism, and finally joins forces and kickstarts the series.
The typical shonen trope. The curse concept also doesn't look that interesting. We'll see why this anime is popular.
As a sci-fi episode it's OK. Even with the double-bluff the finale of the episode resorts to the usual sci-fli cliche. It's not really clever, not suspensful, nor is it an emotional roller-coaster.
What makes the episode really works is treating it as a drama-comedy: the charming chemistry between the two leads - unlike San Junipero - and how the subject matter of the episode is something that relates to its intended audience. An automated dating system until we find the perfect match. Would we want that? The episode doesn't ask the question, but you can't not ponder that yourself as the credit rolls.
A much better take at the social media frenzy era than Black Mirror's The National Anthem. This episode smoothly transitions from a murder mystery to a Candyman-esque horror to a crime thriller, standing on a better ground in the balance between surveillance and sousveillance. Unlike The National Anthem, which often felt one-dimensional by portraying a government slow to adapt to technological changes, this episode effectively weaves together today's surveillance capitalism with the cyber-bullying tendencies of the social media era.
For me, the episode could have been even more impactful if it had maintained a smaller scale. The complete system shutdown feels overly dramatic to drive home a point and somewhat deviates from Black Mirror's typically grounded approach to technology.
And the episode can't quite shake off the crowdphobic feel reminiscent of The National Anthem, occasionally portraying the masses as a thoughtless mob of bullies. It seems to lean towards apologism in its condoning of government surveillance. You can already see the episode earning nods from proponents of big government and figures like Elon Musk. Nevertheless, the well-interwoven plotlines and the teasing of a possible sequel in the cliffhanger crime thriller-like end make this episode a thrilling ride.
Certainly not the most novel concept out there, but the thrill and horror in the last 20 minutes of the episode makes up for it. The screams and frustration in the last minutes give the episode of a sort of claustrophobic feel until we found out the climaxes in the last minute. It kept me guessing and on my seat until to the very end. Great horror episode.
The phenomenon the episode depicts already happens to some part in our society: data scores in United Kingdom (or Chinese Social Credit if you want to turn a blind eye to Western surveillance system), and social media algorithms that prioritize influencers. Black Mirror's magic is combining the two and making it as mundane as possible (thus rendering it as relatable) through a desperate story of a middle class woman trying to get a better housing by approval of influencers.
Great acting from Bryce Dallas-Howard and Susan Taylor (who played the old truck driver). I don't feel any sequences of the episode is dragged on; the desperate, cringey attempts of Lacie to win her scores over makes the episode painful to watch as we can definitely see ourselves in her position. I really like the very pristine, filtered pink-ish look of Lacie's life in the first half of the episode and the contrast between her and the world around her as her score dropped down in the second half.
Let's be clear: this episode is like a slightly less charming version of Call Me By Your Name. That's why it feels rather slow and uninteresting in its first half. The performances between the two female leads could have been stronger, although I can see Mackenzie Davis trying her best.
The second half however swiftly hits you like a truck once the sci-fi element kicks in. Suddenly, all the clinging, drama, and attachment in the first half make sense (although it's still not an excuse for the slow burn - they could've made it for 10 minutes less). The moment when Yorkie and Kelly eventually meet is trademark Black Mirror, delivering heartbreaking, bitter reality in the show's fashion, and the episode maintains this emotional tone until a few minutes before the end.
In an unusual turn, the episode concludes with a more light-hearted, upbeat tone. Initially, I felt like it sidelined the heavy burden of the question between life and death, as Kelly aptly put it, "why didn't she have the chance?" But after some pondering, I realized the episode wants to present a more optimistic view of the inevitable end we all face. In the end, it's about how we choose to spend "the rest of it," as Kelly decided in the end. It's a more bright take on Blade Runner's pondering: if it feels real, then it's real.
Dumb kid freaked out because he did something indecent and trusted the words of some rando on the internet. Moral of the story: learn some digital security, he (and the other freaked out adults) wouldn't be there if he didn't give away his number very early in the beginning.
But seriously, this episode doesn't do it for me. I don't get people's fascination toward the episode. So the kid was supposed to look at CP, but how do we exactly know this? The webcam doesn't record the screen. Who knows if the hacker implanted the photos and made false claims? There was also no proof that "Mindy" was underage. All we know the guy got catfished into hiring hookers.
Acting is fine, but the thriller is quite bland throughout the episode. People on the screen are anxious but there's no tense. They are threatened by something but I don't really feel the real risk. Perhaps because there's no way to guarantee that the hackers will keep their promise, and turns out they really don't, so there's no stake for me. Just block them and face the risk rather than having to go through all that.
The episode living up to its labels: sex and violence. Not as strong as the pilot, but establishes Pablo's world of drug cartel as a wildly violent one. I like that one scene where Pablo takes photos of the dead bodies they hung in the tree, smiling wide, then nonchalantly escorts a stray lady with her baby still with the same smile.
Quite a well-done thriller with three separate but intersecting plotlines. It started out as an unnerving thriller, transforming into a horror, then into a drama reminiscent of The Entire History of You, before all the plotlines suddenly are knitted together. Like with other Black Mirror episodes, the questions surrounding technology - AI, consciousness, legal repercussions - is a background that only gets a nod (especially with the ending where "I Wish It Could Be a Christmas Everyday", an interesting choice of music) and they leave it to the audience to talk about after the episode ends.
The trick in the first half is fine, but the way Edamura noticed that everyone was up to no good just by spotting the same watch is stretching it. Makes little sense. Let's see how anime-ish (if you catch my drift) this one is.
Perhaps the best thing that ever come up since Disney's Star Wars buyout. The whole episode about the heist was intense. From the shaky march, the hesitated jamming, the heist itself, the botched consequences, the climax, and the wrapup. It's really tense even until the wrapup as conflict still arose and quickly resolved. During the climax it has a really great visuals of the Eye - quite a spectacle as the commandant would say - although TIE fighers ended up becoming cannon fodder again.
Well done! Obi-Wan and The Mandalorian writers should be ashamed.
"The pace of repression outstrips our ability to understand it. And that is the real trick of the Imperial thought machine. It’s easier to hide behind 40 atrocities than a single incident."
I really liked how they do world-building. This episode portrays both the Empire and Rebels as humans. Some are in the rebellion for revenge, for ideals. Some are in for the money; some others for their loss of position in the Empire. While in the Empire, you can always rely on colusion to regain the position you've lost, and as a gigantic bureaucracy it might be hard if you want to do a meaningful work.
The episode shows a story of people who can't communicate better. Walt Jr. who doesn't have good parental figures and unsure what to do. Skyler a toxic wife who can only think revenge/get Walt to taste his own medicine. And finally Walt with all his lies and ego that started it reaping what he sow, and using Jesse only for his own benefit. Anna Gunn performs really well as Skyler that I really hate her toxic attitude in this episode.
"There's fomenting out there, sir. Pockets of fomenting."
Great episode. Still taking it slow in pace but establishes the world perfectly. The metal clanker signaling start day and end of day. The trigger-happy corpo soldiers eager to get into action in times of imperial slow bureaucracy. The flashback of Kenari kids. The whole world feels very lived in. I particularly like Mosk's line: "Corporate Tactical Forces are the Empire's first line of defense." Really makes you think what kind of political institution the Empire is: relying on private security company to do their job.
So far this has felt like Altered Carbon (Season 1) or The Expanse, set in Star Wars universe. That's really a feat: brings me back to pre-Disney, classic Star Wars Expanded Universe.
The first competent Star Wars pilot, if not episode, since Disney buyout. The pilot does take its time to establish its world-building, juxtaposing the meager life of Cassian with the bureaucratic life of Syrill Karn.
I definitely adore the time they take and the way they tell stories by showing: the tense revolving Cassian and his co-workers, the gritty details of droids girding through the dirt taking viewers close to life in the show, the grotesque concrete set representing Prex-More buildings, the unspoken inefficiency of Prex-Mor officers. It almost feels like an episode from The Expanse - and it's good that this show doesn't "feel like Star Wars" because when fans say that it usually only means big screens Star Wars laden with dumb fanservice and not the various kind of storytelling that existed in Star Wars' now-forgotten Expanded Universe.
Certainly the show feels like if Mandalorian and Book of Boba Fett had a decent writer and not just fanservice-dishing turd that is Feloni and his gang - kinda exceed my low expectation, but cautiously eager to watch the next episode.
"It seems like... something's missing?"
"What about the soul?"
"There's nothing but chemistry here."
Great episode that shows the start of Walter's descent to Heisenberg.
Finale might be a bit rushed, but I don't find it that bad. It's a perfect ending to the pilot's strong note, keeping it true with the theme of the world: No one wins at Night City.
If it was David's crushing poverty that sets the tone really bleak in the first episode, here the trap they got themselves into feel similarly oppressive. Once you're cornered by the big corporations you really can't make it out alive. I also really like that the series up to the finale keeps character's death as surprises - thing that just happens, without dramatic exit. Night City eats you up alive and often without warning.
Despite being sorely bleak, the episode still manages to serve some justice to the characters to some extent - as with Faraday being killed and both Falco and Lucy made it out alive. The series might not be the strongest anime out this season but as a tie in to the game it does the job quite well.
Strong episode. A bit cliched tropes - botched gig, amateur who hesitated, lead messing up, ending with everyone dead - but the execution was well done. There's enough tense, enough mystery, enough grit, and the intro sequence was well done to send Maine off with a bang. Still not sure why the heck they had to fetch Tanaka and what's the point of all those though.
Pretty good episode since the pilot. The action was right, so was the character development and the air of mystery. Like a true edgerunning gig.
The first half is your usual bonding between the main characters. It's fine but nothing to write home about. Just showing David developing his skills and relating to other characters - which is a very typical "calm before the storm" scene indicating someone will die in an episode or two. There's some sexual tension between David and Lucy. The editing between the scenes is kinda unique but feels like Instagram or MTV reels that don't let us connect to the characters - just like the game's strange V and Jackie bonding scene.
The second half is all over the place. First we have Pilar's demise, as expected given the build up in the first half. Then after all that chaos we get back straight to David and Lucy. Very strange pacing, as if nothing happened in the first second half, especially given the build up in the whole first half. The ending with David and Lucy feels like it just to keep the romance and plot going, which, again, feels like a cliched calm before the storm scene before some terrible things to happen in next episodes.
Decent episode to introduce the cyberpunk job and how it works in this universe. Pacing is well done, even much better than the game's (Cyberpunk 2077) pacing. Nothing too exciting but not too dull either. The scene with the fixer is kinda on the nose to make some sort of looming threat, however.
Good pilot with good world-building. Portrays the oppressiveness of poverty and the ads-drenched life in a cyberpunk city much better than the game. Plot is a bit cliche though but the episode spreads enough clue for build up in future episodes. Really like the visual cues they use to evoke character's emotion, such as the shot on David's shaking legs when he's anxious.
This is the best episode of Star Wars Visions. It didn't try to bite more than it can chew (didn't misunderstand the whole Jedi/Sith trope like the other episodes do) and the 15 minutes duration didn't overstay the welcome. This is the episode worthy of its own series; even as it stands, with the air of mystery like that, it already feels like a pilot episode.
Anyway this is the one that I would say a proper Star Wars in anime form. This could pass as one of Expanded Universe episodes, perhaps sometime before The Phantom Menace (they even get the hairlock right!). It plays the classic master-apprentice dynamics with a cautious wise master teaching his over-eager apprentice itching for action (the dialogue about Jedi philosophy was excellent - something that sorely lacking in the new Disney Star Wars). They were drawn by the power of a dark entity, that might seem to have more secrets than what meets the eye (again, they did it right with the signature yellow-eyed dark side wielders!). There is enough suspense in this episode that I got to watch this seriously, and they also did the action choreography right as with other TRIGGER anime. Great characters as well.
My only complain about the episode is the kind of abrupt climax. Though if this is supposed to be a tease, then the episode did it really right.
The episode is built upon faulty premises.
Lightsaber prowess and force power are two different things. You can be proficient in lightsaber combat without having ANY force-sensitivity (e.g. Grievous) and the other way around, you can be masterful in force but lacking in lightsaber feat (e.g. Jocasta Nu).
Lightsaber crystal also doesn't reflect the wielder's sensitivity to sides of the force. You can be a morally uptight Jedi wielding red lightsaber (e.g. Adi Gallia) and a sith wielding blue (e.g. Exar Kun, or Anakin after he fell to the dark side. Notice when he was knighted as sith by Palpatine his saber's color DID NOT turn red). Red crystal is actually a synthetic color that can't be generated by lightsaber crystal. Sith forged it intentionally to channel their dark side.
HOWEVER the execution of this episode is good especially compared to other episodes so far.
The faulty premises end up being an important plot point, and a good one at that. Characters are quite well-developed given the very brief duration (perhaps except the villains). World-building, although sparse, gives quite a good idea of how lives looked like on that planet. Animation is really well-done especially the lightsaber combat and the chase scene. And the music is reminiscent of Star Wars without having to be exact copies of the films, which I really appreciate.
So if Production IG is given a much better brief to the mechanics of Star Wars universe, I believe they are much better suited to produce more Star Wars films than Disney currently does.
The episode really excels in the soundtrack, really brings the classic, fantastical Yuki Kanno feel. The simple flat visuals helps in creating that mystical anime feel. The two match perfectly with the local community theme going on. I like that that the episode depicts the world of Star Wars as a plural one. Not everyone follows the religion of the Force-sensitive; some who do may have their own religion, and here it's called as Magina. Very fascinating. Great world-building.
However the episode suffers from the same issue like most episodes so far. Simple storytelling, and dumb villains. Kinda disappointing seeing battledroids as yet another parody. Too focused on the role of the Jedi as well. Wish they had focused on the Magina believers more.
This is TRIGGER's usual Gurren Lagann nonsense that borrows Star Wars props - not even the concepts, just the props because lightsaber crystals and hyperspace don't work like that. Story is the usual TRIGGER's "believe in me that believe in you" thing as well, with nothing novel to enjoy. Which is fine to be honest, but they should've stick with the things they usually do best: the fight animation, which we don't get that much.
I like that they throw some references to Sequel Trilogy (The Last Jedi) with the Star Destroyer being torn in half. But the climax doesn't stand on a strong enough ground to warrant that extravaganza. For that matter I'd rather watch Gurren Lagann than this. Art style is kinda unique though, I give them that.
I think the most interesting part about alternative history is imagining in what ways that the trajectory of history would differ from our own. Asking if it would be plausible for women in this timeline to fly and be astronaut is a wrong question; the better question to ask is how.
This episode takes "Soviet launching women on Mars" as its turning point among others - and it leaves more to be desired, as I wondered how the political climate that Gordo mentioned in passing (civil rights movement), the USA at the state of decline, and the "race for the base" would've factored in this decision. Since this show so far has not been a political thriller/drama, the questions remain unanswered and left as an exercise for the viewers, and that's fine I think. The episode instead focused on character relationships: between the Nixen Vixens (as one commenter put it) and between the other already established characters.
Although some parts of it are rather tacked on (the fanmail scene especially), it was interesting to see how Tracy was downplayed as "astro wife" due to the tokenistic demand by "the upstairs", her struggle overcoming it, and her conflict with Gordo. The bait and switch at the end is also nice with Tracy struggling with the exercises and the reveal at the end.
The best part however comes from the very 70-ish naming ("Moon Maiden" and "Meteor Maid"? Fancy) and the discovery of ice on the surface of the moon. Seems like it's getting scifi-ish from here.
Most solid episode of the season so far. Nothing extraordinarily amazing, but it's just The Boys at its best like in the first half of Season 1.
What I like the most is that everything that happens leading to the climax in the Herogasm is just frantic, chaotic, a lot of stuff happening at once, unplanned, unpredictable, and consequently, tragic. Just a lot of things coming out together at the same time, including the tying up of loose ends of plot points (e.g. with A-Train's demise and his conflict with Hughie).
The episode keeps the comedy and jab at corporate speak intact, but does not overdo it so we get straight to the crux of the matter. From Homelander, Starlight, Kimiko/Frenchie, Hughie, A-Train, even Ashley - the plot revolving around those characters are about what makes them really them. They all have struggled with the question whether power (be it through V or executive position) made them into a terrible person they do not like, but it is all actually on them. Power only explicate their attitude. Like Butcher in the previous episode said, "With great power comes the absolute certainty, that you will turn into a right cunt."
It was interesting to see how each characters react: Hughie portrayed as an insecure man, A-Train tasting his own bitter medicine, Starlight getting tired of the play-pretend and politicking she has played all over the years, and of course, Homelander being Homelander. I find it especially best with Hughie and A-Train. Hughie, when in S1 he acted as our moral compass, here we see him as someone fragile, a man unable to keep up with the pace of the world he's living in and feeling defeated by his girlfriend for not being a breadwinner. A-Train, a great end to his arc, as he realizes that he has caused so many harms to others due to his toxicity, he realizes that he can only bring a little bit of justice for his own brother. He can't run away from his past like Frenchie said, I think it's very poetic.
Also it's refreshing to get a brief character development with Soldier Boy. Hoping that there is more to this character in the next seasons to come.
Last but not least, the fight with Homelander was intense. The unexpected Butcher x Hughie x Soldier Boy tag-team is great, especially with the confused, defeated look Homelander gave to them. I'm expecting this will drive Homelander even uncontrollable, especially now with his inner monologue and everyone either against him (Starlight, Maeve, if she is still there) or leaving him (Noir and possibly A-Train). The show seems to be planting the seed of conflict between our Boys in the future to come. Hopefully this will pay off.
