Shout by Ariel Rodriguez
VIPInteresting. I am glad Lim didn't die. Nor so glad she might be paralyzed. A bit annoyed about Shaun saving the episode, yet again.
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@arielrodriguez Wow you are annoyed that the star and the main character of the series saved someone again. Why watch? Maybe they should have a random Joe blow off the street come in and save Lim.
Nice bit of closure, that inadvertently foreshadows a bunch of seasons later.
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@tikiwho in what way? watching the show again for the first time since it aired so forgot alot.
Shout by J.T.
VIP8Kyle is not a villain. After last years domination and brilliant strategy of The Cookout, how was it wrong to be on the defensive about the possibility of a race based alliance being formed. SINCE IT ALREADY HAPPENED. You know who are the a holes? Michael and Brittany for weaponizing racism. That is what they did. Two weeks later and bring it up for strategic purposes. I love that Terrence sniffed that crap out. I was worried where this episode was going to go but I think what had to happen happened. Alyssa dumping Kyle — I guess she felt it was necessary. The audience response to Kyle leaving the house was sublime.
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@bob-frapples sublime? It was very light scattered applause. If you mean sublime because they didnt boo maybe but probably mostly whites in the audience. Many black viewers do think he is racist but I don't. He is just ignorant. BTW Alyssa and Kyle slept together again after the breakup and she also requested a pregnancy test.
This town has a child die like every week, how is that not starting to disturb people?
Also, why did no one tell Lex or Lana about the whole red Kryptonite thing? It's not like they would have had to explain anything more, if the "meteor rocks" can make you a pyromancer, a seer, a shapeshifer, telekinetic, and many other things, it's reasonable to expect it can make you change personality. Just say Clark has some genetic disorder that makes him susceptible to it or something. They literally just saw a weird parasite do it, too.
I'm starting to really hate Lana and how she can accept Chloe was a different person but doesn't let Clark explain, but then again Clark could have just told her the truth or the partial truth about the red Kryptonite the last time it happened and at this point it's just pathological.
I was kind of hoping red!Clark would just let Chloe fall down in the barn, he seems like the kind of person who'd think that was funny. I certainly would.loading replies
@cluisanna Yea so she should die. Clown
worst episode so far, just infuriating…!!
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@yubin You are insane. That was a great episode. You probably just mad that Lana and Clark didn't get together.
Shout by JasperKazai
VIP2Pretty good episode, with the current case intertwining with the past one. Didn't expect Limehouse to go out like that only in one episode - figured he'd be around for a bit at the least. But perhaps this is not the end for him yet.
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@jasperkazai Who is Limehouse? Absolutely no clue at all based on this episode.
What a horrific twist and result. Don't know why I ever let this show convince me into thinking it won't derail their seasons with an unfair and bs twist.
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@addmlr I loved it Charles was such a cocky scumbag. Adios nerd.
Shout by André Dias
Nice try with that cliffhanger but I probably won't be back. The Good Doctor started great but it's been a soap opera for a while now. I'm done with this show.
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@andre-d-dias Adios. No one cares about your departing announcement.
Another really good episode of the first season. One of my favorite episodes of the series. It was also the beginning of the Damon and Alaric bromance. Yes they were bad ass.
Jeremy was being a dick. Something he will get awfully good at, as the seasons pass by.
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@anthoney65 Ok we get it. Its your 2nd time watching or more. No need to post future spoilers non stop here. SHUT UP!
@a-123e31ef-e96f-499f-bbb3-26eccbaf959a Yet it feels rigged for the the Traitor. I just feel that person will win the game.
Utterly boring and nonsensically emotional episode. And that BS about not knowing or not seeing it coming was just sly. It was pretty damned clear he had issues.
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@perjonsson Wow. Seriously go watch something else like something with fart jokes. This was a great episode.
Glynis Johns looks great for her age here! Although I suppose it’s only around twenty years since Mary Poppins when this was filmed.
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@tikiwho She was only 59 there. In fact she didn't die til 6 months after your comment.
She died 3 weeks ago at age 100.
Kind of a semi-backdoor pilot for Night Court?
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@tikiwho Not at all why? He wasn't Judge Harry on Cheers. and Night Court didn't start til January 1984
This episode is mislabeled as it is about Coach's daughter and nothing to do with Sam's women.
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@wurlitzer28 Not according to epguides. Sam's Women is episode 2 Coach's Daughter is episode 5
That... did not feel like a season finale. I feel blue balled.
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@csbarker Probably because it wasn't
It's getting more ridiculous with each episode, and for the majority of the cast some acting lessons would be appropriate.... If I look at this show as science fiction, it just passes, but is this meant to be a serious show about a hospital? Thank goodness that I have my smartphone by my side while my wife is watching this garbage....
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@king-clash feel sorry for your wife
Review by Andrew Bloom
VIP9[7.4/10] Let’s start with the stuff I like. I really enjoy the send-off for Ted and Dr. Sharon. I wouldn’t call it understated, exactly. But it’s not as big or bombastic as Ted normally goes, and that's kind of the point. Ted surfacing his abandonment issues but being touched by her letter, and Sharon complimenting Ted on helping her be a better therapist through offering her own vulnerabilities to her patients are both great beats. Sudekis continues to kill it as an actor with his reaction to Sharon’s letter, and I love that he surreptitiously bails on their drink at the pub so that she doesn't have to say a goodbye. I started out very hesitant about this storyline, and it ended up being one of my favorite things in the season.
I also really loved the moment with Keeley and Roy in the “dressing room” for their photoshoot. I don’t know that Keeley has ever seemed more down-to-earth or vulnerable than admitting her nervousness. She’s anxious because this interview is exposing her soul, not her body, and she’s worried what people will see. Roy’s reassurance that “the real you” is wonderful, and the world will see that, is the sweetest and most supportive thing he’s ever said or done.
I also enjoyed Sam being courted by Ukufu, a Ghanan billionaire who wants to bring African players closer to home. His attempt to awe Sam with actors in a museum or a newly-established West African restaurant are a little too out there. But their interactions are great, with Sam Richardson doing the same superb job he does in every project, conveying the sense of someone persuasive but sensitive. The idea that he wants Sam not just as a player, but as someone who stood up for the African country where he came from is inspiring.
Hell, I even like most of what the episode does with Nate. it’s hard to watch him be such a bad egg in all of this. He’s rude to the new kit manager again, is too focused on getting credit and wanting to be the boss, and even blames Ted for “taking credit” (when?) and spills on his panic attack. It sucks, given all Ted and others have done for Nate, but it’s also believable as someone who’s been stepped on and overlooked all his life trying to assert himself and not really knowing good boundaries or who’s genuinely on his side. I don’t like Nate right now, but I appreciate him as a character. Antagonists and foils who make bad choices for comprehensible reasons are the most interesting.
Here’s where this episode loses me. Once again, I don’t care about the romantic drama of this. Nate kissing Keeley is a weird thing to throw into the soup, even if it helps motivate his heel turn here. I thought it was odd that the show had previously given Roy some sparks with his niece’s teacher when he was so firmly with Keeley, but I guess they’re playing that card too. And Keeley confesses that Jamie said he was still in love with her. So now we have some bizarre love pentagram, and I just can’t be bothered.
At the same time, I don’t know how to feel about Rebecca’s deal with Sam. Her whole “I need time to figure us out” thing already felt like a cheap plot device for maximum drama. Coupling it with Sam’s big decision only adds fuel to that fire. She is his boss! It’s not cool to put pressure on him to stay, either as his employer or his sort-of girlfriend! I think the show wants us to sympathize because she’s in love, or at least has feelings for him, but it doesn’t really grapple with the crappiness of what she’s doing here the way it does with Nate. I don’t know who/what I’m supposed to root for here, or at the very least, I’m worried with how Ted Lasso is engaging with that idea.
Overall, there’s plenty to like here, including Ted and Sharon’s goodbye and the all time best Roy/Keeley moment. But there’s also a lot of questionable decisions that make me wonder and worry about the major plot arcs of the season as we head into the finale.
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@andrewbloom I love this show. I can't believe one of the other commenters said kill off Roy and Keeley. SMH So thoughts on the return of CM Punk ?
A fair episode, but this season has been clumsy as anything. The characterisation on Nate has been particularly poor, and the less said about the utterly tedious and vacuous Royley the better. Just kill them both off please, and quickly. Never has an Emmy been so undeserved.
The Sam and Rebecca stuff is pretty dull too, but at least it exposes a lot of hypocrites.
The saving grace has again been Ted, who was excellent again. Nice callback to his Karma Police quote at the start of the season too.
Final episode seems all too predictable. I can't quite believe what a disappointment this season has been after the excellent debut season. Such a mess.
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@tesbreag Not sure who was liking your comments but killing off Roy and Keely is just about the dumbest thing I ever read.
Are they trying to make Rosalynd the "Red John" of this show? Cause it sucks.
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@angelcosta Whatever that means, but sadly not possible since the actress passed away way too young.
Shout by Jim222001
VIP6Can you like a show and find the lead the least likable thing about it ? The best scenes are when Simone aren’t in them. It’s not believable that they’d someone so obnoxious just join the FBI.
MODERATOR EDIT: Don't disrespect the actress.
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@jim222001 First time I ever seen a Moderator edit. Why can't a VIP member no less, post his opinion? Hmmm
I'll be totally ok if for the next season we'd have no Sheldon and Mary but only the rest of the family who stayed in Texas. We already had Chuck Lorre productions going on without one of the titular characters at "Mom".
The whole George situation, wondering when he's going to die reminds me of a similar plotting in "This is is", and I'm even more fond of this particular dad :see_no_evil:loading replies
@mino_an Get real You don't get rid of Sheldon on a show called Young Sheldon.
Shout by The_Argentinian
What an emotional finale. Meemaw seeing her house destroyed was heartbreaking.
I wonder if Sheldon is going to spend next season in Germany or if the writers are going to fast forward to their return. I hope not. I would like to see the new house dynamic.loading replies
@the_argentinian I am sure he is just going for The Summer.
It’s hard watching Chloë in this show after finding out Alison Mack is a terrible person
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@iwatchalotoftv I don't find it hard. I see her as a TV character. She is out of prison now and deserves a 2nd chance. I hope she ends up on the Talkville podcast but don't see it happening.
Absolutely awful episode, completely pointless and worst of all, boring.
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@tabbylover zzzzzzz go sleep with your cat.
Did I miss something? Were we supposed to know who Crash was from before this episode ?
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@alexnader Don't recall them ever mentioning his name but we did see the headless guy in the past. He is more
prevalent on the UK series.
Review by Andrew Bloom
VIP9[6.2/10] Sometimes I forget how long ago 2001 was. That sounds weird to say. (I promise you, I know how to count.) But the world has changed a great deal in the last twenty years, and those changes assuredly extend to the world of television. When I cued up a venerated HBO drama from the early 2000s, I expected something that felt of a piece with The Sopranos or The Wire or Deadwood. What I got was...this.
The pilot of Six Feet Under is not bad exactly, but it’s also a show that has more in common with The West Wing or louder network T.V. dramas than with those other prestige series that reset the standard for realism, psychology, and storytelling on television. Everything in the opening chapter of the show is very direct, frequently cheesy, and often rather cliched. If I didn’t know better, I’d guess that it was made in 1991 instead of 2001.
That means resetting your expectations as a viewer: for the level of subtlety, style of dialogue, and overall approach for a new-to-you series. Enough people whose opinions I respect laud this show as in deserving companies with those other vaunted HBO dramas, and pilots are almost always a case of a show finding its voice. So it behooves us (read: me) to keep an open mind. Suffice it to say, this was a rocky start.
The core of that rockiness comes from the characters, the bulk of whom feel profoundly stock. The worst offender there is Nate, the proto-Jeff Winger and wayward thirty-five-year-old with daddy issues who left home at his first opportunity. Nate seems to be our perspective character, despite an ensemble cast, and his generic middle-aged free-thinking black sheep routine, which the show seems to built around in the early going, is not a great sign.
But there’s not much beyond him either. The show quickly tries to establish a sassy, off-beat love interest in the form of Brenda, who’s not only pretty annoying in the early going, but who can’t cut through the show’s forced attempts at chemistry between her and Nate. The Fisher family matriarch, Ruth, has the germ of a good idea behind her character as the good and proper wife who was secretly bristling enough at her husband to cheat on him, but the show makes her a pretty thin archetype in this early episode. Claire, the youngest Fisher sibling, is another stock bad kid, still in her crystal meth-smoking teenage rebellion phase. None of these players are terribly original or compelling.
The one exception here is David, the middle Fisher kid who’s stuck around to take over the family business. It’s here that I’ll admit my pre-existing appreciation of Michael C. Hall from his turn in Dexter, which may be coloring my judgment here. And yet, Hall genuinely does better than anyone in the cast at turning the pilot’s cornball, on-the-nose dialogue into something that feels real and affecting. His character is also the show’s most interesting and unique. He’s a man of contradictions -- seemingly inheriting his mother’s obsession with propriety while secretly engaging in a lifestyle that much of society unduly considered improper, and dreaming of getting away from the family business while feeling it’s his responsibility and his burden despite not being very good at it and resenting his siblings over it. There’s more to David, both in terms of performance and character, than in any of the show’s other major figures.
But it’s hard to blame the performers too much when the script is this over-the-top and the style of the show seems so campy. Almost every emotion in this first episode is played to the cheap seats. Some of that can be attributed to the fact that each member of the Fisher family is coping with the loss of the family patriarch, so it’s fair to expect emotions to be more outsized than they’d be in a normal setting. Even so, the reactions and choices the character make feel more cartoony than they reflect the myriad shades of grief we all experience at a time of profound loss.The saving grace, though, is that the outsized approach works much better in the show’s comic and more imaginative moments. When the series is trying to be a vaguely kooky kitchen sink drama, it falls flat. But when it turns to more impressionistic devices to represent the difficulty of coping with the loss of a loved one and the strange parade of rituals around the business of death, it becomes much more compelling and even funny.
The easiest of these is the way Nathanial Fisher, the deceased dad, appears to each of his surviving family members. It’s a shame that Richard Jenkins is unlikely to keep making appearances given his character’s...er...circumstances, and when the show plays his reappearances for drama, as in the cornball closing sequence, it doesn’t work. But when he pops up to haunt his family members, often with sarcastic comments and a wry affect, it’s more engrossing than any of the overblown conversations among other members of the family.
It also allows the show to wring some of its best laughs from this situation. Beyond Nathanial’s amusing sarcasm, the show also earns some yuks from its fake commercials, which satirize the commoditization of everything, up to and including how we leave the mortal coil. Likewise, it gins up some fantastic black comedy from Frederico, an early favorite character, and the way he treats corpse-reconstruction like a work of art. It plays on something true -- the strange intersection between taking justifiable pride in your work and the way the end of life could become something humdrum when you’re around it enough.
The difference between that strain of humor and almost everything else in the episode speaks to the central irony here. The major theme of this pilot is “realness.” Ruth and David are very much in the business of making everything seem fine and presentable, even when they’re quietly cracking up inside. That extends to their literal business -- an effort to make the ugly, unpredictable act of leaving this world into something neat and clean and comprehensible.
The purpose of Nate, then, is to nigh-literally throw dirt on that idea. He wants to undress the rituals of grieving, remove the veneers of propriety and let people be people, now more than ever. There’s something messy but human and, most importantly, real at the bottom of all this grief, the episode seems to say, and that shouldn’t be suppressed or hidden.
But the pilot for Six Feet Under does hide it, under reams of cheesy dialogue and over-the-top performances and a generalized hokiness that hobbles an interesting enough premise out of the gate. T.V. evolved quite a bit very quickly around this time period, and much of that evolution was a move toward greater naturalism and realism, or at least the trappings of them, in the presentation. It meant a move away from some of the showier and stagier elements that leave this opening salvo feeling far less profound than it seems to want to be. The pilot’s “things should be more authentic, man!” theme plays pretty trite two decades later, but it wouldn’t be so bad if the show took its own advice.
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@andrewbloom Yes it is. I created this name on AOL way back in 1999 when Jericho came to WWF
I need Carolyn to go all the way to the finals my God I love her! Lol
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@throbicus Like I said join Reality Bites on Facebook and let me know you're from Trakt. I have all seasons of Australian Survivor and Survivor South Africa. Survivor UK coming soon.
Yet another crap crossover. Useless episode.
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@perjonsson yet another useless comment. Stop watching.
