#but its not exactly making me want a whole other season. or worse multiple without a set ending or PLAN in sight blease……

[naisaa]

ough maybe its bc i rly didn’t expect it but i kind of hate that good omens s2 ended with a setup for another season 😭

[h50europe]

Why the myth about Steve's PTSD doesn't add up and other inconsistencies

In the last few episodes of H50, PL tried to sell us a mentally broken Steve suffering from PTSD. Only the whole thing came a bit too late. The clip you see is from season 4 and ended up - no, not in the series - but somewhere on the floor of PL's editing room. And why? after Kurtzman and Orci departed, along with their writers, PL took the helm and started turning Steve into a super-soldier. He stylized him into something that wasn't meant to be. Instead of developing the characters, PL began to incorporate more and more hair-raising action sequences into the series and then let Steve fight on the front lines. There was no mention of Steve's mental state, and a lot was explained by PL with: it just happened "offscreen." Yeah, sure. PL can't create a decent character. He can only produce stereotypes and one-dimensional beings. Like Adam. What potential would that character have had had he been turned into Five-0's antagonist? But no. So his role remained diffuse and monotonous. Sometimes even tragicomical.

Back to Steve. When SEAL Team started on CBS, PL also lapsed into SEAL mania. If someone who writes fanfiction were to produce as much garbage as this man did, he would be chased away from every writers' platform in disgrace. PL's Super SEAL also had to rescue his team members from a blazing inferno. Not man by man, no, he flew a helicopter right into the danger zone and lifted a whole cabin out of the burning jungle. If lunacy had a name, it would be PL. While the action became more and more exaggerated and unrealistic, the same happened to the protagonists. After the departure of Daniel Dae Kim and Grace Park, PL completely lost his mind. And please, don't blame the writers for the nonsense that was thrown at you. A series stands and falls with the showrunner. He dictates what he wants and passes it on to his staff.

And so, lovable Steve became a soulless robot who only showed feelings here and there. Danny diminished more and more into a sidekick. McDanno became a ship that drifted anchorless through a stormy sea and threatened to capsize again and again. From season 8, it became a reboot of the reboot. PL tried an ensemble show and failed more than miserably. Often the actors just stood around bored. At least that was the impression. The only highlight was episode 8.10. A feast for all McDanno fans. But even here, the outcome of "who shot Danny" was more than insubstantial.

Wait, there was something about SEALs... Oh, yes. Junior appeared on the scene and became Steve's lapdog. I really wondered when there was going to be an episode where he would fetch sticks for Steve. Luckily we had Eddie for that. And because he thought he was so clever, PL invented the episode speed dating. How many subplots can you squeeze into one episode at the same time? In some episodes, you couldn't even take a look at the bag of potato chips without losing the thread.

The case of the week became the yawn of the week. There were so many loose ends that PL then came up with something called retconning. That's what you do when you're no longer satisfied with what was once established in the series years ago, or it no longer fits. But PL went one step further and did the same with the characters. The more the series was dragged out, the more the characters deteriorated and became OOC. It means, often, they were not recognizable at all. And that's where we come to Steve. Because PL, in his desperation, didn't know what else he could do to Steve, and so he killed Joe White. He did it in such a cheesy way with a fake sunset that it made you sick.

Of course, one episode later, there had to be another gig of PL's favorite Barbie. He stuck a fake beard on poor Steve/Alex, so he couldn't even hug Danny/Scott properly. The episode also raised more questions than it answered any. And Steve? He still didn't suffer from PTSD, even though he had now lost Joe White and a fellow SEAL. Everyone is dropping like flies, except for Steve, who is standing like a rock. No matter what. He doesn't need in-depth talks with Danny, nor psychological care, nor any sleeping pills. No, he's doing great. He also opens a restaurant with Danny because apparently, the carguments are already getting on PL's nerves. Unfortunately, this plot device leads into nirvana. The idea was nice, but nobody thought it through to the end. And the merry-go-round continues. Until we get to season 10, where it gets even more absurd. Now PL is almost bombarding us with McDanno episodes, or at least it should seem that way. Oh well, he's already planning for season 11, so a new character has to come on board quickly. While in the beginning, Steve's mother, Doris, dies.

Alex was allowed to take on the subject. Of course, only under the strict eyes of PL. He then nullifies Alex's idea that Steve kills his mother. Because a good soldier and Super SEAL won't do that. Little does PL know. THAT could have been the opening of a PTSD scenario for Steve. However, apart from that, this episode would have had any potential for a multi-arc. Just imagine Steve chasing his mother across multiple episodes. Again, PL stepped in and butchered Alex's episode. You can really feel sorry for the guy. PL at his best or worse? He just can't help it. And then, on the very last meters of the series, he brings someone new, who is allowed to cruise around with Steve most of the time. Because Danny was kidnapped by Wo Fat's widow, PL also invented quite late to have some villain at his disposal. This wannabe mastermind must really have been living under a rock somewhere if she wasn't even mentioned by her husband or appeared earlier.

Because towards the end, PL obviously ran out not only of steam but also of ideas, everything culminated in a wildly illogical scenario. Steve has to live through a dramatic day with Eddie, who stands as a metaphor for Steve (as I said, PTSD was never a thing for Super SEAL), Danny bangs his brains out in a ladies' room with a complete stranger, who dies shortly after that in an accident with Danny's rental car. Apparently, there was no budget to turn the Camaro into scrap metal. Danny then also goes home alone, ignoring the incoming emergency vehicles. Everything remains open at the end of the episode. While Steve expresses his gratitude to Tani and Quinn and says, he would be just as lost as poor Eddie without the dog and all of them. The strange thing is that you never notice anything until that sentence. A few forced dialogues are supposed to make the drama visible, but they all happen way too late or are so poorly written that you miss them.

PL had decided early on to make Steve a Teflon hero. That also means he didn't need to put much substance into the character. Which you can clearly see if you compare the first three seasons to the rest of the series. But towards the end, PL wanted to turn the tide and forcefully rewrote Steve's past. There is a huge difference if you compare Steve from seasons 1 to 3 with Steve from season 10. It is only a sparse remnant of what made this character so great. This change in Steve's personality also affects his relationship with Danny. The witty, affectionate banter degenerates into a snappy, humorless bitch-fest that takes all the joy out of it.

The final two episodes could have been written for any other crime show. As mentioned, we have Cole, who even gets a book'em Cole from Steve, which can only be described as out of line. And it begs the question, was that what Lenkov originally had in mind? Danny out of the show and Cole in? Was the last episode, which mainly featured McCole, something of a test run? Did all the McDanno moments happen only to tear the two apart eventually? Was the real final scene the one where Steve and Catherine take Danny's coffin back to Jersey? Was Danny not supposed to survive? Was that the real reason Steve wanted to get out of Hawaii because he wanted to pay his respects to Danny? And would he really have returned to Hawaii later? Or would he have turned his back on Hawaii? To me, this ending is more plausible than what PL served us. Then, Steve handed over his credentials to Cole instead of Danny, his second in command. Honestly, you can't make the end of a series any more sloppy and dumber than that. And I won't even lose a word about the last 1:30 minutes because I think everything has already been said.

No PL, mission absolutely not accomplished. You created Teflon-Steve. You never wanted him to show any weakness. You turned him into a superhuman who can survive anything. Only to pull the rug out from under him on the last few meters to the finish line and spit on his legacy. How can you dismantle such a great series and its characters like you did? How much do you have to hate something to do that? In the final interviews, the showrunner didn't exactly cover himself in glory either. Everyone who grew up with the series from day one knows that its end was wrong on all the possible levels and that the showrunner is solely to blame for that. It takes a fair amount of egoism and carelessness to drive 10 years at full throttle against the wall. Not many people can do that. Whether you can be proud of that, however, I doubt.

My respect if you have made it this far. Each of you gets 10 extra brownie points for it.

[postmodernmulticoloredcloak]

The shifting narrative of God’s interventism and how it reflects on the narrative on John

This post will ignore the issue authorial intent entirely because I can, but it’s also about authorial intent in a way, but I also don’t like to talk about things as happening “accidentally” because a) a serialized story like Supernatural, especially one that got renewed for much longer than anyone could possibly expect or hope in their wildest ambitions, structurally relies on serendipity, because that’s how stories work when they’re work in progress, b) a television show is an extremely multi-authored text and the chance that something happens out of the intent of any of the multiple layers of creators is kind of... statistically negligible. So, yeah, that’s my stance on the topic. Anyway.

The shifting narrative about God is simultaneously something that hangs on fortunate storytelling clicks on an essentially programmed narrative. At first, we don’t know where the fuck God is. Cas starts looking for him with little success. Raphael says he’s dead, Cas doesn’t believe it. Dean relates to his struggle because he knows the feeling of not knowing where the fuck your father is and going looking for him with little success, not knowing if he’s even alive. Then the theory that gets assumed as the truth is that God has left. He fucked off who knows where, who knows why, leaving his creation to struggle alone. Also essentially how Dean had felt after John had died; in that case there was guilt for his demon deal and everything, but the most cruel weight on Dean’s shoulder was that John left him alone to struggle with his devastatingly horrific instructions he doesn’t understand. The angels are also left with horrific instructions they don’t understand. No wonder Cas does his own ‘demon deal’ in season 6, as he desperately tries to do what he assumes his father wants from him, but he doesn’t actually know what that is.

“God has left” is maddening, and everyone is angry about it, but it has its own dignity. God has left us without clear instructions, we are confused and in pain and evil runs amock but at least, we suppose, the evil of it is our own doing. We are alone and we do our best, our best is simply not enough. We wish he gave us guidance, but he won’t. He wants us to figure it out ourselves, possibly. We don’t actually know what he wants. But maybe that’s the point. It’s possible he doesn’t even know what’s happening, he just has left the building entirely.

But then Chuck reveals himself. We find out that he never actually left. He was there. “I like front row seats. You know, I figured I’d hide out in plain sight”. He simply chooses not to intervene. He chooses not to answer. He chooses to be hands-off. He presents himself as a laissez-faire parent, because, he says, it’s better for his children to have the responsibility they need to grow up. He’s absent, but in a different way than we thought! It’s not that he doesn’t know what’s happening or isn’t interested in knowing what’s happening. He’s here, he knows what’s happening, he just stays there and watches as you stumble and struggle and scream. It’s worse, and it pains Dean so much he isn’t even afraid to yell at God. You know we’re suffering and you just don’t give us any support, any comfort.

You’re frustrated. I get it. Believe me, I was hands-on, real hands-on, for, wow, ages. I was so sure if I kept stepping in, teaching, punishing, that these beautiful creatures that I created... would grow up. But it only stayed the same. And I saw that I needed to step away and let my baby find its way. Being overinvolved is no longer parenting. It’s enabling.

But it didn’t get better.

Well, I’ve been mulling it over. And from where I sit, I think it has.

Well, from where I sit, it feels like you left us and you’re trying to justify it.

I know you had a complicated upbringing, Dean, but don’t confuse me with your dad.

At that point of the show, the writing team almost certainly didn’t have the s14-15 twist in mind. So this was probably intended to be Chuck’s truth. Later it gets twisted (retconned?) into a lie, but about that later.

Here, Chuck is really good at manipulating the conversation. Dean has a perfectly valid point, because there IS a middle ground between being overinvolved and not being involved at all. There is a middle ground between enabling your children and abandoning them completely. But Chuck hits Dean where it hurts, plays the emotional card, basically tells him that he’s too emotional to understand, too emotional to think rationally about it, because he mixes his feelings about his father to the issue and thus cannot see it clearly. He basically tells him he’s too close to it to get it. You don’t understand parenting, Dean, because you’re too blinded by your emotions about your own little life and cannot see the big picture.

It doesn’t really matter here if he’s telling the truth or lying, it already says a lot about Chuck that he’s emotionally manipulating Dean, silencing him by hitting the painful spot.

But the thing is, 11.20 immediately presents Chuck as a liar. He makes Metatron read his autobiography and the very first line is a lie (“In the beginning, there was me. Boom – detail. And what a grabber. I mean, I’m hooked, and I was there.” “I’m hooked too, and yet... details. You weren’t alone in the beginning. Your sister was with you.”) and the stuff he talks about his experience as Chuck is not exactly truthful about anything (“That, you know, makes you seem like a really grounded, likable person.” “Yeah, what’s wrong with that?” “You are neither grounded nor a person!”). Metatron calls him out (“Okay. There are two types of memoir. One is honest... the other, not so much. Truth and fairy tale. Now, do you want to write Life by Keith Richards? Or do you want to write Wouldn’t It Be Nice by Brian Wilson?”). Chuck SAYS he chooses truth and gives Metatron a different manuscript, supposedly containing the truth, to which Metatron reacts positively. Metatron believes it, and we believe it with him.

Oh! Oh, this! This is what I was talking about. Chapter Ten “Why I Never Answer Prayers, and You Should Be Glad I Don’t”, and Chapter Eleven “The Truth About Divine Intervention and Why I Avoid It At All Costs”.

Nature? Divine. Human nature – toxic.

They do like blowing stuff up.

Yeah. And the worst part – they do it in my name. And then they come crying to me, asking me to forgive, to fix things. Never taking any responsibility.

What about your responsibility?

I took responsibility... by leaving. At a certain point, training wheels got to come off. No one likes a helicopter parent.

This is sort of what he later says to Dean, except that to Dean he talks about “beautiful creatures” “my baby”, talks about helping, none of the harsh tone he’s using here. When Metatron accuses him of hiding from Amara, he retorts “I am not hiding. I am just done watching my experiments’ failures”. What a different language, uh? Then Metatron asks him why he abandoned them, and Chuck answers “Because you disappointed me. You all disappointed me”. Then, he admits he lied about “learning” to play the guitar and so on, because he just gave himself the ability, and then appears to Dean and Sam, after Metatron’s passionate speech about humanity.

So, no matter the authorial intent at the time - the truthiness of Chuck’s words was already ambiguous. He kept lying and being called out, or silencing the conversation with some good ol’ gaslighting.

The season 14 finale introduces the big twist: it was, indeed, all a lie. The whole of it. Chuck didn’t abandon shit. It was all him, minutely controlling the narrative of the universe, putting the characters through all the pain and struggles for his own amusement.

The “absent father” narrative was a lie.

What does this tell us about John? Nothing, according to the authorial intent that shines through Dabb’s Lebanon. But we don’t give a crap about Dabb’s authorial intent about John! He’s just one dude and plenty of other authors have painted a different picture. So I’m going to read the narrative the way I want, because I can, and the narrative allows me to. It’s all there.

I’m suggesting that the fact that Chuck lied when he talked about being a hands-off/absentee father parallels how Dean and Sam prefer to think of their father as an “absent father” when that’s not exactly a reflection of the truth.

You left us. Alone. ‘Cause Dad was just a shell. [...] And I-I had to be more than just a brother. I had to be a father and I had to be a mother, to keep him safe.

Setting aside how “I had to be a father and I had to be a mother” sort of retcons and cleans up the Winchester family picture painted by ealier seasons, the fact that John didn’t really count as a functional father figure and Dean and Sam were essentually alone is not incorrect or anything. It is true that John would leave them to their own devices a lot, thus the long stays in motels, the hunger, the food-stealing, and all. But John wasn’t always absent, at all. He trained them as soldiers, he disciplined them, he was around enough for them to be intimately familiar with what happened when he drank. He drove them around.

It’s almost like it’s preferable to Dean and Sam to spin their own “absent father” narrative, putting the accent on the time they spent alone, painting their childhood as a time they had to grow up on their own, rather than acknowledge they grew up under the thumb of a controlling, looming figure they would regularly live in fear of, even when he was not physically present.

The “absent father” narrative is what Dean and Sam need to use to avoid confronting the reality of the father figure whose moods and whims they had to dance around. “I know things got dicey... you know, with Dad... the way he was. And I just... I didn’t always look out for you the way that I should have. I mean, I had my own stuff, you know. In order to keep the peace, probably looked like I took his side quite a bit.”

John shaped their lives. He shaped their identities. Even in the episodes where he abandons Dean or both children somewhere, he’s portrayed as the figure who drives the car. He symbolically drives the car, you know? John shaped Dean and Sam’s relationship with each other, both on a surface level (the conflicts) and on a deeper level (the parental dynamic).

Heck. The entire first season of the show plays on John’s disappearance as the “elephant in the room”. John is there by not being there, you know? And after he dies, his death - his absence - is again the elephant in the room for Dean, the weight on his psyche that he shatters under.

It is not wrong that Dean and Sam had to spend long periods of time without John. But John structured their lives in quite minute detail. Where they needed to be, what they needed to do, what they must not do, everything had to follow John’s instructions. A drill sergeant, the narrative called him, ordering how his sons needed to live their lives. That’s no absence, except on a level where Chuck not showing himself and pretending he’s not there can be considered absent. That’s a presence, not necessarily always physical, but semiotical and psychological.

John is an absent father as much as Chuck is a hands-off god. He even writes himself into the story around the time Cas has the “season 1” phase (let’s go look for dad/let’s go look for god), which is when John actually was alive and appeared. Then he was no longer physically there, but he was still shaping his characters’ lives, just like he’d always done.

The “absent father” narrative on John is that - a narrative. Spun by the characters themselves because it’s easier and actually kinder on John. Or, better, it allows them not to be crushed by the psychological implications of having to accept that their father was such a looming, minutely formative figure in their lives. They know, but they can wave the “absent father” idea around to avoid thinking about it.

“I had to be a father and I had to be a mother” is something easier to tell yourself. I was the one who did it all. But he wasn’t, and that’s the problem. The fact that John was their father - Dean’s and Sam’s - is the problem. But ironically, blaming himself for every failure is a better option for Dean than fully acknowledging John’s abuse. As long as he blames himself, he has control over it. The moment he acknowledges the extent of John’s influence, he loses control over the entire narrative of his own identity and the family identity, the family dynamics. That’s scarier, just like realizing that God manipulated everything is much scarier than the alternative. “God abandoned us” was indeed a better option, and “John left us alone” was a better option. But neither was true, and the characters faced the implications of the cosmic level, but never got to face the implication of the familial level, because the narrative always danced around it and then Dabb’s apologist version “won”.

But what’s been put in the show is still there. The narrative of John’s abuse is still there. Nothing can take it out of the story.

[unpopularwiththepopulace]

Chicago at Long Beach, LA, 1992: A Story of Bebe Neuwirth, Choreography, Riots, Revivals, and Relevance

Recently and rather excitingly, more footage made its way to YouTube of the 1992 version of Chicago staged at Long Beach in LA, featuring Bebe Neuwirth as Velma and Juliet Prowse as Roxie.

Given its increased accessibility and visibility, this foregrounds the chance to talk about the show, explore some of its details, and look at the part it might have played as a contribution to the main ‘revival’ of Chicago in 1996 – which has given the show one of the most resonant and highly enduring legacies seen within the theatre ever.

This Civic Light Opera production at Long Beach was staged in 1992, four years before the ‘main’ revival made its appearance at Encores! or had its subsequent Broadway transfer, and it marked the first time a major revival of Chicago had been seen since the original 1975 show disappeared nearly 15 years previously.

This event is of particular significance given its position as the first step in the chain of events that make up part of this ‘new Chicago’ narrative and the resultant entire multiple-decade spanning impact of the show hereafter.

But for all of its pivotal status, it’s seldom discussed or remembered anywhere near as much as it should be.

This may be in part because of how little video or photographic record has remained in easily accessible form to date, and also because it only played for around two weeks in the first place. As such, it is a real treat on these occasions to get to see such incredible and unique material that would otherwise have been lost forever after such a brief existence some 30 years ago.

This earlier revival of the show still feels like what we have come to identify “Chicago” as in modern comprehension of the musical, most principally because the choreography was also done by Ann Reinking. As with the 1996 production, this meant dance was done “very much in the master’s style” – or Mr Bob Fosse.

The link below is time-stamped to Bebe and Juliet performing ‘Hot Honey Rag’. As one of the most infamous numbers in Broadway history, it’s undoubtedly a dance that has been watched many times over. But never before have I seen it done quite like this.

https://youtu.be/4HKkwtRE-II?t=2647

‘Hot Honey Rag’ was in fact formerly called ‘Keep It Hot’, and was devised by Fosse as “a compendium of all the steps he learned as a young man working in vaudeville and burlesque—the Shim Sham, the Black Bottom, the Joe Frisco, ‘snake hips,’ and cooch dancing”, making it into the “ultimate vaudeville dance act” for the ultimate finale number.

Ann would say about her choreographical style in relation to Fosse, “The parts where I really deviate is in adding this fugue quality to the numbers. For better or worse, my style is more complicated.” The ‘complexity’ and distinctness she speaks of is certainly evident in some of the sections of this particular dance. There are seemingly about double the periodicity of taps in Bebe and Juliet’s Susie Q sequence alone. One simply has to watch in marvel not just at the impressive synchronicity and in-tandem forward motion, but now also at the impossibly fast feet. Other portions that notably differ from more familiar versions of the dance and thus catch the eye are the big-to-small motion contrast after the rising ‘snake hips’ section, and all of the successive goofy but impeccably precise snapshot sequence of arm movements and poses.

More focus is required on the differences and similarities of this 1992 production compared against the original or subsequent revival, given its status and importance as a bridging link between the two.

The costumes in 1975 were designed by Patricia Zipprodt (as referenced in my previous post on costume design), notably earning her a Tony Award nomination. In this 1992 production, some costumes were “duplications” of Zipprodt’s originals, and some new designs by Garland Riddle – who added a “saucy/sassy array” in the “typical Fosse dance lingerie” style. It is here we begin to see some of the more dark, slinkiness that has become so synonymous with “Chicago” as a concept in public perception.

The sets from the original were designed by Tony Walton – again, nominated for a Tony – and were reused with completeness here. This is important as it shows some of the original dance concepts in their original contexts, given that portions of the initial choreography were “inextricably linked to the original set designs.” This sentiment is evident in the final portion of ‘Cell Block Tango’, pictured and linked at the following time-stamp below, which employs the use of mobile frame-like, ladder structures as a scaffold for surrounding movements, and also a metaphor for the presence of jail cell bars.

https://youtu.be/4HKkwtRE-II?t=741

Defining exactly how much of the initial choreography was carried across is an ephemeral line. Numbers were deemed “virtually intact” in the main review published during the show’s run from the LA Times – or even further, “clones” of the originals. It is thought that the majority of numbers here exhibit greater similarity to the 1975 production than the 1996 revival, except for ‘Hot Honey Rag’ which is regarded as reasonably re-choreographed. But even so, comparing against remaining visible footage of Gwen Verdon and Chita Rivera from the original, or indeed alternatively against Bebe and Annie later in the revival, does not present an exact match to either.

This speaks to the adaptability and amorphousness of Fosse-dance within its broader lexicon. Fosse steps are part of a language that can be spoken with subtle variations in dialect. Even the same steps can appear slightly different when being used in differing contexts, by differing performers, in differing time periods.

It also speaks to some of the main conventions of musical theatre itself. Two main principles of the genre include its capacity for fluidity and its ability for the ‘same material’ to change and evolve over time; as well as the fact comparisons and comprehensions of shows across more permanent time spans are restricted by the availability of digital recordings of matter that is primarily intended to be singular and live.

Which versions of the same song do you want to look at when seeking comparisons?

Are you considering ‘Hot Honey Rag’ at a performance on the large stage at Radio City Music Hall at the Tony Awards in 1997? Or on a small stage for TV shows, like the Howard Cosell or Mike Douglas shows in 1975? Or on press reel footage from 1996 on the ‘normal’ stage context in a format that should be as close to a replica as possible of what was performed in person every night?

Bebe often remarks on and marvels at Ann’s capacity to travel across a stage. “If you want to know how to travel, follow Annie,” she says. This exhibits how one feature of a performance can be so salient and notable on its own, and yet so precariously dependent on the external features its constrained to – like scale.

Thus context can have a significant impact on how numbers are ultimately performed for these taped recordings and their subsequent impact on memory. Choreography must adjust accordingly – while still remaining within the same framework of the intention for the primary live performances.

This links to Ann’s own choreographical aptitude, in the amount of times it is referenced how she subtly adapted each new version of Chicago to tailor to individual performers’ specific merits and strengths as dancers.

Ann’s impact in shaping the indefinable definability of how Chicago is viewed, loved and remembered now is not to be understated.

An extensive 1998 profile – entitled “Chicago: Ann Reinking’s musical” – explores in part some of Ann’s approaches to creating and interacting with the material across a long time span more comprehensively. Speaking specifically to how she choreographed this 1992 production in isolation, Ann would say, “I knew that Bob’s point of view had to permeate the show, you couldn’t do it without honoring his style.” In an age without digital history at one’s fingertips, “I couldn’t remember the whole show. So I choreographed off the cuff and did my own thing. So you could say it was my take on his thoughts.” Using the same Fosse vocabulary, then – “it’s different. But it’s not different.”

One further facet that was directly carried across from the initial production were original cast members, like Barney Martin as returning as Amos, and Michael O'Haughey reprising his performance as Mary Sunshine. Kaye Ballard as Mama Morton and Gary Sandy as Billy Flynn joined Bebe and Juliet to make up the six principals in this new iteration of the show.

Bebe, Gary and Juliet can be seen below in a staged photo for the production at the theatre.

The venue responsible for staging this Civic Light Opera production was the Terrace Theatre in Long Beach in Los Angeles. Now defunct, this theatre and group in its 47 years of operation was credited as providing some of “the area’s most high profile classics”. Indeed, in roughly its final 10 years alone, it staged shows such as Hello Dolly!, Carousel, Wonderful Town (with Donna McKechnie), Gypsy, Sunday in the Park with George, La Cage aux Folles, Follies, 1776, Funny Girl, Bye Bye Birdie, Pal Joey, and Company. The production of Pal Joey saw a return appearance from Elaine Stritch, reprising her earlier performance as Melba Snyder with the memorable song ‘Zip’. This she had done notably some 40 years earlier in the original 1952 Broadway revival, while infamously and simultaneously signed as Ethel Merman’s understudy in Call Me Madam as she documented in Elaine Stritch at Liberty.

Juliet Prowse appeared as Phyllis in Follies in 1990, and Ann Reinking acted alongside Tommy Tune in Bye Bye Birdie in 1991, in successive preceding seasons before this Chicago was staged.

But for all of its commendable history, the theatre went out of business in 1996 just 4 years after this, citing bankruptcy. Competition provided in the local area by Andrew Lloyd Webber and his influx of staging’s of his British musicals was referenced as a contributing factor to the theatre group’s demise. This feat I suspect Bebe would have lamented or expressed remorse for, given some of her comments in previous years on Sir Lloyd Webber and the infiltration of shows from across the pond: “I had lost faith in Broadway because of what I call the scourge of the British musicals. They've dehumanized the stage [and] distanced the audience from the performers. I think 'Cats' is like Patient Zero of this dehumanization.”

That I recently learned that Cats itself can be rationalised in part as simply A Chorus Line with ears and tails I fear would not improve this assessment. In the late ‘70s when Mr Webber noticed an increase of dance ability across the general standard of British theatre performers, after elevated training and competition in response to A Chorus Line transferring to the West End, he wanted to find a way he could use this to an advantage in a format that was reliable to work. Thus another similarly individual, sequential and concept-not-plot driven dance musical was born. Albeit with slightly more drastic lycra leotards and makeup.

But back in America, the Terrace theatre could not be saved by even the higher incidence of stars and bigger Broadway names it was seeing in its final years, with these aforementioned examples such as Bebe, Annie, Tommy, Juliet, Donna, or Elaine. The possibility of these appearances in the first place were in part attributable to the man newly in charge as the company’s producer and artistic director – Barry Brown, Tony award-winning Broadway producer. 

Barry is linked to Bebe’s own involvement with this production of Chicago, through his relationship – in her words – as “a friend of mine”.

At the time, Bebe was in LA filming Cheers, when she called Barry from her dressing room. Having been working in TV for a number of years, she would cite her keenness to find a return to the theatre, “[wanting] to be on a stage so badly” again. The theatre is the place she has long felt the most sense of ease in and belonging for, frequently referring to herself jokingly as a “theatre-rat” or remarking that it is by far the stage that is the “medium in which I am most comfortable, most at home, and I think I'm the best at.”

Wanting to be back in that world so intensely, she initially proposed the notion of just coming along to the production to learn the parts and be an understudy. Her desire to simply learn the choreography alone was so strong she would say, “You don’t have to pay me or anything!”

She’d had the impetus to make the call to Barry in the first place only after visiting Chita Rivera at her show in LA with a friend, David Gibson. At the time, the two did not know each other that well. Bebe had by this point not even had the direct interaction of taking over in succession for Chita in Kiss of the Spider Woman in London. This she would do the following year, with Chita guiding her generously through the intricacies of the Shaftesbury Theatre and the small, but invaluable, details known only to Chita that would be essential help in meeting stage cues and playing Aurora.

Bebe had already, however, stepped into Chita’s shoes multiple times, as Anita in West Side Story as part of a European tour in the late ‘70s, or again in a Cleveland Opera Production in 1988; and additionally as Nickie in the 1986 Broadway revival of Sweet Charity – both of which were roles Chita had originated on stage or screen. In total, Velma would bring the tally of roles that Bebe and Chita have shared through the years to four, amongst many years also of shared performance memories and friendship.

They may not have had a long history of personal rather than situational connections yet when Bebe visited her backstage at the end of 1991, but Chita still managed to play a notable part in the start of the first of Bebe’s many engagements with Chicago.

After Bebe hesitantly relayed her idea, Chita told her, “You should call! Just call!”

So call Bebe did. One should listen to Chita Rivera, after all.

Barry Brown rang her back 10 minutes later after suggesting the idea to Ann Reinking, who was otherwise intended to be playing Velma. The response was affirmative. “Oh let her play the part!”, Annie had exclaimed. And so begun Bebe’s, rather long and very important, journey with Chicago.

In 1992, this first step along the road to the ‘new Chicago’ was well received.

Ann Reinking with her choreography was making her first return to the Fosse universe since her turn in the 1986 Sweet Charity revival. Diametrically, Rob Marshall was staring his first association with Fosse material in providing the show’s direction – many years before he would go on to direct the subsequent film adaptation also. Together, they created a “lively, snappy, smarmy” show that garnered more attention than had been seen since the original closed.

“Bob Fosse would love [this production],” it was commended at the time, “Especially the song-and-dance performance of Bebe Neuwirth who knocks everyone’s socks off.” High praise.

Bebe was also singled out for her “unending energy”, but Juliet too received praise in being “sultry and funny”. Together, the pair were called “separate but equal knockouts” and an “excellent combination”.

Juliet was 56 at the time, and sadly died just four years later. Just one year after the production though, Juliet was recorded as saying, “In fact, we’re thinking of doing it next year and taking it out on the road.”

Evidently that plan never materialised. But it is interesting to note the varied and many comments that were made as to the possibility of the show having a further life.

Bebe at the time had no recollection that the show might be taken further, saying “I didn’t know anything about that.” Ann Reinking years later would remark “no one seemed to think that the time was necessarily ripe for a full-blown Broadway revival.” While the aforementioned LA Times review stated in 1992 there were “unfortunately, no current plans” for movement, it also expressed desire and a call to action for such an event. “Someone out there with taste, money and shrewdness should grab it.”

The expression that a show SHOULD move to Broadway is by no means an indication that a show WILL move. But this review clearly was of enough significance for it to be remembered and referenced by name by someone who was there when it came out at the time, Caitlin Carter, nearly 30 years later. Caitlin was one of the six Merry Murderesses, principally playing Mona (or Lipschitz), at each of this run, Encores!, and on Broadway. She recalled, “Within two days, we got this rave review from the LA Times, saying ‘You need to take the show to Broadway now!’” The press and surrounding discussions clearly created an environment in which “there was a lot of good buzz”, enough for her to reason, “I feel like it planted seeds… People started to think ‘Oh we need to revive this show!’”

The seeds might have taken a few years to germinate, but they did indeed produce some very successful and beautiful flowers when they ultimately did.

In contrast with one of the main talking points of the ‘new Chicago’ being its long performance span, one of the first things I mentioned about this 1992 iteration was the rather short length of its run. It is stated that previews started on April 30th, for an opening on May 2nd, with the show disappearing in its final performance on May 17th. Less than a fleeting 3 weeks in total.

Caitlin Carter discussed the 1992 opening on Stars in the House recently. It’s a topic of note given that their opening night was pushed back from the intended date by two days, meaning Ann Reinking and Rob Marshall had already left and never even saw the production. “The night we were supposed to open in Long Beach was the Rodney King riots.”

Local newspapers at the time when covering the show referenced this large and significant event, by noting the additional two performances added in compensation “because of recent interruptions in area social life.”

It sounds rather quaint put like that. In comparison, the horror and violence of what was actually going on can be statistically summated as ultimately leaving 63 people dead, over 2300 injured, and more than 12,000 having been arrested, in light of the aftermath of the treatment faced by Rodney King. Or more explicitly, the use of excessive violence against a black man at police hands with videotaped footage.

A slightly later published review wrote of how this staging was thus “timely” – in reference to an observed state of “the nation’s moral collapse”.

‘Timeliness’ is a matter often referenced when discussing why the 1996 revival too was of such success. The connection is frequently made as to how this time, the revival resonated with public sentiment so strongly – far more than in 1975 when the original appeared – in part because of the “exploding headlines surrounding the OJ Simpson murder case”. The resulting legal and public furore around this trial directly correlates with the backbone and heart of the musical itself.

I'm writing this piece now at the time of the ongoing trial to determine the verdict of George Floyd’s murder, another black man suffering excessive and ultimately fatal violence at police hands with videotaped footage.

I think the point is that this is never untimely. And that the nation is seldom not in some form of ‘moral collapse’, or facing events that have ramifications to do with the legal system and are emotionally incendiary on a highly public level.

Which perhaps is why Chicago worked so well not just in 1996, but also right up to the present day.

Undoubtedly, we live in a climate where the impact of events is determined not just by the events themselves, but also the manner in which they are reported in the media. Events involving some turmoil and public outrage at the state and outcome of the legal system are not getting any fewer or further between. But the emphasis on the media in an increasingly and unceasingly digital age is certainty only growing.

[camelely]

Good Trouble Finale...

Okay I liked that episode. It had all the elements to make a good finale, it fit the tone of the show, and it got us ready for the next season. It wasn't the best but I did really appreciate it. Anyone else think they did multiple cliffhangers so they could gage how the audience would want to see these plots end before actually writing an end lol?

First things first the Callie plot

Judge Wilson!!!! I'm so glad they brought him back to call out Callie in the dream sequence in the courtroom. It was so good. His speech. Roger Bart's delivery. The emotional impact and Maia's performance. It was a great scene and the perfect scene for both characters.

On to her actual plot. Why didn't they tell us the verdict? This whole season has been building on this case. If one thing needed to be resolved by the finale it should have been this. Also they brought up Jerrod but once again provided us with no updates!

It's interesting how all of Jamie's character development has been off screen. Like is it too much to ask for some of it to happen in front of us? It doesn't even need to be in front of Callie? Like we can just see him doing something or learning something outside the courtroom.

If all this is building to Jamie and Callie starting a firm together I would be here for it. But only if Callie takes in the message of actually listening to other people sometimes. It is important to fight but if you dont hear what others are saying how can you fight?

Callie needs to learn not every case is some big fight to change the system case. The justice system works best when both sides have decent legal representation and yes we live in a world where that rarely happens. And juries are rarely actually impartial. But Callie is a lawyer. She's not a politician and she's not a judge. She thinks she is morally superior to everyone around her and I'm so tired of it. I really hope the dream sequence finally pushes her into some character growth.

As for her and Gael I've always disliked them as a couple. In every season before this she has treated him like a second choice and never given him the support he deserved. Everytime she went to him it was because of a fight she had with Jamie or Mariana. It kinda felt like he was finally just returning the favor this season lol. Also like I said before I actually kinda like Isabella and I'm excited to see where Gael goes when he isn't attached to a bad love triangle plot.

TBH at this point I'd rather see Jamie and Gael be happy then actually try to work things out with Callie lol. They both seem to be in better places without her and she needs sometime without a guy.

The Mariana plot

Okay I hate it here. I know the message is friendships come first but like wtf the girls were really horrible to Mariana. It's really shitty that lady... jackie? stole the app idea and idk what I wanted from this plot but the fight club girls deciding to be friends with Mariana again just wasnt it. They treated her like shit all season. Also there were more of them at the start of the season lol. Also Jackie and Evan working together like wtf. Evan was a decent guy nothing in his character makes me think he would be the type of person to be vindictive after a break-up... this feels all sorts of weird and unnecessary. Even if they end it with him choosing to help Mariana I can't see this plot actually doing anything exciting tbh. Mariana is my favorite character and this plot is already exhausting, I have a feeling it's only going to get worse from here. Overall this was the worst plot of the season and I'm not happy to continue it into next season. I just want Mariana to be happy lol.

The Dennis plot

I love it. The truck connecting back to his past trauma and healing process is 10/10. The way he is finding a passion is 10/10. Overall 10/10 lol.

The Davia plot

Also mostly good. Again they chose a cliffhanger when in reality they didn't need to? I think if you dedicate an entire season of a show to a question and have the character (or a jury lol) come to decision in the finale and then choose to not tell the audience it cheapens the whole experience and drags a plot passed its expiration date. If you want a plot to end in a cliffhanger thats fine but this isn't a cliffhanger... this is just cutting out audio that should naturally be there... for the sake of creating fake tension. Doing it once is bad enough but twice in the same episode felt personal lol.

The Malika plot

Ah Malika and the only cliffhanger that actually works. Isaac. I love Isaac. Like he's amazing and I love him so much. I really liked how their plot was focused on Malika exploring how a Poly relationship could be/is right for her. The whole plot is really well done. If she decides she wants to be monogamous with Isaac I'd be okay with that as long as it is a well written thing focusing on her choices and not his. I also wouldnt mind if Isaac and her get closure and he moves on. I think him deciding to be poly could work but I also think he made it clear that isn't really what he is looking for. Maybe an open relationship or something like that could work for them? Idk exactly but I'm very excited to see where this all goes and I'm confident the writers will do right by these characters.

More exciting is her work/activism plot. It's clearly going to cause problems with her and Dyonte but honestly Dyonte and his personality is my least favorite part of the Malika plot lol. He reminds me of Speech from the band Arrested Development. That probably isn't a fair comparison and probably makes no sense but it's the vibe I get. I like Angelica and I hope her ex/friend is a good person. I have high hopes for this plot and I really hope GT doesn't let me down. Lol watch this be the worst plot next season and Mariana be the best just because I predicted the opposite.

The Alice plot

This was the one with the most consistent writing IMO. It wasn't perfect. They had some weird character choices/build with Alice's comedy group And honestly they could have cut the program down to like four finalists. All of them started to blend together anyway. I think bringing a few into the spotlight a little more would have helped balance the character choices and if one of them was to betray Alice it would have been more emotional if we actually knew them. I liked the choice to quit but it was a lot of money and a great opportunity too. It was a truly wild way to end the plot lol. As for her and Sumi... Okay so Sumi was my least favorite Alice LI, but over this last season she really grew on me and I'd be okay if they eventually found their way back to each other. For now I'm glad they are making the more responsible choice and staying friends.

Overall this finale was very much in keeping with the themes and choices the show tends to make. But it was 90 minutes long and didn't answer any of the big season long questions. It was a really well made episode though and I liked watching it.

[hopevalley]

Season 8, Episode 9: Pre-Wedding Jitters

Y’all know what’s wild? The season is coming to a close! I feel like we just got started with Season 8, and it’s already nearly over. I’m not ready for things to end...except the love triangle. Lol.

One important thing I want to talk about, before we move on to my regularly scheduled episode write-up, of course, is the quality of the writing and filming this season. I really feel like the team took a step back and thought very carefully about how to improve the show, and then they went through the effort of actively trying to improve things. 

Are there still badly-written areas of the show? Absolutely. Are there things I loathe seeing? Yes. Are there plotlines that are extremely contrived even by Hallmark standards? Unfortunately there are.

But I don’t think anyone can deny that the writing this season is, overall, an improvement over Seasons 5, 6, and 7. The only thing that I feel about S8 that is worse than 5/6/7 is the love triangle, but it had to come to a head eventually so it was always going to be a point of contention among the fans.

I’ve seen a ton of negativity going around the Internet, and you are all entitled to your opinions, but let’s hold back from being too angry until we see how things will work out. After all, there is a chance, however small, that Hallmark will end up surprising us.

So here’s to hoping that the writing quality uptick will continue as we move into Season 9.

And now, our plotlines from this episode:

The Dilapidated Love Triangle

The Wedding Planning/Party

The New & Improved Henry Gowen

Miscellaneous (Car Investigation, pastor position/Jesse and Clara + Cafe, Carson and Faith, Mike and Fiona)

This was another episode that felt pretty smooth in its storytelling; it had some smaller plots going on, but two primarily large plots, a smaller one that revolved around Henry, and then a few small (connected) plots from previous episodes/that overarched the whole season!

Sorry for the muddle by the way, it took me hours to type this and I’m too tired to read it over thoroughly before posting. If you see any glaring issues please let me know so I can fix them, though!

--

The Dilapidated Love Triangle

Let’s just get the pig slop out of the way, shall we? I think we are all in some sort of agreement by now that we’re tired of the triangle and just want to see it resolved as soon as possible so that we can get on with our lives and invest our interests in the right place(s). 

I also believe most of us are also in some kind of agreement, however we feel about the characters, the triangle, and who Elizabeth’s choice should be, that this thing has been very poorly paced. This sentiment seems to be echoed across the Internet right now. The pacing is AWFUL. After two years of almost nothing happening, now we’re going to bullrush to the end of the triangle? That’s a yikes from me, Chief. (Wait, didn’t I say that last week, too?)

I was never a fan of the narrated beginnings of episodes. I think they’re really tacky and boring. That said, there’s no other way to get into Elizaeth’s head easily because...I don’t know. Either Erin isn’t that skilled or the director doesn’t know how to direct her, or the script sucks. They struggle SO MUCH with show-don’t-tell that they have to resort to telling...which is fine, sometimes. This is an instance where telling is just mega redundant since she says the same exact thing probably 10 more times in the episode. I wish they’d have just kept the first part of the reflection or focused more on that—how Nathan talking about it...makes it feel fresh and raw again in a way she didn’t expect.

Anyway, Elizabeth writing that she��s been “left to reflect, once more, on the senseless accident that took [Jack’s] life” is ridiculous. Senseless? He was in charge of the training mission, but unless I’m losing every last marble I’ve ever had, wasn’t it Jack’s choice to go after the younger recruits who had been separated? Wasn’t it thanks to Jack’s quick thinking and intervention that only one person lost his life that day (Jack himself)? 

This is where the whole “Jack died heroically” thing kind of matters, actually. Especially when you butt it up against Nathan being the original person intended to go. Would he have risked his life like that? We’ll never know, but I’m sure Nathan thinks about it a lot, and it’s not something that should be left out of this story.

It’s valid for Elizabeth to wonder why Nathan kept the Secret hidden from her for almost three years, but what is really troublesome is the weird shift she seems to have between Casual Curiosity and Stricken Grief about it.

I grew tired of mopey Elizabeth in S4 and 5, so I’m not happy to see her back. Fewer eye drops, please. -_-

Anyway, it almost felt like a breakthrough when Elizabeth asked Rosemary why she thought Nathan took so long to tell her about Fort Clay, but Rosemary’s response was so bad. “He didn’t think it was important enough.” WHAT? WHO WOULD SAY THAT? Rosemary can be a bit thick-headed but that was almost too contrived for me to willingly follow. Anyone with a brain would realize it was IMPORTANT and THAT WAS WHY IT WAS A SECRET.

And when Elizabeth’s like, “Not important enough?” BECAUSE OBVIOUSLY IT IS IMPORTANT... Rosemary just tells her that Jack’s death wasn’t Nathan’s fault.

Which. She’s right. But that doesn’t make the secret unimportant. It’s still kind of a big deal. He’s confessed to being in love with Elizabeth multiple times now. Even Rosemary can’t be so dumb that she doesn’t realize that the connection between Jack’s death and Nathan is...meaningful, especially to Elizabeth. And that Nathan knew this and couldn’t bring himself to tell her because he knew it would hurt her.

Anyway, I’m doing my best to give Elizabeth a bit of grace here, because she’s just so self-centered I almost can’t stand it. To be clear, Elizabeth has ALWAYS BEEN LIKE THIS. It’s just that usually the issues at hand aren’t about her, they’re about someone else. 

Rosemary’s right but what she said was straight-up stupid. I don’t know, I don’t think the characters are out of character so much as the dialogue just didn’t flow very naturally and I felt like the characters were making assumption jumps to force certain responses. If Elizabeth can’t agree with Rosemary that Jack’s death isn’t Nathan’s fault, then she should have expressed that a bit more directly so that Rosemary could draw the conclusion that Elizabeth does feel it’s Nathan’s fault. It came across like Rosemary was speaking to the audience more than to Elizabeth, and I didn’t like it.

--

The most delightful scene in the entire episode has to go to Allie and Lucas. That was so cute and wholesome and good. Her asking if she could sit at the bar, him offering her a treat, her trying to return the gift ‘cause she felt caught in the middle and like it wasn’t fair to accept it... SO GOOD. They remembered the gift multiple episodes later AND incorporated it into this episode flawlessly. LOVED IT. 

Also, she asked an important question. LUCAS...where DO YOU LIVE?!

His story was a bit silly but I actually enjoyed it. It gives him a more playful vibe and also I think was almost entirely to ensure that Allie felt more comfortable and less anxious about what was happening around her. It was also his way of reassuring her that him courting Elizabeth wasn’t going to take Elizabeth out of Allie’s life...and that things will be okay.

I enjoyed it.

Things were a bit awkward with Elizabeth and Allie but they felt...better than before, so I felt like the conversation helped.

--

Lucas calling Allie “Allie Grant” was nice now that her adoption is official! I appreciate that.

Elizabeth and Lucas talk about how Lucas told Allie he’ll “work things out” with Nathan and Elizabeth definitely doesn’t appreciate it, and with somewhat good reason: she doesn’t like being caught in the middle of things any more than Allie does.

The thing is...she has had the power...all this time...to tell Nathan straight-up to leave her alone/that she isn’t interested. I stand by what I said before, that she shouldn’t have to tell him no for him to respect the boundaries she’s set, but if he’s not respecting those boundaries she needs to be firm about it.

I like how Lucas comes off in this scene. He wants to understand, he listens, he’s patient, he doesn’t push. I’m here for it.

She tells him what Nathan told her and he seems a bit overwhelmed by it, too. It’s pretty clear that he realizes she must be feeling all kinds of things after finding that out, especially after all this time. 

Again, for the second time, Elizabeth doesn’t seem all that grief-stricken about the secret being kept from her for so long: she tells Lucas she just doesn’t understand how he could keep it from her. 

He asks permission to suss out an answer and Elizabeth politely declines and says she’ll ask herself, but to please forgive her, she needs some time to...think.

She watches Lucas go and then...touches her wedding band.

-

Nathan meets Rosemary in the library and goes on a long boring monologue about how he’s read like, three whole books that women wrote, but still doesn’t understand women. No shit, sherlock. That was terrible writing...just straight up bad writing.

But I’m not exactly surprised because the very next thing that happens is that Rosemary tells Nathan...she’s been in his eXACT position before!

No...you have not. Yes, you were the unwanted third wheel, but that’s where the similarities ended, and you should have clarified. This just didn’t hit well for me, I don’t know. I don’t want to say it’s out of character, but...I don’t think Rosemary is this soft gentle personality anyway. I feel like she was always a bit more in your face with the things she said, not “try to encourage a manner of action in a very roundabout way” like she is in this episode. But again, without a logic jump from Rosemary, this scene doesn’t quite work.

I think I might have preferred Rosemary to play dumb and ask what specifically he didn’t understand about women. Make him freakin’ say it. And then she could react better. 

--

We get Love Confession #3 or whatever we’re on with Nathan, now. Let’s go over the entire scene.

Elizabeth walks into Nathan’s office and instantly asks him why it took him so long to tell her what happened.

He says he felt guilty and when she tells him she doesn’t understand, he goes on to say that after the accident he requested a transfer to Hope Valley. He never met Jack but he knew he’d left behind a wife and child, and felt it was his responsibility to look after them and protect them.

She asks why he would assume that, and he explains that he felt it was his duty. And that when he found himself falling in love with her, he felt like he was betraying Jack and his memory. That’s why he didn’t tell her.

He then takes it ONE STEP TOO FAR and says, “I fell in love with you, and I think that love is always worth fighting for.” 

Elizabeth says “Excuse me,” and leaves. Nathan’s face afterward is maybe a decent mix of “I probably shouldn’t have said that” and regret, but...woof.

Anyway, I was fine with this up to the point where Nathan said, completely unprompted, that love is always worth fighting for. How does he know? What are his experiences with love? Books he read, written by men??? PLEASE.

READ PRIDE & PREJUDICE U SWINE... ELIZABETH FALLS IN LOVE WITH MR. DARCY BECAUSE HE DECIDES HE WANTS TO CHANGE AND BE A BETTER MAN AND THEN DOES SOOOOOOOOO oh wait this is turning into an Elizabeth/Henry argument...OOPS?

Anyway, yeah. Not a fan of that line. It almost feels like there’s something missing. She’s standing in front of him about to cry because she feels hurt that he didn’t tell her this, you know, crucial information, and he’s just like “Yeah I didn’t tell u cause I love you and felt like i was betraying jack’s memory and also lol love is worth fighting for babe!” What kind of confusing mess of babble is this?

Honestly, it just left a bad taste in my mouth. :( I have so many really obnoxious opinions about Nathan and what they’ve done with him this season, but I feel like I should save them for a season summary podcast or something, just in case Hallmark ends up surprising me. Right now I just feel like they really just wanted to give him what the fans hated about him (he wasn’t passionate enough, not manly enough, not forward enough with his emotions, at least from what I read on Reddit and Instagram last year), but in like THE WORST POSSIBLE WAYS and for the wORST POSSIBLE REASONS in the VERY WORST SCENARIO.

I feared that would be Nathan’s reason for coming to town from the moment the character was announced and...I wanted to be wrong.

Anyway, I really liked his self-awareness up to that point. He never met Jack, which keeps some of the weirdness at bay. Also, he felt like he needed to make sure Jack’s family was okay, and that’s fine. I wouldn’t call it noble (as Rosemary later does), but it’s not exactly bad, either. Then we got the line of him admitting that it felt kind of bad to fall in love with her. I wish he’d gone on to say that wasn’t supposed to happen, or even given her a reason he loves her (so that it doesn’t feel like we’re just being told everything), because his line about love being worth fighting for right after he says he felt like he was betraying Jack’s memory by loving her...was...really strange??? Maybe a few sentences were edited out? 

--

Elizabeth tries to refuse to play Fiona’s blindfold game and LITERALLY NO ONE SAVES HER (though I think Rosemary considered trying). I hate the idea of this game solely based on the fact that several people participating shouldn’t even be there (Nathan, Bill, Mike, Fiona, Molly), but Elizabeth wouldn’t be able to accidentally choose Nathan if he wasn’t there, so... -_-

I think I might have actually liked this (her “no” with Carson was super cute actually, probably the cutest laugh she’s ever had on this show) if she’d had the chance to reject a few more guys on the way down the line. If she was closer to the end of the line she’d feel her options were running out and might second-guess herself. Having Nathan be the second person she touches and having her choose is...eh.

Nitpicks aside (their hands wouldn’t feel the same and she held Lucas’s hand quite recently actually), it could have been worse. At least she stated who she was searching for...

BUT UGH THE EMBARRASSMENT.

The thing that gets me about the whole scene is 100% that everyone in town would know about the Triangle drama, so it feels...weird to see everyone so gung-ho to watch this happen... I don’t know... I like having fun too, but NOBODY even TRIED to step in??? 

At least Lucas found some humor in it right away (he smiles). 

I think I wish someone had said something. Maybe Nathan could have said, “Nope, sorry” to lighten the mood a bit? Or Lucas could have said, “Almost!” since he was standing right next to Nathan?

--

Anyway, we’re spared having to wait because the very next scene is Lucas checking on Elizabeth and laughing about her choice.

One line I wish they’d added in is that someone else got it wrong. Imagine if Lucas said, “At least you didn’t pick Bill like Clara did!” Or even just made a joke about it in general like: “Of course I’m not upset. But if you would have picked Bill I might be a little hurt. My hands aren’t that old yet.”

Elizabeth tells him that she spoke to Nathan about the whole...thing and it was awkward. She chooses to not tell Lucas the rest of the reason Nathan gave, but instead only admits that he told her he loves her again. When Lucas asks what she said in response she said she didn’t say anything.

Lucas seems...a trifle upset at this, and understandably so. I think he can sense she’s...not really a sure thing and is worried about it. :( I feel so bad for him right now.

--

Rosemary stops by to see Elizabeth after Lucas leaves, and tells her she ran into Nathan at the library yesterday. Elizabeth tells her what Nathan said in his office and Rosemary says it was noble and selfless of him.

(I mean...it wasn’t selfless. Like at all.)

Elizabeth says she never asked him to be noble. She didn’t ask him to fall in love with her, either.

She asks Rosemary if she encouraged Nathan’s feelings for her at the library. Rosemary says no, but Elizabeth asks again and she interrupts her to ask Elizabeth if she’d rather hear what she actually said or just assume.

Rosemary goes on to say that she just wants what’s best for Elizabeth.

And we get Elizabeth asking how anyone would know what was best for her.

I mean, that’s like 90% on you for not communicating with your friends, but also, it’s 100% on you for just assuming you knew what Rosemary said to Nathan. I think she’s just looking for a reason why Nathan is being so persistent and in her mind encouragement from someone else is the only thing that makes sense, ‘cause she sure as heck hasn’t been encouraging him herself!

This hurts Rosemary’s feelings, probably because she was about to say that she wants what’s best for Elizabeth so she asked Nathan to stop getting in the way lol, and says maybe she should leave (since Elizabeth is in a bad mood). Elizabeth agrees she should go.

End episode. On this note. Woof.

Overall it wasn’t too bad I guess? But I’m not a fan of how some of this was written. It really felt like they cut lines out to make the episode shorter, when...they could have cut out one of the boring side plots. You know. The entire thing with Jesse and Clara, for example. 

--

The Wedding Planning/Party

I admit that I got a little enjoyment out of Florence saying no to all the dresses. Highly relatable. 

Then, at the barbershop, Fiona says the exact wORST possible thing about Florence wanting a hairstyle that’ll “knock Ned dead” FLHDSFAJDSA.

Florence goes on to say she wants anything but “ordinary Florence” and Molly steps in.

Honestly, I wish they’d just let Molly stick to being Florence’s BFF because that’s the role she plays best. Also, I’m almost sad Florence and Ned got together because it means #teamflomo is no mo’. :(

Paul shows up...

I don’t know what I expected but this boy would have been a literal BABY in season one, which makes the whole thing with Florence almost sadder AND it gives Florence more in common with Elizabeth (widow with a young child) BUT I HAVE OPINIONS.

I know what you’re thinking. “Manna, you always have opinions!” Yes, you’d be right. 

They based this off of ONE (1) line of dialogue that Florence had in S1 when something was stolen from her house. She says, “while my child slept nearby” or something like that.

They brought a child in...for that? On one hand...I’m impressed.

On the other hand, I kind of had just assumed they’d retconned that and that Florence had no children (which is why she was always goofing off gossiping with Molly) so I don’t really know how to feel about the whole thing.

Rosaleen starred in an episode and never showed up again after S1, so I think I’d have preferred to see her return instead of a child we literally never laid eyes on. But he’s a cutie. And he’s named after his father just like little Jack so...I’ll take it!

--

The party begins and we have to do “the men are stupid and don’t know how to plan” again which is really annoying. The highlight of this entire thing was Ned saying (about his hairline) that he’s been driving with the top down since his 30s. I respect you AND ONLY YOU, Ned.

--

The party continues on and they play charades. Rosemary chose weird awful options that don’t make any sense and are hard to act out. Ned’s could have been funny but the one Bill got is just...so weird.

The funniest part about it is looking at everyone staring at Molly as she guesses it.

I think it was supposed to be...cute? Or something? It was just really weird for me.

“Cuddle up a little Closer, Lovey Mine” (yes, it’s “lovey” not “lovely”) was written and recorded in 1908. You can listen to it here. Lyrics here.

They then play the Most Awkward Game Ever, one that would have had me sweating bullets if I’d had to play it. Florence has to find her man by only holding the hands of the other men.

As Fiona says, it’s a bit...risqué, but Florence rejects Jesse quickly and finds out the second man is Bill by squeezing his hands too hard.

Bill explains that his arthritis is flaring up and of course Sara and I jumped on that almost at the same moment:

We like Bill. :P

And then Florence correctly guesses that the next man is Ned. It’s very wholesome and sweet.

But then it’s Elizabeth’s turn because I guess she’s not been traumatized enough this episode. I covered that in the triangle part of the plot, though.

--

The New & Improved Henry Gowen

We start off with a BANG here with Henry and Christopher. Christopher misses Rachel because he’s a twitterpated little FOOL and he tells Henry all about it...while Henry sees Bill tearing apart the stolen car in the distance.

He asks Christopher how he got to Hope Valley from Hamilton and Christopher just straight up comes clean about it: he drove a stolen car that his buddy stole. 

Henry scolds him a bit, tells him he can’t borrow a stolen car, and explains that he doesn’t want Christopher to end up like him. Christopher seems kind of surprised by this and says, “You turned out good.” 

To which Henry replies, “The jury’s still out on that.” 

Christopher says he’s done with that kind of thing, and Henry tells him he believes him.

Honestly, Henry’s “I believe you” got to me. It sounded SO genuine. And also, can I say YET AGAIN that this kid was an impeccable choice to play Henry’s son? WOW. I can’t get over how much alike they are even in mannerisms and looks.

But THEN when Henry tries to say Rachel has something to do with Christopher being done with that old lifestyle, Christopher tells him “And you” AND I ALMOST LOST IT. SOOOOO GOOD. Henry goes on to explain that “long after” he divorced Christopher’s mom, he met Abigail, who saw the potential for goodness in him. And that he can’t help Christopher be a better man because he’s still figuring that out for himself, but if he thinks Rachel can help him, he should do what he can to not lose her.

--

Later, Henry invites Christopher to Ned’s party and Christopher declines but asks what happened to the woman Henry mentioned earlier—Abigail, of course. Henry says she left town to help her mother.

Is this a...hint of things to come? I’m...not sure.

Henry sits down for two seconds before Lucas asks to speak with him outside. Once there, Lucas admits that he contacted Christopher. This is one of the most contrived plotlines we’ve had in a bit, if only because I just can’t figure out how Lucas would have known who Christopher was, let alone whether or not he would be useful? He doesn’t even have the same last name... I mean, what, did Henry write in sparkly gel pens or something? 

But for some reason he contacted Christopher to come work for Henry to keep an eye on him. He’s not proud of having done it, which makes sense. I guess I wouldn’t be either.

Henry’s upset about it. Lucas tells Henry that he took advantage of him and that he had to make sure Henry could be trusted.

Christopher doesn’t know that Lucas told him, though, and Henry asks that Lucas keep it that way.

It makes Christopher’s behavior with Lucas make more sense (when he kept trying to push him around earlier this season), but the timing is just...awful? Maybe talking to Elizabeth about Nathan’s secret made him feel guilty about his own? I’d buy into it more if I felt like there was a really compelling reason for Lucas to feel that Christopher would do any good...but it’s just too contrived for me.

--

Christopher randomly decides to go to Bellingham to see Rachel. Henry tells him not to make trouble if her parents ask him to leave. Henry makes to leave, and Christopher stops him.

I CANNOT SING THE PRAISES OF THIS SCENE ENOUGH. Christopher tries to tell Henry about the thing with Lucas and Henry’s like...you’re different now, you’re starting over it doesn’t matter anymore!!!! Everyone deserves a second chance!

AND THEY HUG AND CHRISTOPHER TELLS HENRY HE LOVES HIM.

They almost got me to cry. ALMOST. I refuse to cry at this show because I refuse to give Brian Bird the satisfaction, but boy oh boy was this close.

Henry responds with a “me too” and makes Christopher promise to write. Then the stage leaves and that is that.

The rest of the storyline for Henry is under the car investigation. They’re related but...only intertwine at the very end so I separated them. ;)

--

Miscellaneous (Car Investigation, Pastor Position/Jesse and Clara, Carson and Faith, Mike and Fiona)

Car investigation: Nathan starts this episode off on the wrong foot. I think that was...a mistake. THAT SAID...I’m relieved Bill isn’t being written as a complaining whiny pile of trash for once, so I just want to say that...they had to realize after last episode the fan opinion of Nathan would be...not great, so mayyybe they shouldn’t have started this episode off with him literally complaining about doing his job...while he’s in uniform no less. Also he has NO PASSION at all for his job, or for investigating, which I hope means he’ll end up quitting the Mounties. (It could be a hint of things to come...I hope.) 

I mean, does he think Bill got his position for...no reason? Also, thank God Nathan turned down the promotion to Inspector if that was how he was gonna treat actually doing the work?? I’m pretty sure this is their idea of “humor” but boy did it fall flat after the love triangle mess that’s been going on.

The owner talks to Nathan on the phone later and is coming from Hamilton to get his car. Nathan seems to be telling Bill this to discourage him from wasting his time investigating, but Bill doesn’t want to stop lol.

Ned’s comment from the party about his hairline being him “driving with the top down” gives Bill an Idea in the middle of the bachelor party and leaves. Ned looks shook that he produced An Idea.

And follows. Ned is absolutely adorable as he assists Bill. They should interact more?? Long story short, Bill figures out that the top was probably up when it was being transported to Hope Valley (as you wouldn’t want people getting a good look at your face if they’re looking for a stolen car), and finds a footprint in the removable top.

The next day, Bill approaches Henry up at the oil derricks and comments on the fact that Lucas told him that Christopher checked out of his room at the saloon. Henry is up front and honest about where Christopher went, and says he went to Bellingham to see Rachel Thom.

He says, “You know how it is. You love someone, you’d do anything for them.”

The one interesting thing about this comment is that...no, Bill does NOT know. He’s never admitted to being in love in his life. He married Nora, but that was out of obligation (something he makes clear several times). Like, he obviously cared about Nora, but he wasn’t in love with her.

Obviously he’s loved someone enough to do anything for them (his son), but considering he’s dead, and possibly died in a really traumatizing way considering how it’s portrayed, that seems a bit...insensitive. :P

Bill counters it with, “Almost anything, maybe.” 

He then goes on to tell Henry he found a footprint in the stolen car.

And he just. Kind of. Gives Henry. A look. Because he knows exactly who stole the car, he just has to prove it.

Henry stops Bill and says: “A while back I remarked about how you had never solved the mine disaster. Perhaps if you and I get together, I might be able to help.”

Bill doesn’t say a THING...he just leaves. But he looks kind of...put off by the whole thing.

Like he knows what Henry is doing.

Do you know what Henry is doing?

Anything.

For someone he loves.

(Pst. That someone is Christopher.)

As soon as Bill is gone, he picks up a pair of shoes and throws them into the fire.

I think it’s pretty clear that Henry is using this mine disaster thing to protect Christopher, and he’s doing it for this reason WAY MORE than he’s doing it to come clean and be a better man. That’s just my theory, though. I think if Bill hadn’t found anything out about the car, then Henry wouldn’t have brought it up.

But I guess he knows something. The question is...what? And also, when did he mention Bill never having solved the mine disaster? I’m really struggling to remember Henry ever saying that to him, at least not recently. Does anyone recall offhand?

Anyway, I’m wondering if they’ll tie up that whole thing about Noah and Peter that was never addressed on the show to the fullest. You know, the whole thing with them going into the mine knowing it wasn’t safe and not warning anyone. I think a lot of people who watch this show have never been in poverty or lived paycheck to paycheck, but sometimes a person just has to put their head down and keep working even when it’s not safe, because they have to keep living. Or because they had more time to put a stop to things before anything bad happened.

I think blaming Noah and Peter as much as Henry is pretty stupid, but they still shoulder some blame. They were working to fix that problem. Henry wasn’t. He did what he was told and shut up. But maybe there’s a bit more to that story. Could be interesting.

Could also be the worst reveal ever, so...who knows? I’m curious to find out.

BUT ALSO what do they mean Bill didn’t solve that case? The widows sued and won. Sure, he got beat up in S1 carrying evidence out of the mine, but it’s not as if there wasn’t a lot more of it inside the mine, too. Everyone knows the fault of the collapse was due to working conditions being unsafe. What’s left to solve? Is Henry going to give Bill the names of the people who told Henry to keep his mouth shut? 

Or...are they talking NOT ABOUT THE HOPE VALLEY MINE DISASTER, but the original one that sent Henry to Coal Valley (and Nora into a marriage with Bill)? Because that one was not solved. The company just made Henry a scapegoat in that case.

THE WAIT TO FIND OUT MORE IS GOING TO BE TORTURE.

--

Pastor Position/Jesse and Clara + Cafe: I enjoyed Minnie in this episode and seeing her step in and help Clara and become part of the town was great. Jesse giving more credit to Joseph than Lee was pretty funny, and a nice set-up for Lee realizing that Joseph is a pastor. Lee is apparently head of the search committee to find a new pastor...which...sure...okay. Also apparently the newspaper died?? Uh.

I’m kind of hoping Rosemary’s new passion will be the newspaper since she’s supposedly going to dig her nose into things next episode and she used to write a column for the old paper (so she has some experience). Thoughts on that?

Anyway, Joseph agrees to pastor the church instantly the second Lee asks...so it feels weird that his original goal/plans/whatever just...don’t matter anymore? Okay.

They buy a bell.................WHICH BRINGS ME TO MY BIGGEST PETTY COMPLAINT OF THE EPISODE. BRO THAT BELL STRAIGHT UP LOOKS 3D PRINTED FJLKDSAHFLDSAHFLDSAHFKLDSA

Anyway I’m teasing. The Liberty Bell weighs a little over one ton, and two horses could easily pull that.

No complaints. My husband complained last week that there wasn’t a bell and now there is. It’s like he knew. 

Joseph talks about what a “calling” feels like (I think this will come back again with Rosemary which has me VERY HAPPY): a tug on his heart.

Joseph also tells Lee that the men in his yard earlier were surveyors and that he won’t move, at least not far, because he has a congregation to lead, now. Makes me wonder if he’ll actually sell!

Anyway, Jesse and Mike are cute pals and decide to have a snack in the cafe while the gals are socializing with Rosemary (who has just returned from the library).

Rosemary’s books are on land acquisitions, surveying, and territorial law. 

Minnie and Rosemary decide to talk about this while Clara leaves. Why? I’m not sure. Maybe just ‘cause it was boring lol.

She gets back as Mike and Jesse are talking about, uh, her, actually, and Mike asks if all is quiet on the homefront.

Yes, it is. Unlike the trenches of WWI.

But seriously I thought it could be a joke reference to “All Quiet on the Western Front”...a WWI novel. Since...you know...WWI is going on and hasn’t been acknowledged at all even though it’s almost over now.

Joke’s on me, though...that’s too advanced for Hallmark.

Anyway it’s only quiet for like two seconds, because Clara busts in, thinks they’re eating the food she’s been busting her ass over for the party, and yells at Jesse. It makes everything awkward. Jesse simpers about like a sad little clown instead of trying to be understanding. Yawn. Awful. Bye.

I don’t know what would fix that scene, but I think part of the problem is...I’m just not invested in Clara and Jesse anymore. It’s perfectly reasonable to expect them to need more time to get over the problems in their relationship but I don’t care about them enough to care about the journey...if that makes sense. I’d rather watch Bill dust for prints on the car some more.

They do have a chat, and work things out, so that’s good I guess.

--

Carson and Faith: Carson has officially stolen the dock from Abigail and Frank, and so my hatred for them doubled instantly.

Me, a territorial loon: THAT SPOT IS NOT YOURS!!!!! FIND YOUR OWN!!!

Anyway Carson makes things awkward and then busts out that he accepted the fellowship without talking to Faith.

She’s kind of hurt by this?? UNDERSTANDABLY?? But then he asks if it would have made a difference. I mean, common courtesy would be at least sitting down like this and telling her, “I’ve decided to accept it.” But no. He just. Accepted it without telling her he was going to. Bro...

They aren’t on the same page for even two seconds. He tells her he was committed to the relationship and put all his plans aside so that she could be happy.

Honestly, as much hate as Nathan’s getting right now, if people gave a damn about Faith I think Carson would be getting his fair share of hate, too. What a jerk???

He goes on to say it wasn’t a waste of his time (when she asks), but never bothers to tell her more or to prove he didn’t feel that way (BECAUSE HE SURE ACTS LIKE IT WAS A WASTE OF HIS TIME). He just says he hopes she changes her mind and comes with him to Baltimore.

At the party Carson and Faith go outside to talk where Carson admits that he should have told her he was accepting the fellowship before he wrote. She tells him that the year she was gone was almost too much time apart for her, and Carson promises to write her and tells her she can visit him, too, but she brings the conversation back to reality. They’ll both be super busy. 

He suggests they get married, and then immediately says he’s not asking (it’s not how he’d propose), but that they could look forward to getting married. (Good thing they laughed ‘cause I sure wasn’t. It was super awkward...) He suggests seeing how they feel in about a year. (Oh...perfect timing for...next season...hm.)

Faith tells him she loves him and wants what’s best for both of them, even if that thing isn’t them being together. They agree to just enjoy the night and worry about the rest later.

Anyway, I feel like these two just have NO chemistry (they’re worse than Bill and Molly in my books). I really appreciate the attempt to give them meaningful material, and I like that Carson has a passion again, but boy oh boy are these two hard to watch. The plotline is really good, but the characters just...aren’t great. I figured if anything they’d give a plot like this to AJ and Bill to tie that up (some kind of conflicting reason she can’t stay in Hope Valley to be written off the show for good) so I was surprised to see it going to Carson and Faith instead, but like...in a good way because it’s actually compelling for their situation! I've been in a similar situation and it feels REALLY BAD to like someone a lot but not be ready or willing to commit to an extreme for whatever reason. Faith doesn’t want to go to Baltimore because she loves Hope Valley and she undoubtedly doesn’t want to see it go without a doctor at all. Carson likes Hope Valley but his passion is in surgery and he can make a huge difference in a big hospital. He could still make a difference in Hope Valley, too (undoubted he’s the only surgeon for many miles around these smaller towns) but he also likes hospitals and their equipment and maybe misses what he had a long time ago.

So it’s a great plot. It’s compelling. It’s even a bit tragic when you think about it!

But my God do these characters just...not come off as convincing. :(

--

Mike and Fiona: The scene with Ned was SUPER cute. Genuinely funny. Mike asking Fiona out. Everyone teasing Mike about how much he likes her. It’s very cute and wholesome. So far I enjoy it a lot. There’s not a lot to talk about here but I like that it’s...simple.

I MEAN...she’s so cute.

--

END THOUGHTS:

I want the next three episodes right now immediately, but I’m also going to be pretty sad when this season ends...I think.

The biggest speculation from this episode, by the way, is that they’re opening things up to write Abigail back onto the show. How do we feel about that? 

Any other thoughts? Favorite scenes? Share!

[rachelbethhines]

Tangled Salt Marathon - Under Raps

My feelings on this episode are pretty neutral. It’s not anything amazing, but it’s not the worst thing ever either. It’s just there, I guess. 

Summary: During a love festival, Corona displays a book full of signatures of lovers in honor of an old ruler's falling in love with the leader of a rival kingdom. Cassandra suddenly turns very secretive; Rapunzel learns it's because she's been seeing a guy named Andrew. Cassandra doesn't want Rapunzel's meddling, but the princess suggests a double date and they all go off in a hot air balloon. However, Andrew turns out to be part of an old faction that didn't like the unification of Corona and wants to steal the book.

This Backstory Doesn’t Add Up

So we open up with Big Nose narrating about the history of a war between Corona and a group of people called the Saporians. This is important for two reasons. First, because the Saporians are reoccurring villains in the show, and secondly, because it reveals where the underground tunnels running between Old Corona and the Island Capital come from. These tunnels are a reoccurring plot device in the show, along with the book that maps them. 

The problem is that what the story tells us doesn’t match the other information we are given. If it was only the Saporians who invaded then why does an Old Corona, with its own castle, exist to begin with? Why do the tunnels extend from both if King Herz Der Sonne made them? What purpose did they serve if he was only defending the island? Why are the Saporians led by a general and not a ruler? Why would marrying only a general unite the two kings and where was the Saporian kingdom to begin with? Why did they invade? Why are there still Saporians who haven’t accepted the merger centuries later and why do they live on the go outside the kingdom? If  Herz Der Sonne is such a good guy then why did he curse his grave with a zombie apocalypse? Ect. 

We keep getting hints throughout the show that Herz Der Sonne isn’t all he was cracked up to be, and you keep expecting a reveal that it was the Coronaians who started the war and oppressed the Saporians and then rewrote history, but it never comes. The show wants us to accept this very black and white conflict at face value even as it constantly undermines itself and muddies the waters. 

Pointing Out That Something is Stupid in the Show Itself Doesn’t Make it Any Less Stupid

As I stated back during Rapunzel’s Enemy, the show has a real problem with tone. Constantly showing us festival and holiday after festival and holiday only undermines the more serious elements in the ongoing story and creates mood whiplash. Also anything that reminds me of Cinderella 2 is not a good thing. 

Ahh Friedborg, You’re Such a Wasted Opportunity 

So she actually first appeared in Cassandra V. Eugene but I forgot to bring her up there. My bad. Friedborg is something of a fan favorite in the TTS fandom, and I like her too, but she adds nothing. She’s a joke character in a tv show already oversaturated by joke characters. More over the joke is actually offensive on some level since it all hinges on her being less conventionally attractive then the other female characters and the mains finding her weird because she never talks. 

The show tries to justify her existence by making her Big Nose’s girlfriend, but she’s not who he ended up with in the movie. And once again it’s kind of offensive to imply that only people who don’t match society’s contrived beauty standards can only find love with those that look like them. Thereby completely missing the point of Big Nose’s character arc. 

I’ll say it right now, Friedborg should have been Zan Tiri, or Demantius. Take your pick. I think ZT makes more sense, but etheir way she should have been a setup for something more important to the plot rather then just be being a vauge oddity that just pops up from time to time. 

I Miss This Version of Eugene

Throughout the first two seasons, Eugene and Cassandra were willing to point out Rapunzel’s BS. Forcing her to confront her flaws and re-examine her positions.I would argue that the show could have pushed this even further but at least it was there. By the final season no one was doing this. Rapunzel is allowed to be as awful as she wants to be without consequence. Meaning she never learns anything and stops growing as a character and the show acts like this a positive thing. It is not. In fact, it is the biggest flaw of the whole show as it fails to achieve the one thing it originally set out to do; which is to tell a coming of age story with Rapunzel. 

It also has the added effect of making Eugene a doormat to Rapunzel’s bulling, thereby regressing his character as well and presenting an unhealthy relationship as a goal to be achieved to younger viewers. I can not stress enough to young girls and young men in particular, that Rapunzel and Eugene are not ‘relationship goals’ in this show. Not after season 3. 

Xavier Doesn’t Get a Proper Introduction 

So Xavier is actually pretty important to the ongoing plot. He’s more or less the exposition fairy for the show, but he’s not really established. He just suddenly appears here with no prior meeting and he just so happens to know what the main characters need to know with no explanation as to how he knows. 

His part here is so forgettable that I legit forgot who he was when he reappeared in the mid-season finale. I had thought that the writers just threw in a random character for plot purposes. And to be fair they did. Just they did it here instead of in Queen for a Day. 

If the showrunners wanted Xavier to be historian who knows everything and tells stories, then he should have been introduced as the narrator of the history of Hearts Day instead of Big Nose. 

Another Lesson Not Learned 

We get this big heart to heart moment of Raps and Cass coming to an understanding, with Rapunzel promising not to intrude and Cass promising to being more honest about her feelings. This is walked back on several times and made part of the core conflict of the last two seasons. 

Once again, any problem that can be solved in less then five minutes of talking isn’t a strong enough conflict to drive multiple seasons. If this had been a show without an ongoing narrative, like say The Rescue Rangers or even Batman the Animated Series, then the repeated lessons wouldn’t be a problem. We expect characters to be static and to reset after each episode since they’re not shows that you watch in order. 

But if you do go the overarching arc route for a story, then people expect lasting character development. Even in shows like Gravity Falls or Steven Universe, where the change is more gradual and the characters do repeat mistakes occasionally, there’s still a marketed change by the end. One that indicates improvement by the characters, and the inter conflicts are never exactly the same each time with exactly the same lesson over and over again. 

 Oh Look, Cassandra Once Again Achieving her Goal of Validation 

Cass is awarded a medal by her father for stopping Andrew. Don’t expect her or the show to remember this. 

Also more Cass and Cap interaction that we don’t get to see. 

Can We Not Imply That Cassandra Still has a Crush on the Guy Who Lied to Her and Then Almost Killed Her, and Can We Not Act Like This is a Good Thing?

So this flower was given to Cassandra by Andrew and her keeping it makes zero sense. 

First off lets not have one of our few strong independent female characters crushing on the show’s stereotypical ‘nice guy’, okay? That’s all kinds of gross. Secondly, if the intention was to show that Cass was now more willing to open up about her feelings, then wouldn’t her keeping one of the gifts Raps made her earlier in the episode make more sense? After all, that’s the relationship that actually matters to Cassandra and is the basis of the whole show. 

But this all boils down to the fact that the creator sees Cassandra as straight, always has, and thinks her crushing on the guy who manipulated her is somehow better than ‘no-homo’. Now you can headcanon Cass as whatever you want and ship her with whomever you want, as canon doesn’t matter. But I find it hilarious that most of the head showrunner’s biggest supporters are mainly Casspunzel fans and yet he’s the one who made them ‘sisters’ and sees them as such.

Like I hate to break it to you guys, but a Cass led spin-off headed by Chris won't be the lesbian rep that you’ve always dreamed of. You’re better off just watching the She-Ra reboot. 

But things gets even worse when Rapunzel approves of this stupid ‘crush’ ...

Don’t Ever Tell Someone That You’re Proud of Them For Going On a Date

Dating is just something some people choose to do together and some people choose not to engage in that. It’s not an accomplishment and it shouldn’t be treated as such. This is insulting to both people who don’t date, for whatever reason, and to women who hate being being defined by their relationships, which is most of us. 

Even if you’re being charitable and try to make this about Cassandra self esteem and her learning she’s worth ‘loving’, which is the reason some people have offered up for this scene, it still falls apart when it’s not established that Cassandra ever had such self esteem issues to begin with and was not looking for romance anyways. And if that is what the show is going for then it’s still problematic to suggest that being found as attractive by someone else is need for self esteem. In fact, that’s kind of the opposite of what self esteem is.    

Conclusion 

Overall this episode was ‘meh’. Like most season one episodes the problems stem from the ongoing narrative and lack of follow though in later seasons. However there’s enough stuff in here on it’s own to rub me just the wrong way that I can’t actually call it good either. 

It doesn’t help that I don’t see the appeal of Andrew at all. Watching the character is just a cringefest for me. He’s too similar to real life men I’ve unfortunately met and therefore sends alarm bells ringing in my head. And I agree with Eugene; he’s not all that handsome. 

[the-lightning-strikes-again]

I really don’t get why people keep saying Allura was SO awful or horrible to Keith after learning about his heritage. She just gave him the cold shoulder for an episode or two, and it’s not like they brought this up later in the show as a way for her to hold some other grudge against him. People are just blowing it up as something bigger than it actually was. And like many people have said, her liking or “suddenly” being nice to Lotor wasn’t bc oH he’s Altean (1/2)

Continued anon message: “There were several moments between their first close encounter and him revealing his heritage which prove that trust was developing before then, but I guess people just overlook those (2/2)”

Hi, anon! Thanks for the note! Yeah, haha, this topic of “is Allura racist?” is an interesting one because for me, it boils down to looking at the show’s design decisions and details. And those design decisions came from real human beings who aren’t any more objective than the rest of us. So as a content creator myself (who feels incredibly human and and whose stories and portrayals are also imperfect by virtue of their imperfect creator), I have to recognize that it’s impossible to create a totally woke, unproblematic creative product—and it’s also impossible to ensure that everyone around the world interprets everything in exactly the same way, no matter how well-intentioned the project.

That said, I do think a lot of fans are victims of how this show may have manipulated/gaslit them to feel, not just about Allura but also about other characters and events as well—and that there are benefits to analyzing what went wrong with VLD.

My hope is that, as content creators and fans, maybe we can learn from VLD’s narrative mistakes or even better understand how two fans can have totally opposing interpretations over the same creative work. In the case of VLD, as I’ve mentioned before, the show uses a screwy and imbalanced narrative lens when portraying victims. To add to that, the show design also consistently undermines details foundational to the show universe (such as using an unreliable narrator to express what the show actually accepts as objective fact or history). This is important, because the way in which something is told/shown ultimately manipulates audience emotion for or against something. This gets into how propaganda and subliminal messaging work at a technical level. And when the narrative lens is handled in a biased way that undermines other story elements, audience reaction/interpretation gets messy, no matter what the stated events/facts are in the story. We are attuned to pick up on cognitive dissonances (inconsistent patterns) as part of our human survival instinct.

I’m not convinced that VLD dev team wielded the Power of the Narrative Lens very well—if it had, season 2′s portrayal of the conflict with Keith and Allura would have looked different.

In an s2 with a more balanced narrative lens, we likely would have seen at least flashes of Allura’s memory, showing some s3 backstory of Allura’s fear upon realizing that previously faithful Galran allies were killing multiple civilizations upon an order from their own kind...and coming for Altea next. Or maybe there would have been something/someone else involving Allura’s traumatic experiences so that the audience could have an empathetic, emotionally connective moment with her. We would have, in equal parts, still seen Keith’s plight as the suffering saint trying to figure out what being half-Galra means. And we would have seen the other paladins trying to resolve the conflict and understand how to recalibrate together as a team and a family.

Instead, in provided canon, we see Hunk (of all people, why Hunk?) make racist microaggressions at Keith, further alienating Keith without any recourse. And for Allura, the visual lens shows her making a cold glare at Keith without further explanation. It’s a very alienating moment. In season 2, you feel that coldness from Allura because the show’s visual lens aligns you to Keith’s gaze for several agonizing seconds, and the narrative bias of the animation is to show Keith as the singular victim in this situation. It is a very targeted, lonely, and disquieting moment for Keith. The other paladins and their reactions to Allura and Keith even feed into this. It’s not until s3 that we get an emotional glimpse into the omnicide of an entire solar system—and even then, that history focuses more on the motives of the instigators rather than showing the brutality experienced by victims. By that point, we’ve blown way past the s2 issue, which creates another layer of cognitive dissonance: that the situation doesn’t feel totally...resolved, somehow, even though plot-wise it actually is.

So I think there are indicators that the dev team’s own biases and agendas informed, at times for the worse, the very lens through which we consume the VLD story. I don’t think the dev team was aware what tackling genocide while visually portraying Allura’s trauma as antagonistic and alienating would result in? And I think this oversight gets into why some fans feel a certain way about literally anything in this show, haha. So I feel like we’re all victims of a show with amazing potential and incredibly fascinating elements but just…poor execution. 

One other thing I have to give faith on when I have a disagreement with another show fan—it’s a 78-episode show. How often are people holistically watching and critically reviewing this show in order to catch every little detail? I’m pretty sure I can’t remember all the details either, even though I re-watched the show not that long ago. So there’s a whole other layer here, where fans have a separation from the source content itself. So take those emotional negative “impressions” people developed while watching s2 or any other moment where Allura has been less than the ideal woman (oof, fandom is so forgiving with men but so unforgiving with women), and then suddenly muddy those memories with 2 years of not re-watching the show holistically. Typically, the brain is better at storing negative reactions than positive ones. So if someone had a negative reaction to Allura’s actions with Keith in s2 or elsewhere, without an empathetic moment to balance it out, then that negativity is going to stick, and every detail to the contrary is going to fade out.

I know for me, I’ve really had to fight the memory problem because after over a year, for example, I was building up impressions about VLD history that actually were missing some important details from s3. And that was kind of a shock to me. So I do think selective memory plays a part in adding to a biased dissonance one might feel from the actual story.

Ultimately, this whole unnecessary fandom split on “is Allura racist?” is one reason why I feel that VLD—for all of its good things that I genuinely love so much—had a lot of troubling issues. Despite all the canonical good that Allura ends up doing and how she overcomes trauma to champion genuine peace for all, there’s subliminal messaging against her because of how the visual and narrative spins  or hides things. And that issue has nothing to do with the characters but everything to do with the development team and how the show was written/directed. And that, I think, informs ongoing fandom perceptions of Allura and creates just some really painful and unnecessary messes, to the point of creating an overall inaccurate take like “Allura is racist” when in fact, she’s just traumatized from very real and significant abuses and overcomes that, even.

It really makes me, as a writer, try to look at my own stories and attempt to understand “why” I portray certain things as I do while writing—and if that lens portrayal is really the best one for the effect/message I want. Because the way in which a story is conveyed can really play mind games with the audience, and that might not be the right effect for a story that isn’t another Inception or Crying of Lot 49, lol.

[simplystefanie-rae]

Wooooah making text posts on mobile is different and weird. Anyway.

Yeah as long as adrien is only ever gonna consider marinette as someone special after he finds out she’s ladybug I’m never gonna be satisfied because it’s not earned. It’s precisely because marinette and ladybug act the same that I’m scratching my head over every instance adrien instantly falls in love with her. In oblivio I still don’t understand how he considers her so special after seeing her act exactly as she does in gorizilla but after that episode the only progress we have on that front is that she, as usual, is a good friend.

This episode in isolation is fine, just as oblivio is as big what if scenarios. But before people jump down my throat about prescribing to some true selves bullshit for some reason i need to stress how after a season of adrien not even considering marinette as a romantic option, of there even being a lack of that special something that hints at something more, this whole thing just feels unearned to me and like he will only ever think of marinette romantically after finding out she’s ladybug. ‘But they’re the same person!’ Yeah and that makes it worse lol what is stopping adrien from seeing all those qualities in marinette and giving us that moment where he really thinks of her as someone special? He calls her everyday ladybug, we have an episode where we see him say their friendship is important to him, but because we don’t have much if any moments of Adrien really considering marinette as any more special than his other friends (he gets super angry on marinettes behalf in ladybug but without getting into the lack of responsibility on his end, they don’t even really interact that episode???) this whole episode scenario feels obligatory. Or like they’re jumping to the end without a satisfying middle.

The satisfying middle, btw, should be each individual side of the love square given equal progress. Idk when it suddenly became taboo to want specifics sides of the love square to have its own moments in isolation without a reveal but that’s what I want. That’s what this entire show should be because that was the whole shows entire gimmick in the first place, so here I am wondering why in the world there is only ever progress on adriens side regarding marinette in either alternate scenarios that don’t matter or when he finds out she’s the person he already loved, yet those same qualities in ladybug hes noted marinette having multiple times don’t stir a thing in him. I’m baffled guys.

Anyway yeah I would like some actual adrienette content in isolation without the messiness of an identity reveal clouding the purity of that relationship by itself and there shouldn’t be any problem with me expecting something that should have been a damn given from the get go.

[nilim]

I’ve been relistening and transcribing a lot of season 4 episodes for the RQG wiki, and I’ve been thinking a lot about Hamid, about his stubbornness and recklessness - which have always been there, of course. But especially the Zolf & Hamid arguments in ep 132 and 135 caught my attention and I’ve been thinking... 

Y’all ever think about how tiny Hamid is and how big his friends are, and how most of his spells are more attack-focused, and he doesn’t have a whole lot of utility spells to help others? And how often his friends have this protective instinct to save him because he is young and small and not very strong? More importantly, do you ever think about how these facts all influence the type of experiences Hamid has throughout the campaign, especially in dangerous situations, and what the long-term impact of those experiences might be on how he views himself?

Because I’ve been thinking about it a lot.

There’s quite a lot of scenes throughout the campaign where people prioritize helping Hamid over their own safety. But the problem is, frequently Hamid cannot return those acts of help for his friends? He’s literally physically incapable of performing many of the acts that others do for him. He’s not strong. He can’t carry people. He can’t shield people with his body. There’s multiple instances where Hamid just kind of has to... watch people get dragged off into danger with the full knowledge that he can’t do much to help. 

And there’s multiple instances where people tell him to keep out of danger, even though they often expose themselves to way more danger by trying to protect him. 

Zolf and Hamid have their first proper fight during Kew Gardens, when Zolf tells Hamid to lead. It’s all a bit of a disaster and Zolf is just so angry, and Hamid doesn’t really understand until Zolf says; Don’t throw yourself into danger so recklessly, I don’t want you to die. I feel responsible for you. 

(Hamid wishes he didn’t.)

And during the channel crossing Hamid is just so seasick, and he doesn’t know how to sail, so he just desperately clutches the side of the boat as he watches Sasha dance across the deck and rigging, joyfully, helping Zolf in a way that Hamid can’t. And in the thick of the storm, Sasha sees that Hamid is barely holding on, so she asks if he’s all right. And Hamid says yes. Says that he’s fine. Doesn’t want to be a burden. But Sasha decides to go over to him anyway. And when she’s immediately washed overboard and Zolf jumps in after her, Hamid can’t do anything. He can only keep holding onto the boat in the full realization that two friends might be drowning just because one of them wanted to help him. But he doesn’t have the physical strength nor the stamina to do anything about it. He can only clutch the railing and hope. 

And when they’re in the catacombs, and Zolf is buried, he’s absolutely useless because he can’t pull Zolf out from underneath the rubble, because he doesn’t have the strength. Worse. He makes it worse. Injures himself and Zolf. And Zolf’s leg is all messed up, but somehow Zolf’s concerned about him instead, because Hamid is in shock. And when Hamid crosses the bridge first, he can only watch as Zolf gets flung into the chasm and Sasha is nearly dragged off the bridge by the tentacle monster - he can’t do anything as the torch tumbles down into the void and there is only darkness. So he just cowers down and whimpers until Sasha finds him.

(And when he’s finally dragged off across jagged rocks, his instinct is to scream for Sasha, because she was right there - standing over him - protecting him. But no, there’s nothing she can do. It’s not fair. So he tells her to save herself and just curls into a ball and accepts his fate because he can’t DO anything, he’s useless, and Zolf is probably already dead and he just doesn’t want anyone else to get hurt because of him).

And then Zolf has lost his other leg, and Hamid cries and hugs him and tells him he is sorry. And Zolf needs help. He needs to be carried everywhere, but Hamid can’t help him because he’s too small and can’t carry anyone, so he just has to stand there and watch as Zolf starts slowly falling apart. (I can help with this at least, he thinks. But Zolf doesn’t want his help). 

And Paris is doomed regardless of Hamid’s insistence that they did the right thing shutting down Mr. Ceiling. And Paris is doomed despite Hamid’s nightly escapades and attempts to help its people.

And Zolf leaves in Prague regardless of what Hamid says to him.

(He achieves absolutely nothing during the fight with Kafka and he decides just to never think about it again).

And when the Mars lot arrive, Sasha picks him up and parkours him to safety and tells him to run. But he doesn’t, because he’s not good at running, but he’s good at talking, and he wants to help Sasha. But his talking doesn’t really work.

(”Next time I tell you to run, just... run, Hamid, run!” Sasha berates him later, and he’s reminded of what Zolf said and he wishes people would stop protecting him).

And when Sasha and Grizzop and him climb the desk in Newton’s office, he’s in no position to help them at all. He can’t even climb himself. He has to rely on his friends because he’s just too weak. But he keeps failing and falling, and getting hurt. “I don’t think this will work”, he says, lying on the ledge. (Just leave me, he thinks).

(And later he learns to fly because he doesn’t want it to happen again. Not to him or anyone.)

And he messes everything up in Cairo. 

And he can’t heal anyone. Can’t heal like Zolf or Grizzop or Azu can, so when people get hurt or go unconscious he rarely gets the chance to help. His magic is a different kind. But in Rome his spells don’t work, and he can’t even help protect his friends from the heat and cold. And his spells keep misfiring and he keeps getting other people hurt. (It’s ironic when the fireball misfires and he blows himself up exactly as he intended - “Oh dear” he says, but he smiles, because his fuck-up finally managed to protect his friends).

And they save the hostages, but they lose two friends, and it’s just him and Azu. And nobody will help them find Sasha and Grizzop, because the world is too fucked up to care. And they’re locked up in a cage for a week and Hamid feels useless. And they go to the village and meet Cel and he messes up their first meeting (he used to be good at the social thing). And then they built fortifications for the village and Hamid feels useless as he watches Azu and Zolf carry things and built things, and all he can do is fly. And then they built a boat, and Hamid feels useless because he can’t design things like Cel can, can’t shape stone like Zolf can, doesn’t have the strength that Azu has. (Finally, when they decide to add a sail, he feels hopeful: I can make a sail, he thinks, and feels silly for feeling proud). 

But he can’t help Zolf and Cel push the boat out to sea, can’t help Zolf sail the contraption they’ve created. I know my role in this story, he thinks, and clambers inside the boat without a word, and tries to comfort Azu through the many hours of the terrifying ordeal. And when they finally arrive on Shoin’s island the cave is dark and he can’t see. So he casts Dancing Lights. And Zolf is annoyed at him, but Hamid protests, but Zolf tells him to turn off the lights. “Ok, fine”, he says “I’ll go fall in the water then shall I!”

And he’s angry, because he’s so tired of feeling useless - so many weeks of feeling useless. So tired of not being able to do anything. Having to rely on others and never being able to help. Tired of not being focused on finding a way to get Sasha and Grizzop back. Tired of not being able to see his family. Tired of all of it.

But Zolf just shouts; “Azu! Pick him up!”, and she does, and they don’t even ask what Hamid wants. And Zolf says; “Now unless Azu jumps in the water, can you please stop complaining?!” 

Which is why Hamid doesn’t yell when Azu trips and they both fall into the water, and Cel and Zolf scramble over to help her get back up (he’s glad they’re there, he wouldn’t have been able to pull her up). He just clutches the pontoon and slowly, carefully climbs back onto it, and he turns over and just lies there on his back, staring into the darkness, and he doesn’t say anything. 

(He casts fly on himself and on Azu, and holds her hand to guide her to the shore, but it doesn’t make him feel better).

And later, when they’re fighting the cube, he runs straight towards it and casts his most powerful spells because that’s what he’s good at. But Azu yanks him back and shields him with her body, and Zolf yells at him afterwards about his foolishness, about the mistakes he made - but Hamid yells at Zolf because he just can’t let this go, wants to make Zolf understand how useless he feels all the time and that casting spells is literally the only thing he can do.

(But when he casts fireball at the kobolds, he watches them get engulfed in flames, watches them die screaming, and he feels nauseous. And Cel hugs him before they descend the stairs, and then picks him up and carries him through the smoking corpses, and there’s a part of him that’s horrified at what he’s done, but there’s another part of him that thinks; I’m good at this at least, and; this is how I protect my friends.)

[shinneth]

SUF as a whole just left me with an empty feeling.

I feel you there, anon. In Dreams aside, I could take or leave the rest of this series (and in most cases, leaning well towards the latter sentiment). 

But I guess that’s to be expected when 90% of SUF focused squarely on Steven’s PTSD and need for therapy and the many, many red flags shown as early on as the beginning that signaled his eventual breakdown to where he ended up in the climax.

Especially with the fanbase itself constantly screeching that Steven needs therapy, Steven has PTSD, Steven’s gonna corrupt, et cetera… like, it was all laid on far too thick. So when we got to Growing Pains, it really didn’t move me like it did so many others because it came off as such a “No shit, Sherlock” moment for me when Priyanka finally addressed the underlying issues the show itself really didn’t even bother trying to be subtle about.

Don’t get me wrong; a lot of people who have suffered (or are presently suffering) from the same problems as Steven irl have been helped a lot by these kinds of episodes, and I do appreciate that.

But from my personal standpoint, yeah… I knew from the start that Steven’s underlying issues alone were not gonna be enough to sustain a full series, and sure enough, it wasn’t. We got to see some bits here and there with the other characters, but we also had a few choice characters be really shitty people in season 5 that never got properly addressed before it concluded, and with the timeskip in SUF, all of that just got handwaved off as “dealt with offscreen”, which is the laziest BS ever. 

And worst of all, at the end, they really didn’t stick the landing well at all. I’ll at least say SUF’s resolution wasn’t the mega levels of offensively terrible as Change Your Mind - but then again, it’s hard to out-do giving totalitarian space dictators with countless lives lost under their watch a fucking FACE-TURN out of nowhere. 

Like, really, the Diamonds’ presence (White especially) in SUF actively made my viewing experience even worse towards the end. Yes, I should be glad they’re establishing that the Diamonds are at least starting to use their powers for good and rebuild some of the lives they ruined.

But, y’know… doesn’t change the fact that they’re all responsible for multiple counts of global genocide. Like, any living creatures native to their colony planets? They’re still fucking gone. And the Diamonds themselves just come off VERY unnatural as “nice” guys - and in many cases, they’re even creepier now than they were as villains. Good god, White’s blubbering in the climax was fucking insufferable, though. 

Partially I think this comes from SU being a “kids show” so there’s this pressing need to end things as cleanly as possible. I’m more miffed that in the end, Steven still got pretty much everything he wanted.

They had some admittedly good set-ups to Steven’s growth, like having him accept that people grow up, change, and move on with their lives. We see the clear evidence that Steven’s got an unhealthy clinginess towards his human friends - and Connie’s no exception. 

And considering they took the time to establish that:

Connie has friends other than Steven. She gets along with them just fine, so it’s not like she’s totally lonely or isolated without him.

Connie is ambitious with many goals and aspirations when it comes to her education and potential career paths. She’s shown to have put a lot of thought into her options and at no point comes off as feeling pressured by her parents or friends into this.

Connie knows she has to work hard and often to achieve her dreams, and despite that rigid lifestyle, it doesn’t seem to bother her in the least. That would imply she really wants to reach these goals she set for herself, whether or not Steven’s in the picture at all.

Connie and Steven’s dynamic is a far cry from how it was when they started out in the original series. You can tell Steven has no clue what Connie’s talking about when it comes to her goals and just plays along, pretending he understands anything coming out of her mouth.

Connie, despite what her speech would lead you to believe, has been every bit as insufferably dense as the gems in SUF when it comes to Steven’s issues. In Bismuth Casual, Steven’s very specifically-worded concerns were misconstrued as a fear of skating (or his inability to, whatever) - and in the end, they just became Stevonnie rather than properly talked things through. You know, something PERIDOT 100% did in the prior episode.

Connie is very firm about wanting to live her life as herself. She’s not against being Stevonnie from time to time, but like hell does she want to be Stevonnie for the long term. 

Connie knows marrying in general at her age is a stupid-stupid-stupid idea, even if it is Steven. And considering her well-established commitment to her studies and reaching her lofty goals, Connie - at least at the time - seemed to know a relationship with anyone just wasn’t in the cards for her at this point in her life. There’s no need to rush that shit, and she won’t compromise her life just to give her needy friend this thing he wants that he doesn’t even fully understand truly is. 

Or, you know… just have Connie backpedal hard on a good chunk of that and date Steven so that he won’t become a monster again. I’m mostly kidding with that - but by kissing his monstrous self and that triggering his restoration, then soon later we see that even though Steven and Connie can only have a long-distance relationship at best, she’s dating him right now anyway even though this needlessly makes her life way more complicated than it needed to be - like seriously, how can I not take that as Canon Connverse being founded on the condition of “Okay, if it’ll keep you from losing your shit, going pink, and turning into a monster, I’ll date you”?!

And in the end it yet again gives Steven more-or-less exactly what he wants, even if it isn’t something he really needs. 

I’m glad Rebecca clarified that Steven would still visit Beach City often, because I had a very hard time buying him just traveling by himself on the road. And maybe it would have worked better if he was just doing it short-term to “find himself” or something along those lines, but nope! They’re basically saying this is what Steven wants to do.

And honestly, even that is dampened with his clearly-stated intention of visiting Connie way more than he intends to visit the gems. Even though Connie’s gonna be busy. With college.

This just… wasn’t a good ending. It had plenty of good moments - his goodbye to Bismuth, Lapis, and Peridot especially was very well-executed and the closest this finale came to drawing out any real emotion out of me. I loved the scene of Steven giving Greg his room; that was adorable. The last meeting with Tsundere Jasper was amusing.

But everything else… ehhh.

I mean, what can we really take from this season that I haven’t already outlined? The biggest takeaways were the plot points everyone saw coming a mile away that weren’t even executed all that well. 

In Dreams, as great at is was, might as well have not even happened - because what really carried over from that episode through to the end? Even though Peridot was the only one who got through to Steven, legitimately comforted him and addressed his fears, and the episode for once ended with Steven being happy with no underlying concerns about his problems - immediately he’s back to being awkward and depressed and frustrated by Bismuth Casual.

And I get that shit like trauma shouldn’t be resolved so easily, but for what In Dreams accomplished, I expected there to at least be a semblance of progress. Steven’s known since that episode he can hang out with Peridot and talk to her about whatever without needing a reason to do it, but he never ever takes her up on that again. 

So again, what was the point? 

You really get the impression that the quality of writing took a backseat just to emphasize the symbolism of an issue people commonly have, but SUF’s execution stretched my suspension of disbelief far beyond its limits. 

And nothing stretched that farther than Connie’s insufferable fucking speech in I Am My Monster; that pretty much completely made In Dreams feel like it never really happened in SUF’s continuity. 

In some ways, I just prefer to believe In Dreams was just a dream itself. An AU offshoot in SUF itself. Considering it’s so ridiculously good compared to the other nineteen episodes and by far the most pure and wholesome, maybe that’s the best way to see it. 

In Dreams was too good for its own series. That’s literally the only thing I personally took from SUF as a whole (at least in terms of lasting impact). 

So yeah, I guess for only one episode of twenty to really hit me in the feels, “empty” is an apt way to describe the series, anon. 

Seriously, if I didn’t have my own massive SU-AU to mess around in and do things properly, this probably would have upset me more. 

Instead, I just chuckle at Rebecca’s Monster Steven and raise her to what I’m putting my version of Steven through in my current story. Where I’m pulling all the stops to make other characters matter even though the stars are undoubtedly Peridot and Steven. 

And I’m actually making actions yield serious, lasting consequences.

(yeah, part of me wishes Jasper wasn’t revived - or alternatively, have Steven accidentally shatter White Diamond instead of Jasper since he came awfully close in canon

or even better, shatter Jasper and revive her, then accidentally shatter White and not be able to revive her since Steven used up ALL that diamond essence on Jasper…

yeah I’m kind of a monster)

Your pain is mutually felt, anon. So I’ll prescribe you endless refills of better-written and better-executed SU fanon to heal the emptiness SUF left inside you.

[miraculouscontent]

Lmao wanna share your thoughts on the episode

*SLAMS HAND ON DESK*

YES

(As with “Gamer 2.0″, I’m not going to talk about the fact that this episode is out-of-order because I don’t think that’s fair to the episode itself.)

“Party Crasher” is honestly one of those episodes and, in a way, feels like a few past episodes in its weirdness.

And it, unfortunately, has a lot of problems. Plot problems, characters problems, pacing problems… it’s like a multiple tier serving tray of issues.

Soooo, let’s get into them.

[Squandering Squads]

Honestly didn’t think I’d be talking about this again so soon, yet here we are.

I never liked the idea of the “girl squad.” Don’t like thinking about it, don’t like talking about it, and don’t like when it appears in episodes. It’s not that I can’t see Marinette, Alya, Rose, Juleka, Alix, and Mylene as good friends, but they just kind of “appeared” as a close-knit group with no explanation.

Alix in “Timebreaker”, for example. That banner could’ve been requested by anyone, and despite Alix describing Marinette as “one of the chicks I hang out with”, we never actually see why they’re friends or how they became friends. All we really know is that she’s part of the “girl squad” and that she’s in Marinette’s art club. This claim that Alix is presumably friends with Marinette is a line that’s easy to miss and that would make one go “wait, what? when?” when it’s heard. Marinette does go after Alix in “Timebreaker”, but she goes after everyone. She’s a caring person, so it’s in her nature.

Speaking of Marinette going after people to comfort them, there’s also Mylene in “Horrificator”, but Mylene doesn’t seem to have any sort of relationship to Marinette. She leaves Marinette alone when Marinette goes to find her, but that could just as easily be because Marinette showed care in looking for her, so Horrificator decided to leave her be (much like how she had a fondness for Ivan since he comforted her). “The Mime” also doesn’t explicitly say that they’re friends, as Mylene’s father needed an emergency fix on his hat and Mylene could’ve just rushed to Marinette because she’s the expert in this matter. It and “Timebreaker” just seemed like cases where most of the class were vague acquaintances but know that Marinette is the person to go to for certain issues.

Marinette and Juleka actually interact by the end of “Reflekta”, so her being friends with Rose and Juleka makes at least a little more sense (I’d imagine that a friend of Juleka’s is a friend of Rose’s), but even then, the whole girl squad just being able to get along and be friends because they’re girls and they’re friendly I guess just bores me. At the very least, maybe they could have some of the girls not get along with each other, but also not mind working together for Marinette (I could see Juleka and Alya not getting along, for example).

It’s too easy and far too convenient that all the girls (excluding Chloe and Sabrina) happen to get along perfectly without even a single boy added to the mix. I mean, both “Dark Cupid” and “Animan” had Marinette interacting with Kim (Kim even goes directly to Marinette’s house to hide in the latter episode), so why can’t they have a friendship?

The reason I bring this up is because we now have the “boy squad”, which may very well be even worse than the girl squad.

When have any of these boys (excluding Nino of course) interacted with Adrien in any meaningful way? Ivan, Kim, and Max have all had more interactions with Marinette than Adrien, and they haven’t interacted much with Nino either, excluding background details (like Nino being there for Kitty Section, which Ivan is a part of, in “Captain Hardrock”).

Not only that, but this episode seems to forget the fact that Kim bullied Ivan (or was at least messing with/mocking him) all the way back at the start of the series (”Origins”), yet we’re just expected to accept that they’re friends now and maybe patched that little detail up off-screen? I mean, I don’t consider Kim to be a bully, but I certainly don’t consider him to be friends with Ivan either.

And just to complete the boy squad, Nathaniel and Marc also make excuses and show up later because of course they do. Can’t miss that other boy in the class or it wouldn’t be a complete set, now would it?

I just… I hate this idea of separating the genders. It’s one thing if it’s a special occasion, like a “boys issue” that only the boys feel they should handle (or perhaps Ivan and/or Nino want to get something for their girlfriend and are desperate for another’s opinion, but are afraid to ask one of the girls because they’re afraid that the girl will accidentally blurt it out to the girlfriend in question), but all they’re doing is setting up a party for Adrien!

And speaking of which…

[Party Foolhardy]

I have so many questions about the set-up and logic behind this party.

So many.

Let’s start with the fact that the boys are blatantly and self-admittedly ditching the girls to do this party. The girls are out doing hard labor and the boys ditched them to set up a party for Adrien. Heck, Max even points out that the girls are 100% certain to be disappointed if they know they’re doing this, and Nino later stresses that their afternoon is going to be ruined if Marinette catches them!

He’s openly admitting to the fact that they’re doing something horrible to the girls! I’d expect that kind of bluntness from Chloe, not Nino!

Now, given that, I put most of the blame on Nino for this, because he’s the planner of this situation and even prepared excuses for why each boy couldn’t make it to the tree planting. Ivan also makes it clear that he wasn’t aware of the time frame they were doing it in (Kim backs this up too, simply having forgotten the date), so yeah, Nino’s the mastermind.

But, ultimately, they all chose to continue doing this. Ivan, Kim, and Max, however unsure they seemed at these excuses, all dove into this plan “for Adrien”, which is so hard for me to be invested in when they hardly know Adrien. Also, none of them stopped Nino from taking their phones and hanging up on Marinette, nor did they disagree when Nino tried to make this party about being “only boys.”

And I have to ask why. Why does it have to be only for boys if Nino was already pretending like the girl squad was doing their own thing and couldn’t make it (meaning that he must’ve had multiple reasons for doing this)? The whole point of this party is that they wanted Adrien to have a good time because Adrien doesn’t get to very often.

Exactly what is gender-exclusive about that? Like, Nino sees an opportunity to throw a little party for Adrien and he apparently goes, “WELP BETTER MAKE SURE IT’S A MAN’S PARTY”?

And I could understand if more parties were able to be planned, but Nino knows how horrible Adrien’s schedule can be! Gabriel has a habit of canceling Adrien’s personal plans for no reason and also dislikes anyone coming with Adrien to his house, not just girls. There’s no guarantee that they’ll get another chance like this!

Shouldn’t the idea here be “the more, the merrier”? Wouldn’t Adrien be happier with all of his supposed friends showing up and not just the guys?

Also, y’know, no girls allowed, but a bunch of grown men hanging out at a party for teenage boys isn’t even remotely weird, right? Who cares if they’re basically total strangers!

(Wait–Fred??? Is that Mylene’s dad??? …I know he’s just there to fill in the background but DUDE, YOUR DAUGHTER’S BOYFRIEND IS IN THE ROOM WHILE SHE’S OUT TAKING CARE OF PLANTS.)

And there was no reason for the party to interfere with the planting that the girls were doing unless Nino did it specifically to ensure that they were excluded and would be busy. Gabriel was gone for the whole weekend, so this party could’ve been done at any other time during then.

Even if Nino’s plan was to bribe Gorilla again with more figures on another day of the weekend, it’s ridiculous that he had to lie about it.

And to his girlfriend, no less! This entire season has continuously stressed how much Alya and Nino are dating (to the point where they asked Marinette more than once to babysit so they could go out together), and then this episode not only has them completely ignore that fact, but it doesn’t even make Alya–the supposed journalist who would naturally be suspicious of Nino not wanting to spend time with her for once in their dang relationship–question why all of the guys have an excuse that they texted at the same time? It’s not out-of-character for Marinette to investigate the matter, but seriously, Alya? You’re not even going to look into it?

(They could’ve at least made a joke about Nino trying to include Alya as “one of the guys” and have the others call him out for his hypocrisy.)

And regardless of his apology, Nino feeling bad about it by the end is practically irrelevant. He should’ve felt bad in the first place.

Like, how convenient is it that Nino only feels bad after they were caught red-handed and the party is already over?

It’s almost as if his initial lack of regret was for the sake of the plot and its comedy instead of being a damaging character trait to be corrected.

The show also completely skips over the detail of this boys-only party. Nino doesn’t feel bad about throwing this party; he just feels bad for lying about it.

So, leaving the girl squad to do hard labor so they can throw a party that could’ve been thrown at any other time during the weekend is okay as long as he tells the truth? I… okay?????

…This episode–this show, really–seems to have a thing towards lies and just lying in general. We’ve had multiple past episodes where a big deal has been made about lying, and the fact that a character lied usually overrides what caused the lie in the first place, causing the overridden thing to be ignored completely (hi, “Weredad”).

But of course, it doesn’t just come down to that alone because, no matter what, Marinette always seems to take more heat for it than she deserves.

When Nino left with the other boys, that was six less people who were working on the plants (Nino, Ivan, Kim, Max, Nathaniel, and Marc; plus Markov technically as a seventh). This meant that they doubled the work for everyone else.

Marinette leaving was only one less person, and she only left because she knew that something was up with the boys.

(and, y’know, she’d actually helped for a while before she left)

But the boys barely question Nino on the whole party thing. Oh, sure, they’re unsure at first, but they go along with it pretty easily.

What does Marinette get? Tikki, who is unable to let this situation go.

As usual, Tikki is freaking out about Marinette’s “lies” without looking at any of the possible context.

Like, okay, first, she’s upset that Marinette lied her way out of planting with the girls to investigate the boys’ lies (Tikki’s freak out is before Marinette explains this, but the point is that Tikki doesn’t even wait to hear Marinette’s reason).

Second, Tikki is upset when Marinette wants to be a part of Adrien’s party, and then freaks out again when Marinette suggests telling a half-truth to get in.

What Tikki fails to realize is that Marinette is trapped right now, and Tikki doesn’t bother to offer any sort of helpful advice on what they should do about it (as usual).

Looking at this from Marinette’s perspective, Marinette has realized that the boys have lied to the girls, and they’re also throwing a party without the girls even knowing about it.

In the process of confirming this, Marinette has taken a train ride in order to get to Adrien’s house. Getting back on another train to return to the girls without doing anything there now seems like a waste.

I’ve talked about this before, but Marinette has had no luck with spending time with Adrien. Now, she has a chance right in front of her.

And what else is she supposed to do? Like, sure, Tikki, let’s just have Marinette go back to Mylene and the others, then proceed to tell Mylene to her face, “By the way, I know that your boyfriend is lying to you and so were all the other boys.”

That would not go over well. Marinette has confirmed her suspicions, but the problem then lies in what she’s supposed to do about it. Even the boys know that the girls will be upset if they find out about this party and, if they’re not upset about the party, they’ll be upset by the boys lying.

(Also, we confirmed in “Chameleon” that not telling anyone about someone’s lying is totally okay as long as you can confide in someone about it, and Tikki would probably fit in that category, so why should Marinette do anything, right?)

Ideally, if it were me, then yes, I’d want the truth to come out. I’d still try to get into the party, but only to try and convince the guys to admit their own wrongdoing before I do it for them.

But I see Marinette’s thought process. She came all the way here in an extremely awkward situation. Alya would certainly stir up a fuss if she heard about what was going on, Mylene would be shocked, Alix would be livid, and Marinette would miss her moment to spend time with Adrien.

In a vacuum, yes, I’d be annoyed at what Marinette’s doing, but after all the episodes with Marinette’s failed attempts… yeah, I can at least see it. She’s desperate.

(Also, she was one of the girls who was lied to, thus and may feel like she deserves something for it.)

Not to mention… she’s probably a little miffed too? Here’s this party for Adrien, and Marinette is supposed to be his friend, yet she’s not even invited?

Then, she has to watch as other boys and also adult men get let in. When she’d tried to call the boys earlier, she’d been hung up on.

If this plot was taking itself seriously, that kind of thing would be hurtful. Nino was there for “Glaciator” when Marinette was depressed over Adrien, and now a free chance to hang out with Adrien was right there and she wasn’t offered it?

(Keep in mind that Marinette is presumably watching from afar and never sees other girls get turned away from entering. In the episode, the only girl that shows up is Marinette (Chloe doesn’t ring the bell and is only searching for her father and butler), so she could very easily presume that it’s not about girls, but about her, just because she has no evidence that other girls would get denied entry.)

That’s not even taking Marinette’s anxiety-driven freak-outs into account. It’s honestly impressive that she remained in “detective Marinette mode” instead of breaking down and imagining another one of her insane scenarios.

“T-tikki, what if they hate me? Wait, what if ADRIEN hates me?! That’s it, isn’t it?”

“Marinette, I’m sure that–”

“They didn’t answer because Adrien doesn’t want me there! That’s why I’m not allowed in! They’re having a ‘mock Marinette’ party where they make a list of all the embarrassing things I’ve ever done! They’re probably in there, laughing at me, and then they’re going to invite more and more people in just to tell them all about how laughable I am!”

“They wouldn’t do that.”

[some random guy proceeds to approach the front gate and is let in without any issue]

“…M-marinette–”

“[Marinette literally breaking into hysterics]”

Also, how in the world is Tikki not upset by what the guys have done? Marinette just proved that they lied and all Tikki cares about is what Marinette did.

“Guitar Villain” Tikki that actually got frustrated with Chloe was one of the best Tikki and I’ll stand by that.

But I guess the reason the narrative comes up with there is that Nino and Marinette apparently did the exact same thing, so they’re “equal.”

They’re not. Not even close.

Nino lied about a party that the girls very easily could’ve been a part of (Marinette even points out by the end of the episode that they might still have time to get back to tree planting, so yes, everyone could’ve gone to this party and then just done the tree planting afterward), then put steps in place to ensure that the girls didn’t get in even if they did stumble upon the mansion.

All Marinette wanted to do was figure out why they were lying, then got put in an awkward situation while also feeling a desire to be with Adrien at a party. She didn’t pull herself and six (possibly seven) other people out of an obligation that she’d agreed to.

Then, just adding to these false comparisons, Nino and Marinette also imply that what they did was okay because they were “only doing it for Adrien.”

No. No, they were not.

Marinette wanted to figure out why they were lying. She confirmed that it was about Adrien later. Her actions weren’t exactly right, but she is far better than Nino here.

Nino did not do it for Adrien. I simply do not believe that he was doing it for Adrien. Nino made that clear when Adrien was wondering why Marinette couldn’t come to the party and all Nino could come up with is that she was already spending time with the girls.

Y’know, some real quality time, straining their backs over plants and everything.

And I just wanna stop here for a moment to point out how this is going to affect Adrien, because this is freaking important.

I know I salt a lot about Adrien, but let’s consider his actions in this episode versus how much worse they can get with this set-up in mind.

At the very beginning of the episode, it’s established that Wayhem wants to hang out with Adrien. This is the same day as this party, yet even as people are pouring into Adrien’s room, the idea of calling Wayhem and telling him to come over doesn’t even occur to him.

He also volunteers a disguised Marinette into dancing with a bunch of other guys despite the fact that Marinette didn’t even remotely consent to it, but that’s not relevant to my point; I’m just salty about it.

Now, think about what Nino is doing. He knows that there’s no reason to make this a boys-only party. In fact, when Adrien questions him, Nino gets increasingly shifty-eyed, and eventually just goes straight to changing the topic.

I’ve complained about Adrien’s lack of friendship skills in the past. He claims to want friends, yet he doesn’t spend time with them and hardly even tries to. Friends often have to go to him to make it happen, despite how much more convenient it would be for Adrien to lay out his schedule and try to fit in free time with them himself.

And now there’s this? Nino’s garbage explanation as to why Marinette can’t come to the party despite being their friend? Him avoiding any conversation on the matter because (presumably) he’ll have to admit to Adrien that he and the other boys ditched the tree planting to do this party for him?

This will only further Adrien’s confusion on the concept of friendship. Adrien basically states right in the episode that he doesn’t understand, so it’s practically canon.

So, yeah, if Nino was really doing what Adrien wanted and kept Adrien in mind, he would’ve known before even entering the mansion that Adrien would’ve liked for all of his friends to be there. There was also the possibility that Adrien would’ve felt as if the girls had a problem with him since they “happened to be busy” with their own thing while Nino was planning a party for him, which Adrien would’ve assumed that they knew about.

By the way, Adrien is clearly bothered and covering his ears when the music is too loud, which Nino ignores and insists that it’s fine; that’s a good metaphor for what I just mentioned.

Ninos Before Bros, am I right?

(And by the way, not suggesting that this is canon, but if any of this happened to be due to Marinette–because not only is the timing of the party suspicious, but just the avoidance of Marinette in general despite their behavior very clearly throwing her off if she called all of them–and the fact that her crush might’ve meant that Nino himself would’ve had less time with Adrien, then Nino should’ve at least had the decency to say it to Marinette’s face.)

[Abrasive Tone]

The tone in this episode is baaaaaaaaaaaaaaaaad. Like, really bad, and the pacing doesn’t do it any favors either.

I’m not going to list out the scenes and their timeframes, because the main problem ultimately comes from the tone, but I’ll just say this for the pacing: by the time Party Crasher finally shows up to crash the party, there are less than seven minutes left in the episode.

Now, this is perfectly acceptable for some episodes that have a lot of character going on. After all, not every episode has to be about the villain-of-the-day (in fact, I’d encourage the occasional episode that may feature the heroes/Hawk Moth but not have a villain-of-the-day at all).

But this episode has nothing! Aside from Gabriel confirming some stuff for us, there’s nothing here that warrants such a long waiting time for the villain-of-the-day to come in.

And the Gabriel scenes don’t even belong here! The episode is constantly switching back and forth between “party where the audience doesn’t know whether to laugh or feel uncomfortable” and “by the way, EMILIE ALMOST DIIIIIIIIIIIIIIIIIIED.”

Yikes.

The scenes are so jarring. There’s no time to breathe because the episode doesn’t know what to do with itself. It’s so confused about itself that it can’t even give focus to Wayhem, who becomes the villain-of-the-day, and worse, Kim, who GETS HIS MIRACULOUS IN THIS EPISODE.

Other temporary heroes also make appearances in this episode, and that’s equally pathetic. Luka is just there and hardly gets a single line, whereas Max is slightly better off but doesn’t stand out much before he gets his miraculous again (he hacks into Gabriel’s system, which is impressive, but none of this relates back to what he does as a hero). Nino gets to become Carapace again too, but that just gives me vague “Syren” vibes of “let’s reward the guy who is the worst offender in this episode”, y’know?

It’s not that I can’t see why Fu picked them, because I can (Carapace to help protect the cat miraculous from being taken, Pegase to teleport and thus avoid Party Crasher’s predictions, and Viperion to cover for potential errors), but they have little to no time to work with! The three of them regaining a miraculous and Kim getting his miraculous happen in the last, what, five minutes?

So… yeah, it was really clear where the episode’s priorities were, and it wasn’t anywhere good.

More on Kim and him getting his miraculous thought, I know I was upset at what the boys did in this episode, but I legitimately feel bad for Kim. He’s one of my more favorite classmates (and now has one of my favorite transformation sequences because oh my gosh, what a dork), but even disregarding any bias, he just doesn’t get the screentime he deserves for his miraculous debut episode. “Syren” did better for his character and actually was able to balance that with their villain-of-the-day!

And speaking of “Syren” actually, Kim was also one of the few people who actually talked about being a hero and how he wanted to be one, yet we don’t even get to see him give the miraculous back and properly react to being a hero. I mean, I’d presume that Fu would tell Ladybug who Roi Singe is, but did Kim even know that he’d have to give the miraculous back? Was he just happy that he got to save everyone? I don’t know because they didn’t show it!

Heck, “Syren” had him admitting that he can be a doofus sometimes, so the episode could’ve easily played off of that, showing Kim that what he may see as his less appealing traits (as people often laugh at him for them) actually benefit him when he’s given a miraculous.

It’s not that I can’t see why Fu would want to pick Kim. I mean, Kim did have a nice little speech about saving people and also laid down a metaphor, which I’m 90% sure Fu is weak for. It’s just a shame that the episode doesn’t give Kim much time before getting his miraculous.

But apparently, all those Gabriel scenes were so crucial to this party (if they wanted to do the “Emilie is in danger” scene, then the episode needed to be less comedic and feel more like there’s a constant tension of the party-goers getting caught somehow) and it was so important to put all this other plot in about how the girls get needlessly left out while Marinette goes detective-mode and then tries to get into the party.

…Now, all that said, I actually felt like this episode could’ve been saved if they’d removed the Gabriel scenes and the subplot about the boys skipping out on tree planting.

Like, okay, here me out. This episode is dumb and I’ll never deny that. Almost every decision made is questionable and the pacing is atrocious.

But!

But but but…

For once–JUST THIS ONCE–I’m going to give the writers some semblance of slack for a few of their choices. I talk a lot about the writers and the terrible decisions they make, but I’ll be completely honest here…

I do not think that some of their decisions are meant to be taken seriously. I legitimately believe that at least the party half of this episode (excluding everything Marinette does outside of her disguise; speaking of which, WASTED opportunity to see Marinette put her creative skills to use in disguising herself as a boy, just sayin’) was meant to be another “Mr. Pigeon” or “Christmaster.”

I mean, let’s look at what this episode does outside of its more “””””serious“”””” details:

- Nino and the others bribe Gorilla with action figures so he lets them in, and there is no explanation as to how they got this information that Gorilla not only collects them, but is also missing specific ones (that they have) from his collection.

- I’m positive that this part wasn’t supposed to be funny, but the way the sad music just kicks in as “Adrien Angst” ruins the cheery mood made me snort

- When Nino blows on the rainbow-colored record, it sheds tiny rainbow confetti and sparkles instead of dust.

- Gabriel wears some sort of butterfly-collecting gear that makes him look ridiculous.

- Roger comes to stop the boys from playing their music too loud, then gets distracted by their foosball table. This leads to multiple adult men coming by for literally no reason just to join the party. Gorilla lets all of them in despite Nino having never instructed him to do so.

- Both Mayor Bourgeois and Butler Jean show up with their faces covered in make-up; they also never remove it. The principal, similarly, shows up in his Dark Owl costume (which I just presume he wears all the time when he’s not working and occasionally when he is working).

- Marinette: Aren’t you supposed to be careful and keep the miraculouses safe from Hawk Moth? | Fu: *confidently pats a cooler that contains the Miracle Box along with SODA AND ICE, WHICH IS NOW BEING KEPT IN THE HOUSE OF HAWK MOTH*

- Gabriel searches for negative emotions and is upset that there dares to be joy in his house.

- The villain-of-the-day is Wayhem, the guy who freaking took on Gorizilla with a perfume bottle while screaming “ADRIEN, THE FRAGRANCE”; his akumatized form looks exactly as ridiculous as you’d think.

- Fu’s expression of “god I hate my job” as Chat ignores the reality that Fu lays down, preferring to charge headfirst into battle.

- Xuppu and Kim

- Kim transforming in a bathing suit, having been completely missed by Party Crasher because he was busy swimming in Adrien’s bathtub.

- Also Kim

- Especially Kim

- “Actual Monkey” Kim

- Kim literally saves Ladybug and Chat from getting their miraculouses taken away by throwing a squeaky rubber banana at Party Crasher.

- The method to beating the villain-of-the-day is to play a knock-off of YMCA and dance as ridiculously unpredictably as possible so that they can’t be out-predicted

So… YEAH, THIS EPISODE IS DEFINITELY SOMETHING.

Now, of course, I will never excuse the “boy/girl squad” thing nor the actual set-up for the party, but the Gabriel scenes would’ve been fine in a more serious episode and, while it doesn’t save it, the episode becomes much better when it actually remembers that it’s supposed to be fun.

Like… yeah, the Fu thing would still be annoying because, ultimately, if this is Kim’s miraculous debut episode, it’s “canon” and thus “important” by default. The episode can’t be a one-off with that detail, but Kim also does best with silliness, so this is a great episode for him to debut in.

But, if this episode had actually been given more time by cutting out this “boys-girls” nonsense and trimming the Gabriel scenes to save the angstier parts for another episode, then it would’ve easily had room to give Kim the screen time he deserved, allow Fu more reason to be at the party (he could’ve seen Party Crasher on television considering HOW MANY PEOPLE ARE CELEBRATING AT THE MANSION THAT NO ONE EVER CELEBRATES AT SO WHY WOULDN’T SOMEONE BE DOCUMENTING IT; alternatively, Marinette could’ve foreseen that they’d need help and texted him), and let the episode just be the fun random mess that it’s supposed to be.

I think that’s why I’m particularly salty about this one. I mean, anyone who’s been following me for a while knows that I adore occasional campy cheesy random fun, since “Mr. Pigeon” is one of my favorite episodes of Season 1 for that reason.

And I see that this episode clearly wanted to do that, but it only did it halfway. It’s so busy being bogged down by tonal whiplash and scenes that were never necessary that it doesn’t get to embrace the sheer hilarity that it could’ve had.

*sigh* …It’s a shame.

[safflowerseason]

What would Amy think about Bernie, Biden, Warren, and Trump?

What would Dan think about Bernie, Biden, Warren, and Trump?

Hi! What a fascinating question! I also saw your q about Dan, but I’m actually going to talk about them in the same post, if that’s okay, because I think it’s more interesting to think about them side by side :-) (and also because fundamentally…I think Dan would just follow Amy). Also, I’m approaching this question as if Dan and Amy are considering Bernie, Biden, and Warren as candidates, and thinking less about their politics. In Veep, one’s policies always matter less than..literally everything else. 

Also, I’m just going to assume that we’re talking about S1-S6 Amy and Dan, not Dark!Amy or Sex-Psychopath Dan of S7. Both of them belong at Fox News, to be honest. And in general…so much has changed from the earliest seasons of the show! I’ll get into this in more detail below, but Veep is fundamentally a show about establishment politics, and right now, we’re in a moment where multiple politicians are trying to tear down that establishment. So in that sense, it’s a difficult comparison!

As for Trump, I’m going to sidestep this question, slightly, because I think Trump is now too “big” for Veep comparisons. On his own, without being propped up by a corrupt Congress and evil billionaires, Trump is a narcissistic buffoon. But he has now become the face of a much larger and profoundly anti-democratic, racist, oligarchic, and patriarchal movement. I find it hard to talk about Trump now without placing him in the context of the global struggle for a more just, equal, open, and healthy society. And Veep…is not really equipped to explore these fundamental questions about how to make the world better, and how to fight those in power who actively want to oppress people. Veep, in its best years, was interested in the everyday grind of establishment politics: the banalities, the absurdities, the miniature power plays, the balance between political ideals and the dirty reality of achieving those ideals. Trump and his ilk are only interested in enriching themselves to the detriment of everyone else, and that…lack of nuance doesn’t really fit with Veep’s approach to politics. Mandel-era Veep is more focused on the narcissism of politicians, to be sure, but he completely skips over the real-world stakes of that narcissism. So neither era of the show is really structured to deal with the realities of Trump in 2020.

So I’ll just say that Trump is of the opposite party than Dan and Amy, who are political strategists working for a Democrat-equivalent, and so they’d never consider working for him in the first place. Amy, especially S1-S4 Amy, would find him nothing more than a repulsive, empty gasbag shouting into the void. Dan might recognize and respect Trump’s ability to manipulate the media (the one instinctive skill Trump possesses), but he’d never go work for him. Not to mention…the version of Dan who is visibly disturbed by Teddy’s harassment of Jonah would never work for a man who has sexually assaulted multiple women (and likely raped women as well).

As for the others, it’s a really interesting question! It’s a lot easier with these kinds of “Veep/real-world” questions to focus on intra-party dynamics, which was one of the show’s sweet spots.

Biden sort of strikes me as a Doyle-like figure…he’s been around forever, but doesn’t exactly inspire much political fervor. Doyle, like Biden, would probably be a pretty limp-dick candidate. It’s hard for me to see Dan or Amy getting very excited about Biden in the face of other candidates with more charisma. If this were a regular political primary (ie, no Trump), I think they’d both pass him over in favor of someone younger. (Also, if it were a regular election year, there’s no way Biden would be running. Notice how Doyle is done running for things in the Veep universe). Dan, especially, seems to be drawn to politicians who perform (superficially) well on TV, such as Danny Chung or Tom James. Still, because Biden has been around forever and has a lot of establishment friends, they can’t exactly write him off. Biden is capable of pulling a lot of strings behind the scenes that can change the entire political landscape in an instant (see Jim Clyburn’s last minute endorsement in the South Carolina primary). 

As for Bernie…the thing about Bernie is that he’s a very anti-mainstream politician, and, for better or for worse, Dan and Amy are absolutely mainstream political strategists. They are not interested in upending the status quo. Amy did not invest in Selina so early on because she was planning to burn down DC and establish a feminist political utopia. Yes, she absolutely has more progressive causes, but Selina would never eschew Wall Street donors because she believes the whole system is fundamentally broken and billionaires are inherently immoral. (Remember, Selina is the daughter of a corrupt millionaire, who herself married a corrupt millionaire…)

I was reading a Vox article about this the other day (it was a conversation between Ezra Klein and Matthew Iglesias about what a Biden administration vs. a Bernie administration would look like.) I felt this line summed up S1-S4 of Veep perfectly: 

“To the extent that the “establishment” means anything to me, it does mean that kind of nexus of Democrats who migrate back and forth onto K Street and other business community-type things. That wing of the party will have its share of the pie in a Biden administration.” 

This is what Veep S1-S4 is exploring. There’s an ever-evolving migration flow that exists between the White House and Capitol Hill and all the lobbying and consulting firms. Dan and Amy do exactly this in S4—they leave the White House and migrate to lobbying. And while to the audience it’s presented as a big change for both of them, in the big scheme of things, it’s really not. And this is what Ben proposes to Dan and Kent, regarding BKD, because it’s just the natural order of things for D.C. “lifers.” Eventually, you parlay your White House/campaign experience into some downtown consulting firm (if you have more of a conscience, you work for a big non-profit, and if you really have no conscience, you go work for Wall Street). Maybe, if you have a candidate who really blows up, you’ll end up in the White House again, but also maybe not—it doesn’t matter, you can still make a very, very good living consulting for congressmen and influencing policy from the outside.

Anyway, so because Bernie positioned his candidacy as an insurgency against the D.C. establishment, I don’t think Dan and Amy would support him, even if they might appreciate some of his policies, and even though he obviously stands at the head of a powerful political movement. Dan and Amy are establishment strategists, and they are pragmatists above all. D.C. politics is all about making alliances with people you don’t actually respect, and Bernie has, according to some, never really played that game.  

As for Warren…I can definitely see Amy being drawn to her, especially S1-S4 Amy. I do think Amy is drawn to working for women, for a variety of reasons. I could see her, like, consulting on Warren’s campaign from afar…probably to try and reign in Warren’s idealism. Dan would probably get all riled up about Warren’s wonkish tendencies and how they translate on camera. Warren was more willing to play with the establishment than Bernie was, so I think Dan and Amy would be more open to working with her even though her ideas were similarly radical. 

We do see, in S5, Amy and Dan working to elect Jonah…but he is presented as far less anti-establishment in that season. And then in S6, his stupidity just becomes a tool of the Tanzes, an evil billionaire if there ever was one. So…for me, answering this question really comes down the establishment dimension of Veep as a show. Dan and Amy aren’t revolutionaries. In so much as they want to effect change, they want to do it from the inside of the existing political system. 

[ladyshilya]

Arrow: Crisis on Infinite Earths Part 4 & Legends of Tomorrow: Crisis on Infinite Earths Part 5

Ok lets see how this ends, how they gets the Earth’s back and how they deal with the new Paragon. 

Look the Monitor’s planet and he had a wife, so this is going to go bad. This is all the Monitor’s fault. That is why you don’t go to see the dawn of time.

Lex you have been volunteered hope you trust your work.

What is with that deep voice, Oliver sounds like the Monitor. He might want to lose that voice because he sounds like a demon. Yea, if I was them I would have freaked out if I saw Oliver because he sounds like a demon and kinda looks like one.

Wow, all it takes to unlock someone's potential a boop on the head.

Basically they have to change history. Well that usually turns out bad for Barry but sure let try it, maybe it won’t go wrong.

They lost Lex and Barry is in some weird place in the speed force. Oliver’s voice sounds normal. Great, Barry you lost people in the speed force. It shouldn’t be to hard to find them just use your brain.

OMG DC movies Flash. That was kinda awesome and that is exactly how the DC movie Barry would have acted. The cameo’s keep coming.

Really Lex, you have powers now. Why did anyone let him near that book? Also Jon Cryer is an amazing Lex Luther.

It’s just Up, Up and Away. Also they are really lucky that planet is similar to earth with gravity and oxygen.

I love Lois, “Barry did you go shopping for a new costume while you were suppose to the saving the world.”

Basically this episode is going to be Barry running around the speed force into random moments from Arrow. While Kara and Ryan try to stop Lex from being Lex.

Listen to Ryan because we don’t need this whole Crisis to happen. Great so there will always be a Monitor who will travel to the dawn of time and cause the Crisis. Well there goes that plan, some how I knew it wouldn’t work. What have we always been told on Flash don’t change time because bad things happen when you do and somethings are inevitable.

I like that, if I knew I would tell you but I don’t know. I trust you will know when the time is right. They are going to let Oliver do whatever it is that he needs to do. Also it’s probably good Lex got powers for this moment.

Looks like Oliver might have gotten some powers too. “You have failed this Universe”.

Are they going to Care Bear Stare? Seriously they basically did a stare down and that is all they had to do? Am I the only one who feels like that was anticlimactic.

Was Barry telling Oliver that him dying is a cop-out? That is what I got from its worse for those of us who live because we have to keep going and be the hero’s. I am pretty sure there was no avoiding Oliver dying there. I bet that is not what they were trying to imply but that’s what I got from the moment. Really took away from what should have been a sad moment. Also did Oliver just die again?  

Wait everything is back? I feel like there has to be more in the last episode. Otherwise there wouldn’t be a need for a 5th episode to the crossover.

What did you do Lex? We all know you are not the good guy, Unless him being the hero really got to his head. If Lena and Lex advocate for Supergirl does that mean no more crazy Lena? While I wanted crazy Lena to stop it feels like a cop-out and way too easy. Also what was the point of the beginning on the season if that got erased. I really need the next episode of Supergirl for answers.

Is there 1 Earth? Either this gets fixed or there is just one Earth. You know that wouldn’t be the worst thing. Really what is having infinite Earth’s giving us? The ability to “bring people back from the dead”. It’s really was just a way for us to tie in all the shows and movies in.

Looks like Nash is back to normal. I guess that means that Lyla is back to normal. J’onn really enjoyed giving Nash those memories. Also should we put all the blame on Nash. Yes, he should’ve have let the Antimonitor out but The Monitor shouldn’t have started it all in the first place by going to the dawn of time. How about we be pissed off at both of them. Is anyone upset that J’onn is giving them all the memories.

OMG Beebo. Omg Mick is doing book signings. Really Ray a selfie? Mick is pissed this interrupted his signings. Also I am a going to miss Snart AI. Apparently Beebo is sacred.

I get it that everyone is really upset about Oliver dying. Somehow when they all happened that memory or knowledge was taken away. It is something Team Arrow had been preparing for the fact that Oliver was not suppose to survive the Crisis. Some of them where there when he died the first time. I understand that people thought that he would be alive when everything got fixed. The Monitor was very always said that Oliver was going to die very specific about that. Even with Barry he said The Flash, so it could be a different one. He always said Oliver had to die.

There is still antimatter in the city? Ok, so what are they going to do about it. I had been wondering about Ryan because no one mentioned him. Once they realized that Paragons remembered everything I feel like they should have checked on him. I am sure he is trying to figure what is going on as well. Wow, Ryan and Ray were nerding out hard core.

Hello Black Lighting, I guess you would be on this Earth as well. Also love the Mick and Frost banter. I would be so here to see that more often. Can Frost do a cameo on Legends?

“We will not fail this world,” nice reference to Oliver’s phrase. Barry does have fast hands. Did anyone really think that Barry was going to press the button. He is not that dumb. Doesn’t he have a multiple degrees?

Oh no, angry Kara. Throw it like a girl, not sure how I feel about that phrase. I know they didn't mean in the bad way but I kinda feel like they didn’t have to say it.

Wait did Diggle get his daughter back? The one that turned into JJ when Barry changed time. Wait Superman has more than one son? Did this merge things from multiples Earths? How does Clark remember having only one child but Lois does’t? Is it because of the him being given all the memories? Wouldn't those have merged when J’onn did the memory thing? I have some questions about this moment.

There still is a multiverses out there just all the CW shows now exist on one Earth. Hello Titans (which I have now seen), Green Lantern, Swamp Thing, Brandon Routh Superman, Doom Patrol, and Star Girl and the Justice Society.

Black Lighting you have no idea Is that like a Justice League table? Was that the Hall of Justice?

Stargirl is getting her own show? I guess that is why we had so see her team on Earth-2. CW is about to become the DC superhero network. Also just learned about the green light for Lois and Clark’s show. Which I am going to so watch because I love her as Lois. I like her better as Lois then her character on Grimm.  Also Gleek as in Gleek who hung out with the Wonder Twins? Does that mean the Wonder Twins are going to come in at some point.   

Well I am here for Earth-Prime it will make the crossovers so much easier. Can we have more cameos like they do on Chicago PD, Fire and Med? I would like to see slight cameos from people once in awhile.

I have to say this was the best crossover. I had thought that about last years. Yes, were there some issues with this crossover of course. I could have done without the whole having to find people on the speed force and had more with battling the Antimonitor. The whole Care Bear stare was just dumb. Some of the cameos were just done as fan service and had not point. If none of those people were going to Paragons then it was like why did you even bother with them? At the same time I loved them so I can’t complain too bad. Yes, if they took somethings out it would have been a shorter show. There was quite a bit of filler bit it was enjoyable fillers. It would have been nice to see more characters in the 5th episode. Where was Mia, William, Connor, Ralph, Cisco, Brainy, and others? With all that being said it was really ambious to do and they did a good job with it. It was an enjoyable crossover.

I am curious to see what they do for next years crossover because it will have to be huge. Someone might have to die 3 times. I am curious to see what these changes are going to do for the upcoming seasons. Somethings will not be how we left them. Also can someone tell me where Felicity went at the end of Arrow with the Monitor? Oliver died twice so where did she go to see him?

[dzamie]

I watched the live action Jungle Book! I’d say it was disappointing, but I set appropriate expectations going in. So, imma get into it:

So, the good parts first, in no particular order:

I really like Kaa’s hypnosis effect. The Disney animated movie’s swirling colors always looked really, really goofy to me, but the live-action’s waves of light and dark were very well done and legit alluring.

There are a lot of little jokes here and there that I feel were written in case they wanted to use them in a commercial. “You have never been a more endangered species than you are at this moment” is actually pretty darn funny.

The bodies moved well. King Louie was really the only animal I thought was straining realism too far; the positioning of limbs and torsos and stuff was pretty spot-on. Tails were a bit wonky, but you have to be looking for something like that, as someone with a slight tail fetish might.

This is definitely unintentional, but Mowgli makes an “oof” sound whenever something bowls into him or he leaps roughly against something. It sounds like the Roblox hurt noise. Tone-breaking, but HILARIOUS.

Having Mowgli seem to fear the bonfire was a nice touch.

As was having the final fight seem to take place at the watering hole, this time during wet season. Far from dry, the exact opposite of the Water Truce occurs - everything is in conflict.

Now, the less pleasant bits.

I mentioned the Water Truce callback was neat? Yeah. What a shame they took multiple minutes to repeat over and over that the Water Truce was that there was a truce around the watering hole. I’m glad they used all that time to explain why it was that Shere Khan wouldn’t attack anyone so he could conveniently see the man-cub. Also to set up the schtick where Mowgli has been Inventing Things because he is a Man.

Elephants are now a religion. I don’t like it, especially because it’s used to set up Mowgli rescuing a baby elephant from a hole, so that Baloo and Bagheera can see that Man Is More Powerful Than God.

The wildebeest herd exists only for shakycam purposes. There really isn’t much reason for Mowgli to not go directly into the river and escape Shere Khan on a log that way.

Oh how they ruined Kaa. I do rather like how she has a more cloying, sweet personality (it’s not better or worse than the animation���s rather goofy fellow, just different), but they whole-ass saw a snake character and thought “hey wouldn’t it be cool if she never wove around him or approached him from different angles? Let’s make sure to never show her for more than 8 seconds at a time, too; we MUST cut between her and Mowgli. There’s simply no way to shoot a scene where they’re both in the shot, talking.”

I hope you like snakeless ScarJo voiceover, because that’s literally half of Kaa’s appearance, from first line to last. It’s great that the man who hurt Shere Khan with fire just happened to be Mowgli’s dad, because I guess it’s not enough that Shere Khan wants to kill all humans in the jungle; he must have a Deep Personal Connection with the man-cub.

I can sort of understand coming out of the hypnotic vision to see Mowgli entirely in her coils, from a “this is Mowgli’s perspective” point of view, but wow it’s really unsatisfying. Look, the animated version had Mowgli slide into pre-coiled snek body, but at least we saw them interact. Kaa is pretty much a static prop here. What a waste of a serpentine character.

For someone who is afraid of heights and doesn’t know Mowgli, Baloo sure is eager to climb a big, tall tree and risk his own life against a giant, hypnotic snake.

Minor note: with all the focus on seeing Kaa from Mowgli’s point of view, Disney sure chickens the fuck out when it’s time to be snake chow. C’mon, you stupid mouse, show us what Kaa looks like inside.

It’s kinda weird that Bagheera and Baloo are so familiar with each other, considering that Mowgli has been in close contact with Bagheera all his life and neither met nor heard of the bear.

Shere Khan is almost comically evil to the wolves. Makes it hard to take his “I’m actually justified in my desire to kill you” thing seriously.

I feel like Disney hasn’t grown out of its “haha imagine SONGS in a CHILDREN’S MOVIE. What a stupid fucking idea” phase. Baloo and Mowgli sing off-tempo and off-key, and King Louie does a weird half-speaking thing that lets you know they want to do a song, but haven’t the slightest clue how to transition into one, and they still want to pretend to be a gritty serious realistic movie with no singing because that’s too silly.

King Louie Is Twenty Five Goddamn Feet Tall Because We Watched King Kong The Other Day

They set Louie up to be a mob boss, calm and composed for like a minute or two, and that goes out the window in no time flat. They try to bring back that structured “I help you you help me bada bing bada boom" thing back in the chase scene, but literally nobody cares what the chaser says in the chase scene. If they did, it wouldn’t be a chase scene.

“No, they don’t fear me, they fear you.” Except clearly they fear you because your MO this entire time has been “let’s kill and threaten animals and see if Mowgli comes back faster.”

Baloo, the laziest bear you ever did see who heard the wolf pledge exactly one (1) time and immediately dismissed it as propaganda, can recite it from heart because Shere Khan needs to be directly confronted with The Power Of Friendship

Can’t be a climax without fire. It’s a good thing that Mowgli can always find a safe path through this raging inferno that’s been burning steadily through the forest for the last few minutes or more.

Mowgli’s entire strategy hinges on many things that could go wrong at any moment:

a) the vines don’t catch on fire as he’s running through the burning forest

b) the vines and branch don’t catch on fire after he suspends them in the air in the middle of a huge forest fire

c) the dead tree, notably made of dead wood, which some may know to be extremely flammable, is not on fire nor does it catch on fire as he’s climbing it

d) Shere Khan follows him onto the branch

e) Shere Khan leaps at him on the fragile branch that Shere Khan seems to notice is weak

f) the vines and branch don’t catch on fire while he’s climbing them in the middle of a huge forest fire

g) he finds a way back out of the woods literally filled with fire

h) Shere Khan even follows him all the way in rather than going “nah the little bitch is gonna burn. Let him.”

i) the animals forgive him for setting the trees ablaze

They let ScarJo sing Trust In Me during the credits. Minor suggestion: don’t.

I choose to interpret Mowgli not seeing what happened with Kaa and Baloo to mean Kaa is still alive, and the monkeys trying to dig Louie out of the ruins to mean that he’s dead. This is entirely because of favoritism.

Compared to the animated version, this movie is much more based around Shere Khan, compared to around Mowgli and the jungle. Rather than “Mowgli won’t be safe here; send him to the Man Village so Shere Khan won’t kill him,” it’s “Mowgli won’t be safe here, but Shere Khan is going to threaten and probably kill us until Mowgli returns anyway, which he surely will because Shere Khan said so.”

They tried to do a grey-morality sort of thing by justifying Shere Khan’s fear of fire and hatred towards Men. But it kind of backfires because Shere Khan keeps being incredibly evil for no particular purpose aside from making his death be a good thing for everyone, and the one crime Mowgli commits (big fire) would not have happened if Shere Khan hadn’t announced his plan to kill the man-cub.

I really miss the allegories to different kinds of philosophies towards society from the animated version. The live-action replaces them with examples of different abusive relationships (Baloo is a manipulative fast-talker, Louie is supposed to be a mob boss, Kaa’s comfort is genuine but overshadowed by a desire to do harm), which is... nice, but not really my cup of tea.

Holy shit there is SO MUCH SHAKYCAM. You can barely see some of the scenes from all the shaking around. “Did we inspire adrenaline in you? Don’t you wanna go fast?” Yes, of course, but what am I doing this about? “...SHAKYCAM!! LOUD NOISES!!” It’s overstayed its welcome.

Realistic CGI animals are actually terrible at emoting.

This felt like yet another action film. Every opportunity they had, they threw in another fight scene or chase scene. You could take most of them out, cut off about 15 minutes from the movie, and still not have removed anything important.

All in all, I’m glad I now have 22 seconds of Kaa saying things. They really shouldn’t have given ScarJo so much coverage in the commercials, though. She’s in the movie for about 4 minutes, and she’s a visible snake for much less. I don’t think I’d pay to see this, and really this just gives me more reason to not watch other Disney live-action remakes.

Shakycam should have died eight years ago. Bring back shot composition.

[jazillia007]

Thoughts on 2x13 - Part 1

So first of all, I have to say I'm very glad I didn't watch the episode live with the emotions coming in left and right and all the drama happening in the fandom right after the episode.

I watched the episode knowing what's coming, so that was kinda cheating on my part but it definitely helped to focus on everything else happening in the episode.

Overall I can say it was a terribly written episode – it felt like a episode quickly written in case Good Girls didn't get a renewal (season 2 had obviously finished filming when it got its renewal, so they definitely didn't think about whether it would feel out of character or moving too fast.)

Because – and I don't care if I get hate for this – I could see Brio ending up in a situation like they ended up in this episode. But let's talk about the other things first.

Annie and Noah (because it's quick):

I never really cared about them. I don't care about Noah having a kid – trying to make it all okay he did lie to Annie and raped her by deception. So you guys talked it out and now it's okay? No, thanks. And do I think he will leave? Well only season 3 will tell. Also I was low-key grossed out by Annie sitting on the toilet doing her business while talking to Noah. They still know eachother for 5 minutes and I just think it's gross. (I know there are couples who do this kind of stuff but personally my toilet business is my toilet business. lol)

Boomer – Marion – Redemption – WTF?:

First of all: why did we need Boomer to be alive again? After watching episode 12 I was like „okay maybe there is a reason why the writers messed with us“ but now I just think it was really for the shocker and mostly cringeworthy scenes.

The dining room scene was terrible. Who wrote it? Jenna, was that you?

Boomer being like „I'm gonna change my face and nobody will recognize me“. Like what? This felt straight out of a Korean drama (if anyone is watching Korean drama, you all know what I mean). It was way too long, way too over the top and not funny. And then Boomer is coming at the 3 women with Jeff? How does he know about Jeff? Did I miss anything? Did I miss Mary Pat telling him about her husband? People in the fandom, help me out! Did I zoom out while this conversation happened?

But also: I don't get Beth's reasoning here. Ruby is right! Get rid off the rest of Jeff and call the cops on Boomer! Heck, why didn't they tell Boomer about how he should shut up about Jeff when he is dirty himself. All the business in Fine & Frugals aside he is also a rapist.

And then, you have Marion driving him to the cops?

Okay, I know a lot of people don't like it that they somewhat gave these two a half-ass written redemption arc. Like Marion is a racist granny and Boomer is... well he is Boomer. Basically he is trash, okay?

But putting aside my personal aversion to these two, I actually liked that Marion did what she did. In the end she knew Boomer was stealing from her and all that. And the way he ordered her around in the beginning of the episode, I was like „Marion, grow a backbone!“. So in that regard, I liked it.

BUT Boomer got away too easily. Neither Annie nor Mary Pat got their chance to tell him off. Will he go to prison? Or get away just like that? I believe unfortunately he will.

Like I said it's half-ass written and not satisfying at all. Just like the episode overall.

Beth's „reasoning“:

I know Beth is a woman with flaws. To a point I feel second-hand embarassement watching her making the same mistakes over and over again. She does and did many decisions which made me facepalm throughout each episode. But some decisions were reasonable or at least understandable for someone without any experience and a certain naivety. We can't expect Beth to be this professional criminal, just like Rio is.

As some pointed out she does make rash decisions when she feels cornered but in this episode I couldn't make sense out of her decisions at all.

How exactly would it help her to pay Boomer money for the crazy facial surgery and for everything else? I'm Ruby in this scene who can't make sense of Beth. Didn't she learn a thing?

If you don't take care of your rotten egg it will spread like a disease – if there is one lesson Beth should remember it's this one – and Boomer is certainly someone who would always come back no matter what, to blackmail and for more cash.

Same with her turning herself in. It showed she was always the caregiver in this group of 3 women and I understand she believes that turning herself in would stop Turner going after the Hills and Annie.

BUT again this falls flat because why would you turn yourself in for the murder of Leslie Petersen aka Boomer when he is alive and well? It would've made sense IF Beth, Ruby and Annie didn't know Boomer was still alive and they genuinely thought the body was his. But that's not the case.

I can't believe they didn't come up with something else. Any fan theory/idea was better than what the writers gave us in this episode.

It's such lazy writing.

Beth the „King“?:

This makes no sense to me at all, not just throughout the whole last bit of the episode but the show so far.

I know some in the fandom wouldn't mind Beth doing her own business without Rio. And all I can ask is: but HOW!?

It's not like I wouldn't agree but if anything that would be a plot I could see happening at the end of season 3 if well-written. In the end we want Beth and Rio to be equals and that can't be achieved – even with a 50/50 deal. Why? Because even with the 50/50 deal, Beth is still 100% not involved in anything going on behind the scenes. For example how Rio perfected his counterfeit money business or his „drug“ business.

I'm also pretty sure Rio didn't tell Beth his recipe how to make the fake cash as legit as possible. In the end he can't trust her enough with these details.

Yes, she can google stuff but I had to laugh quiet a lot at Beth being so proud for producing fake cash with Dean's printer. Okay...

(Also on a sidenote: is it healthy to bake money in chemicals in the same oven you would usually cook your meals in?)

And she is bringing in a random divorced mom who is a designer? Since when is she friends with someone else aside from Ruby and Annie?

I know everyone got to start somewhere but if the season finale proved one thing for sure: it's Beth not being ready for what is ahead of her. She is high on power but to me she came out as weak after shooting Rio. This isn't how I wanted to see Beth to get her own business – again makes no sense at all how she can do it and make as much cash as Rio. He worked for YEARS in this crime world – and certainly she is no King to me.

But I think she will realize that pretty quickly in season 3 that everything isn't that easy. And I can't wait for her to come in touch with other – far less pleasant than Rio – gangsters in town. Plus with her way of not dealing with problems it's likely not going to end well for her.

Dean – Redemption? - WTF 2.0:

The worst thing for me in this episode apart from the shooting scene was probably how they portrayed the relationship between Beth and Dean.

It's Boomer redemption all over again. Lazy writing 101.

But fair enough I didn't see it as Beth and Dean coming back together. I just think in this episode full of self-inflicted turmoil and stress she sought comfort in the person she had been with for 20 years. That's all.

Which doesn't excuse that Dean basically got away with the following things:

he is a cheater. Like he cheated multiple times on Beth.

and he used the lie about sex addiction as a reason why he cheated on her because she wouldn't let him touch while she suffered from post-partum depression.

Dean is also a lying liar because he lied about having CANCER in season 1 because he wanted to keep his property aka his wife.

he undermined Beth's abilities as a businesswoman – let's put aside the crime stuff, she is a LOT better at Dean's job which he HATES.

he also reduces Beth to being a housewife and mother and talks down to her – I've not forgotten his sandwich cookie cutter comment.

he is also unable to get another job because we know how he is, he is unable not to con his own customers and possible future employers can see that from a mile away – but Beth is like „well then it wasn't meant to be?“ like what? Are you serious?

And all seems forgotten now and we get to see Beth and Dean and how they probably were as a not really happy but at least functional couple.

It's almost as if the writers try to gloss over Dean's nonsense because if you look at what Beth did and does it's far worse than what Dean did.

And that's terrible! It's not okay. Because Beth had to do what she did because of Dean! Dean is the reason for all the crap going down in Beth's life. If anything she should blame Dean, not Rio and maybe not even herself...

I can't watch Good Girls as a tv show for female empowerment when Beth doesn't get to call Dean out on his bullshit. And he has the audicity to ask „what went wrong with us?“??

You went wrong, Mister! And Beth didn't get to say it because her look says it all but she just wants to avoid any further conflict.

And that's not okay. It's like the writers gave Beth a muzzle in these scenes and wouldn't let her say what she obviously thinks.

And I’m not even sad about Beth and Dean getting along as parents. Like that's a good decision. Because in the end they have 4 kids and they should be functional as parents.

I'm simply baffled how poorly written Beth's and Dean's conflict is or the lack of addressing it. And that the writers apparently want to have these two in the same house for another season.

I simply have no words anymore.