"You were meant to go to a new sun." I love how this line describes the twist and turn, the way things go in unexpected routes in the whole episodes. From Nauvoo's repurpose to the Eros changing course.
It's surprising, to say the least. There's been an obvious dead flag throughout the episode, but this person has escaped from such dead flag again and again. This time though - this person doesn't survive.
Lots of people die in this episode, so the death is a bit unexpected and and the same time... seems a bit less dramatical. We had a whole episode for Tyrone, a climactic end for Beth, even moments of atonement for Merle. But this person seems to be one of the crowds. Which, actually, makes sense in a post-apocalyptic world such as in Walking Dead's - it's unforgiving and death is just a statistic. But for a person who's been with the audience for a long time to be gone, just like that, seems a bit unsettling for me. I guess there's still more to come.
Fantastic pilot that sets up the tone for the rest of the season. Effectively shows how superheroes would work in real world: dominated by public relation, backed by billion dollar companies and corporate lobbyists, while everyone adores them from afar. Really liked the brief part where they show the plan of superheroes' role in privatizing security. In this day and age, this couldn't be more relevant.
A very fresh and needed take since Watchmen, especially considering we are very saturated in a superheroes world now. Both in terms of fictional characters (MCU with Disney monopolizing the entertainment industry) and of celebrity politicians (Indonesia's Jokowi, Philippines' Duterte, Russia's Putin, US's Trump/Obama, all are backed with media conglomerates and billionaires).
It feels like it's been a long time since Walking Dead has a thoughtful, story-driven episode.
First of all I like how we are shown a glimpse of living a woman's life in a post-apocalyptic world here. Issues like motherhood, pregnancy, are handled very well through the talks of the all women characters in the episode. Second thing, is how the show gives an alternative perspective on the post-apocalyptic world seen through another survivor's eye. It's not just Rick and co here who are trying to survive--there's another group, as much as capable as Rick, with their own set of survival skills. As uttered by Michelle, from their PoV (whose group has just been robbed and murdered), Rick's group "are not the good guys."
Third, it actually makes all the pragmatic, ruthless murders we've all been seeing all this time from one episode to another, is not just about "another" murder. Killing people is actually a deed with terrible moral consequence, even when it's done for the means of survival. Interestingly, this theme is explored through the eyes of Carol--who has been known as pragmatic and ruthless.
Very well done episode.
This episode plays the classic trope of a zombie film and it plays the trope well.
We get decent intense action, we get the character development, we get the plot build-up. Sending least competent fighters of Rick's group as scavengers (except Glenn) isn't the best choice I think, but contrasting them with Alexandrian scavengers make them seem to be more than capable. Even Eugene looks more competent than Aiden! Which is nice: a character development for Eugene.
This episode build-up continues from the last episode: Rick's group "slowly" overtaking the Alexandrians. It shows the contrast between the more experienced group and the naive population. The tense is present too. The stylist's husband does not seem to like it - even the construction leader, Tobin, seems uncomfortable giving his position to Abraham.
The disconcerting "revelation" from Father Gabriel puts the tense even bolder. Seems like the incident with Terminus people traumatized him that much - why Rick didn't even spend the time to explain the context to him?
Last, Carol's ending statement really puts me to ask the question: would Rick's group be the new antagonist in the next season?
Everything that has been pieced the whole season are pulled up in this episode. It took 15 minutes of recap for the audience, so we effectively only get 30 minutes show, but it's still a great one.
Possibly the most engaging episode so far, with the best visual styles and narrative combined. It has the spectacles of pilot episode and plot progression of episode 4 and 5 (sorta). The episode throws up most kind of visual styles possible - black and white, silent film, animation - depicting the chaotic mind of Haller wonderfully without repeating the same style in episode 1. In the same time, the plot progresses a lot - revealing Haller's parents (that Prof X's wheelchair was great), Oliver's presence, and the fate of secondary antagonists.
It's a bit shameful that The Eye and the telekinetic mutant went out too soon (we don't even know the name of that telekinetic guy), as we don't seem to get enough narrative about them. But it returns the setting to the still on-going "war" between Melanie's group and Division Three. While the story is about personal life of Haller and people around them, Legion kickstarted the series with the context of this situation of war. Hopefully they would stay and appear in next season.
Surprisingly a nice and very different pilot from other series to date. Taking a diagnosed-as-mentally-ill David Haller as the main character, we are brought to view the events unfold in the episode through the eyes of Haller himself: where reality bends with dreams, vaguely remembered memories, and hallucinations. The hallucination which might serve as an important plot point in the future, as Haller questions himself thorough the episode, is it really just a hallucination--suppressed with medication--or is it actually real?
The visuals and editing in this pilot episode makes us tread--and gazed--confusedly just as Haller experiences his life, until the final moment in the climax that everything suddenly becomes clear, in the same moment as Haller realizes what has caught into his life.
However, it should be noted that this might not be a pilot to watch if you're expecting a "superhero TV series" like Agents of Shield, as it's not readily obvious. It's what Noah Hawley (the director) wants to avoid: people who only watch this as such instead of focusing on the characters or story.
What a very strong start for the series. This is what The New Mutants (the failed X-Men spinoff) should've been.
Enough world-building that it feels in the same world as The Boys, enough The Boys bloody mess and infallible supes where anyone can die at anytime, while at the same time having its own unique touch with its high-school/university kids drama and a kickstart to some twisted mystery that made the supes as crazy as they are since a young age. Every character is established really well and efficiently. Looking forward to the next episode.
An engrossing pilot. We see the world through the eyes of Campion, our seemingly protagonist. A world so alien, with a war of the post seem to reaching from behind, that it actually is not much forgotten as it seems to be. We were told to build a civilization anew, free from the clutch of religion that separates us in the past. But with no one else around - how? It is only Mother and Father that have sheltered us so far, androids that are completely different from us, but the closest one we can call as family - persons we trust. When someone eventually reaches us - someone human, more similar to us - they are at the same time so alien that it's hard who to trust.
This episode is a great start to open this series. The mystery, the provocation, the atmosphere - everything, even the violence. Looking forward to next episodes.
Watching The Expanse lately gives me a similar feeling to watching The Heroes back then: how little pieces in the universe start to blend and match with each other. The reverend Sorreont-Gillis invited runs a clinic that has to make deals with drug dealers... must be the same clinic where the guy who gave Bobbie her way to beach works at. And now Bobbie/Avasarala meeting up with the Roci crew. This episode has a tense action as well, very nicely done.
Who would expect what Negan did? Abraham's death was expected, and it put audience to relieve. It was a terrible death, yes, but "at least it's not Daryl/Glenn". However, Negan's first swing is a false flag. The producer surely knows this, and Negan swings his second swing: toward Glenn.
Like this is not enough, Negan pulls another stunt. That is, if Rick wants to have the remaining crew alive, he got to cut Carl's arm. When Rick finally put himself together to have his son's arm cut off, suddenly Negan stops him, pulling a Binding of Isaac-esque situation: "you don't have to cut his arm, Rick, you just have to obey me, your god."
Even after months of gap between Season 6 and 7, this episode can bring the intensity, the brutality, and the hatred toward this Negan character. It's a needed start for this season.
Every single thing that had been building up is paid off really well in the ending. Excellent pacing, enough tense with gripping moments, and perfect reveal of every character's perspective, knitting the red line that seems dispersed at first.
Pretty decent episode. Emphasizes a lot on the drama so it may disappoint those who expect action, but still good nonetheless. We get the bonding between Daryl and Aaron, Sasha's stress, Rick and the barber Jesse, and that "W" letter hint again. And Carol! From an "invisible" lady to a threatening killer in an instant. That scene is priceless.
A number of things are still going on here. Still a decent episode.
Excellent parallel between Kovacs' torture and Ortega's family reunion. Both show how technology is utilized in the staples of our lives (an interrogation in Kovacs' case and a holiday celebration in Ortega's). Both also has similar theme of treading between life and death.
Kovacs' torture sequence can be done a bit better (especially the "going to next screen" moment, as it seems to be a bit rushed) but it does the job well enough. The most interesting part in this episode for me is Ortega's family reunion, tackling back the question asked since the first episode, "if you can prolong life by simply changing your bodies, would you still do it?" Also, grandma resleeving in a muscular white punk is just too funny. Props to the actor.
This initially teases an Alien vibe, but it ends up quite hilarious. The real lesson: don't leave things in the fridge!
The difference between a more mature anime with those less mature is the way they portray their villains. I love the way they portray Asimov's girlfriend as a person with hope and desire to get a better life, shown simply through a short, humane conversation between her and Spike. At the same time, it shows death and violence only the most necessary: despite a lot of shootouts, you can count the casualties, even among the goons - most who survive are saved by cartoony knockouts/running away - making death has more impact when it does happen.
Other than that, this episode has slick animation especially on the action, and the plot moves tight, establishing our main characters rather quickly. The ending also defines this show right from the start: a bittersweet, tragic life of those who has to deal with the underworld.
Great pilot.
"You seem to think that time really had stopped here. That's a story from a long time ago. I've forgotten about it."
Kinda captures the moment when you think you can get back to your ex and reconcile. Life goes on. And eventually we have to accept it and move on even when we don't get to see it ends the way we wanted, just like when Jet in the end throws away the watch.
The great thing about The Expanse so far is the way knit the details spread across the episodes. The Belter sidestory might raise some question at first glance, but when you realize it's the same person Detective Miller shooed away in previous episodes and how it tacks to socioeconomic commentary made by other characters (both in this episode and previous) regarding rockhoppers, the addition made sense, and adds to the impressive world-building The Expanse has managed to do very well. The lower class trying to survive, the elites with their power games, and everything that happens to be entangled within.
Sure, the pace has been relatively slow, as we are nearing the end of the season, but things have started to developed and dots have started to be connected. If the last two episodes are any indication, I expect it to be unfolded intensely in the finale.
This first episode does take its time to show the transition from the one-year-off screen-peacetime to the action again. So it is no wonder they spent the first half of the episode rather slowly, showing the peaceful lives of the cast. They don't shake off the uncomfortable feeling of Homelander's unpredictability though; every time he's on screen I'm never so sure what would happen next. Not to mention that there's also Neuman, every time she's on screen I can't get rid of the feeling that anything something explode at anytime.
I like that they still play the vulgar sex, gross violence, and not-so-subtle allegories (Homelander being jerked off) like in previous seasons. But like the other reviewer said, I hope they don't rely too much only on those tropes and offer something new to the table.
"Why do things have to die?"
"It is nature. And nature is flawed."
This episode asks the question the meaning of life and death. As Campion and the kids learn the cost of survival sometimes can only be done by killing other sentient beings; Mother who wonders what it is like to be a "creator" - an actually pregnant woman; Tempest relates to a mother; and of course the bloody struggle of leadership among Mithraics.
There's something poetic about this episode, that starts with the loss of a mouse, a small creature possession of a kid that ends with the death of a pregnant creature, who reproduces life and Ambrose the leader of Mithraic survivors who were supposedly to save his group with his faith.
"Let nature run its course."
"Nature has no course."
There was a moment in Season 2 that I found myself pitying Sadavir Errinwright. How wrong was I to even think of pitying such a sly, cunning snake. The first three episodes of this season has successfully turned Errinwright as a venomous villain as he seemed to be in Season 1. On the other hand, we start to see more of Jules-Pierre Mao, who seems to be more humane than we might have thought of him before. There was a good, concerning look of a father when Jules-Pierre looked at Mei, likely being reminded of his own daughter.
There is a tense relationship on the Rocinante between Avasarala/Bobby and Holden and his crew, and even Holden's crew are more fractured mainly between Holden and Nagata (seems like Alex and Amos are just going with either of the two). Holden might have stopped playing hero, but he is still on high horse, taking decisions arrogantly. As someone else said in the other comment section, leadership doesn't seem to be Holden's strongest suite, and it would be interesting if there would be more dynamics coming off out of this situation.
Pretty enjoyable, enough tense with this new Jesus character (though it's less the tense if you're familiar with the comics), introduction of new community, and the expected calm before the storm.
I wonder why they put Morgan's flashback in this episode. I was expecting his flashback to be told a bit later, or with more exposition. It's nice, but it feels a bit too hurried in the last half of the 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.
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.
"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.
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.
Solid episode all around. The Boys staying true to its criticism on woke capitalism (carnivals overselling LGBT empowerment) while portraying how the supes despite being antagonists are still human. Loved that scene with Kimiko and Crimson Countess: showing Kimiko's childhood innocence and Crimson Countess' human side. And this episode returns to remind us that Butcher is not a hero, but a cruel, supe-hating murderer.
The first two episodes were weak but this one is The Expanse back at its finest. I really liked how they get up close and personal with the crews in each ships/stations - Rocinante, Tynan, Pella, even Ceres - but then they also zoom out and see things in bird view. The Expanse has always been the strongest in world building, and this episode they show it really well when the characters were observing the news. The politics is also slightly back in with the combined forces of Earth and Mars dealing with Marco leaving Ceres. I also liked how they return to working on Naomi's character as well as they did before: with simple, short dialogues between Naomi and Holden about Naomi recovering from Pella incident and working on her best as data analyst. About Naomi, in the last sequence I also liked that it was not Naomi who pulled the trigger off (I was expecting some typical melodramatic "no don't do it" stuff), but it was Holden.
