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jbuffyangel · 10 months ago

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Hot and Cold: Arrow 1x22 Review (Darkness of the Edge of Town)

There is no episode that exemplifies the disjointed nature of Season 1 more than “Darkness on the Edge of Town.” We have Exhibit A: an OTA field op and the smoaking hot chemistry of Stephen Amell and Emily Bett Rickards igniting in an elevator shaft of all places.

And Exhibit B: the other show. A frigid black hole I feared we’d never escape from.

Let’s dig in…

Olicity and OTA

Let’s start with the positive since there is soooooo much freaking positive! It can take time for a television series to find its footing in the first season. Unfortunately, nowadays if the audience isn’t binging the entire season in 24 hours, the show gets canceled. But blessedly, this was 2013. Network TV was still the supreme ruler, and Arrow was pulling big enough numbers for the CW to allow for some leeway.

Twenty two episodes of leeway. Arrow finally found its groove and latched on to the mystical “it factor” that keeps an audience watching - Oliver, Felicity and Diggle. The chemistry and dynamic between these characters and the actors who play them is undeniable and it creates an action packed, laughing out loud, and sizzling hot episode. The writers are having FUN in “Darkness on the Edge of Town" and it shows, which means we get to have fun too.

Oliver decides to question his mother regarding the Undertaking, but she refuses to confess. So, Oliver and Diggle take a more brutal approach. The Hood kidnaps them both and beats the crap out of Oliver until she coughs up the information. It’s always hilarious when this show acts like David Ramsey can fit in Stephen Amell’s suit.

The burgeoning relationship between Oliver and Felicity is very much in its infancy. Oliver is fully in denial about feeling any type of way toward his IT girl. Never is that more apparent then when Oliver and Diggle return from the confrontation with Moira. Diggle gets a few solid whacks in, which I’m sure felt amazing given the absolute jackass Oliver was being the past few episodes.

Felicity has a much harder time concealing her feelings towards Oliver and it’s clear she worries about him. She is always the first to ask if he’s okay, offer a supportive ear to listen or shoulder to cry on. However, Oliver seems to draw a line in this episode when Felicity reaches to touch the bruise on his face. That small step was too much. He physically keeps her at arm’s length because the intimacy of Felicity’s concerned touch is not something Oliver is ready for. There is still a very big wall hiding all that pain, regret and unworthiness.

Source: @lyricalarrow

Admitting he remembers the exact day they met, however, is absolutely no problem. We shall come to discover just how much Oliver remembers about that day in later seasons. I have a lot of male friends and I guarantee you I don’t remember the day we met. However, the day I met my husband is burned into my memory.

The team determines the only way to stop Merlyn from leveling the Glades with a man-made earthquake machine is to find the location of the device. Unfortunately, Felicity is unable to hack Merlyn’s system so she needs direct access to his mainframe inside Merlyn Global Headquarters. LET'S DO CRIMES!

Oliver makes an appointment with Tommy (more on that later) while Felicity continues to up her adorability factor by dressing up as Big Belly Burger employee delivering lunch to a security guard otherwise known as John Diggle.

The burger is laced with benzodiazepine, so it knocks out the other security guard and gives John free reign to control the elevator & cameras. Do we know how Diggle is able to pose as a security guard? No. Do we care? Nope. Let the hijinks commence!

Oliver and Felicity make their way to the elevator, but not until Oliver unloads an unwelcomed dudebro hitting on Felicity.

Jealousy looks so good on him. The way Stephen Amell plays this scene, with his nails-on-a-chalkboard look at the word “sweetie” to robotically knocking the papers out of the elevator, is physical comedy at its best. Something Amell rarely gets to do, but he’s great at it.

The mainframe is on the twenty fifth floor, but the elevator only goes up to the nineteenth, so Oliver and Felicity have some climbing to do. It seems Felicity is thinking of a certain kind of climbing as well and really who can blame her?

Source: @lyricalarrow

Oliver lifts her WITH ONE ARM out of the elevator, which is so freaking hot I cannot.

Then, very gently, bends down to wrap his arm around Felicity’s waist and loop her arm around his neck. Oliver is moving with the precision of a jungle cat, but it also feels like an incredibly elaborate way to grab hold of someone. It has a very superhero sweep-her-into-my-arms sensuality to it. The mission is giving Oliver plenty of reasons to touch Felicity and he doesn’t seem unhappy about it, particularly when he softly tells her, "Hold onto me tight."

Is it warm in here? Holy Moses, Oliver Queen. Get control. This man is a god to women, so he clearly understands the connotations of, “Hold onto me tight.” There’s a thousand different ways to say that platonically, but nope! Oliver charges headlong into the blinking neon lights of SEXUAL INNNUENDO.

Felicity’s Freudian slip didn’t feel so Freudian either. She knew exactly what she was saying and leveled her full meaning in a single look. I thought the elevator was going to combust from all the heat. If you are looking for the text book definition of undressing someone with your eyes than look no further than these two. They way they hold the gaze. WOW. Can we have all the nakedness now?!!! It’s a sin against science for Oliver and Felicity not to bang regularly BECAUSE THE CHEMISTRY.

THIS IS NOT THE BEHAVIOR OF A MAN MADLY IN LOVE WITH LAUREL LANCE.

This scene has the classic Superman and Lois Lane feel to it.

Source: @olicitygifs

Oliver is doing his vigilante thing, but his partner in crime isn’t the leading lady of Arrow. It’s a supporting character who’s feeling less and less supporting with each episode.

Unfortunately, Felicity is about to be discovered while Oliver is held up by Malcolm Merlyn, Thea and Roy Harper. This is a very popular day to visit Merlyn Global. Oliver’s frustration under his cool and calm exterior builds the tension nicely and we do wonder how Felicity is getting out of this jam. Never fear! It’s John Diggle to the rescue. Top notch comedy from both Rickards and Ramsey.

Source: @olicitygifs

Their first official team mission outside of the bunker is a wild success. Felicity still has to search through all of Merlyn’s data to determine the location of the device. Despite all the heat, hilarity and hijinks on this side of the show, Oliver makes an abrupt decision regarding the other side of the show that makes absolutely no sense.

Lauriver and Merlance

Still feeling warm friends? Well don’t worry. I have a nice bucket of ice cold water to dump on you.

As predicted, Oliver’s love confession messes with Laurel’s mind and obliterates any clear path back to Tommy. He drops this bomb on her and they have not spoken for a WEEK. Of course, this is all Laurel has thought about and she makes a rather elaborate speech admitting she has feelings for Oliver too.

Yeah, none of this is a surprise. Tommy knew Laurel had feelings for Oliver. We knew Laurel had feelings for Oliver. Hell, even Oliver knew. The only one who wasn’t admitting it was Laurel, so at least she’s finally being honest about things. You don’t get a love triangle if the central figure in the love triangle doesn’t have feelings for two people. The issue is who does Laurel love MORE.

Laurel: Maybe Tommy was right. Maybe he and I weren’t meant to be.

She had a clear answer last week. It was Tommy. She absolutely wanted to get back together with him, but Oliver decided honesty was the best policy on this one subject only. This line enrages me because Oliver has distracted Laurel from the man she is truly meant to be with. I will die on this hill, friends. DIE. ON. THIS. MERLANCE. HILL.

Laurel: Tommy’s a good guy. Are you?

Oliver: I didn’t have an agenda. I didn’t mean to make it more difficult to fix things with Tommy.

Oh for fucks sake. Yes, you did Oliver. That’s exactly why you said it. This is just a straight up lie. Oliver absolutely wanted to confuse Laurel. He just doesn’t want to look like the bad guy for doing it. This is some A+ Ollie behavior.

After Laurel makes a wonderfully impassioned and heartfelt speech about her feelings for Oliver, after probably obsessing about it for seven days straight, Oliver dumps her. AGAIN.

Oliver: Nothing’s changed. My life hasn’t changed. I haven’t changed.

I am infuriated on Laurel’s behalf with this flip flopping back and forth. The time to make this speech was last week in the hospital hallway. That was the moment to let her go and put Laurel on the plane with the man she belongs with, but Oliver couldn’t do it because it was too damn hard. It was just cruel and horribly unfair to both Tommy and Laurel because Oliver has absolutely no intention of being with her. But now it’s too late. The information is out there. You can’t put the toothpaste back in the tube, my dude.

Laurel pays her father a visit to basically get his permission to date Oliver again. Yeah, let’s make the man who lost his daughter to Oliver’s selfishness sign off on banging his other daughter again. This show.

Quentin’s speech is equally as empty as any speech Laurel’s made about seeing the change in Oliver because we, the audience, have not been privy to those moments. We’re just supposed to take their word for it even though the last time Quentin saw Oliver Queen he was trying to arrest him for drug trafficking. But sure, Quentin thinks he’s “changed.”

In order to make this storyline work, you have to give proper attention to the Lance family interacting with Oliver and the writers do not seem interested in doing that. All the important emotional growth takes place off screen and we’re supposed to accept it as fact because the characters tell us.

Meanwhile, they are organically growing the relationship Oliver has with Diggle, Felicity, hell even Roy! So we know the writers are capable of SHOWING these moments of character evolution. They just choose not to when it comes to the Lance family. It’s why the show feels so completely disjointed.

Oliver pays Tommy a visit and wants to have a chat.

Source: @queensarrow

So it's safe to say Tommy is still pissed.

Oliver encourages him to work things out with Laurel – kind of?

Oliver: Lord knows, I am guilty of a lot of things between us, but not you are her.

What’s infuriating about this conversation is that Oliver still refuses to accept any kind of responsibility in their break up. Oliver pretends to be a friend to the all feminists and touts Laurel’s independence and free will. She makes her own choices and she chose Tommy.

Tommy’s point is clear, even if it is self pitying; Laurel is not dealing with all the information. If she did have all the information then she would choose Oliver. From Oliver’s standpoint, it doesn’t matter because he can’t be with her.

That’s not reassuring to Tommy nor is it supposed to be. If the elements keeping Oliver and Laurel apart were removed (the Hood) then Oliver wouldn’t think twice about making a move on Laurel. And Tommy knows this. These are not the actions of a best friend, which is why he’s so pissed.

Now, Tommy’s big mistake was throwing in the towel too early. He should have NEVER given Oliver an opening with Laurel, but he did and it set them on this path. No we have to watch it play out.

Oliver: I promised myself that when I crossed all of these names off the list, I’d be done, but taking down these people, it doesn’t honor him. I was just treating the symptoms while the disease festered. I stop the Undertaking… I wipe out the disease.

Diggle: What are you saying Oliver? You would hang up the Hood?

Oliver: Merlyn’s plan is what I returned from the island to stop.

Does anyone else have whiplash? Oliver does a complete about face and determines he can be with Laurel since he only needs to cross one name off the list instead of dozens. He’s just missing one step, gee what could it be? Oh! I know. OLIVER STILL HAS TO CROSS MERLYN’S NAME OFF THE LIST AND STOP THE UNDERTAKING. Talk about counting your chickens before their hatched.

A hero’s journey is a very specific type of story. Joseph Campbell outline seventeen stages in 1949 and Christopher Vogler created an updated version in 2007 for screenwriting. I’m not going through all seventeen steps, but we can skip to the very last one regarding this storyline.

Freedom to Live/Return with the Elixir – meaning the hero has faced their internal and external struggles, has conquered the demons around them and earned the right to live as they choose. From a spiritual sense, the hero lives without fear of death.

It’s similar with Vogler’s elixir stage. From a community perspective, the hero has found the magical way to heal their wounded land. They are bringing hope, life and freedom back to their loved ones. In doing so, it gives the hero a personal victory. They’ve earned the right to experience peace and joy, which can be represented in a wide variety of narratives.

Oliver is hero. Arrow has made his endgame very clear - save Starling City. Has he saved the city? Has he stopped Malcolm Merlyn? NO. So why is his leather clad ass running all the way back to Laurel Lance to enjoy the fruits an elixir he has yet to procure? If Laurel is endgame, this makes absolutely no sense. This is too fast. It’s too abrupt. It doesn’t feel earned because it hasn’t been earned.

Clearly, the initial plan was to put Oliver (Green Arrow) and Laurel (Black Canary) on parallel, if not intersecting, paths. I’m not saying Oliver cannot be with Laurel as they evolve into superheroes together. But this is the first freaking season you guys! He hasn’t done a damn thing yet! Neither has she. And yet, here Oliver is, knocking on Laurel’s door, looking for some fruit.

Oliver: Ever since I’ve been back, we’ve been doing this dance. We come together and then I pull away. Something pulls me away, but I think finally that something might be over.

Laurel: What are you are trying saying?

Oliver: That you know me better than anyone. And that you are more important to me than anyone. I just hope I didn’t wait too long to say it.

If Laurel has no clue Oliver is the Hood then can he really claim she knows him best? It sounds good to say, and probably what Laurel is dying to hear, but it rings hollow because there’s no evidence of this anywhere on the show. Laurel was wrong about who Oliver is all season. We are just supposed to accept some verbal acknowledgment of change, that she knows him better than anyone, but without any television scenes to back it up. That’s not how storytelling works, Arrow writers.

Sorry to beat a dead horse, but I warned you I wasn’t done with this topic - Oliver is still lying to Laurel. There should be more talking. What are those things pulling you away, Oliver? Why are they over? Are you a hooded, crime fighting, serial killer who has been mysteriously stalking me all year? Those are just some ideas off the top of my head. There is no person on this planet that Oliver needs an honest conversation with more than Laurel Lance, but nope. They jump straight to sex.

Let’s talk about the sex. This has been built up all season. These two characters belong together. They are bulldozing over Tommy Merlyn to be together because they are this passionate romance that time cannot quell. It should be like the fourth of July in Laurel’s apartment right now.

Source: laurelscanary

Instead, of heat we get frigid. Fish have hotter sex.

I’m willing to acknowledge "Radioactive" was the hit song of 2013 and every show on the CW was using it. It has a very sexy beat and big crescendo. It sounds like a good song to use during a sex scene.

Except for the fact that it’s called RADIOACTIVE with lyrics like, “This is it, the apocalypse.” This is not the romance your Plan A couple usually requires in a scene like this. They had Blake Neely for a composer. Where’s Oliver and Laurel’s love theme? We'll probably get it in the season finale but anything would be better than "Radioactive."

Source: laurelscanary

Next issue. Black socks and jean shorts? Wardrobe – what were you thinking? Nobody felt the need to tell Katie to take off the sox? Details matter!!

Source: laurelscanary

Stephen Amell and Katie Cassidy kissing are like watching two pieces of flat cardboard trying to hump each other. Can they choose a direction? Are we biting or no biting? Are we using tongue or no tongue? Can Oliver unbutton his shirt or does Laurel need to help? Is Oliver going to drop Laurel while trying to get her sweatshirt off? It was just so awkward from start to finish. ZERO SPARKS.

Source: habibialkaysani

And for the coup de grace, they leave the curtains pulled wide open, so Tommy can see them screwing from the street. The look of utter devastation on his face is heartbreaking and that’s the final image they leave us with as their love scene fades to black. Oliver and Laurel reuniting are not framed as a good thing. It’s framed as a betrayal, because that’s exactly what it is.

Source: @queensarrow

Even worse, Felicity finds the device while Oliver and Laurel are asleep and HE LEAVES. No note. No, honey I have to run out and save the city real quick, but I’ll be back for round two later. Nothing. But please, tell me again how much Ollie has changed.

When I watched this episode live I was horribly disappointed the big reunion with Laurel and Oliver fell flat. This was really my last gasp trying to be a Lauriver shipper. And I use the term “trying” loosely. I was more or less looking for any redeeming qualities in this love story, but after this hypothermic love scene I was officially out. I could not ship these two. I could never forgive them for betraying Tommy. But I feared Arrow would never move on from Oliver and Laurel.

Of course, their real intention becomes all too clear later. Arrow was trying to blow them up to make way for something infinitely better.

Theroy

Speaking of flipping back and forth, these two break up every other week. Roy is clearly committed to finding the Vigilante, which leads them to Merlyn Global and a run in with Oliver, the disapproving older brother. Again, Stephen Amell’s acting is superb.

I loved the way he said “What” to Thea and the firm alpha male handshake he gives Roy, warning him to stay away.

Obviously, Roy accomplished his goal. He found the Vigilante. Roy just doesn’t know it. He thinks Oliver Queen is too much of a wimp to ever consider him as the man in the hood. Thea was good and ticked off with that “wimp” remark. Enough to dump Roy. She will not tolerate any slander of her brother. #QUEENSIBILINGSFOREVER

But this is like the fifth time these two broke up, so it’s losing the impact. This isn’t all about the Hood’s identity and thanking him for saving Roy’s life. He wants to BE the Hood, so Roy can protect the people he loves and never lose anyone again. The question is – who did Roy lose? Unfortunately, Thea storms out before we get an answer, but hopefully one is coming in the season finale. (No I do not remember who).

Long story short, yes I like these two, but the faster the Arrow writers move the characters into the Hood storyline the better. Otherwise they are just marooned on their own show like Laurel Lance Island.

Stray Thoughts

Yao Fei died! It’s so sad and traumatic. I forgot he’s shot in the head. Really didn’t need to see that twice.

Fyers is shooting down a commercial airliner to destabilize the Chinese economy. It’s always about money for these assholes.

Walter wants a divorce and I would say their differences are irreconcilable. Moira is getting what she deserves. You can’t kidnap your husband for six months and then offer him tea and crumpets when he comes home.

"Who the hell is Felicity Smoak?" Uh oh. Quentin has Felicity’s name. That ain’t good.

“Is the other archer working for Merlyn?” Please don’t make Diggle look this dumb again.

Merlyn versus Oliver battle was EPIC! The fight scenes this season are so stellar.

“Psychopaths are color coding themselves. That’s helpful.” HA!

Listen to the Watchover podcast reaction to 1x22!!!

If you’d like to support the blog, please buy me a cup of tea!

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

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deliciouskeys · 6 months ago

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So I liked what we have of season 4 a lot?! I don't know if I set my expectations really low, maybe didn't expect to get that fandom feeling back, but I think I can say with certainty that I've enjoyed e1-3 of s4 more than e1-3 of s3, and mayyyyyybe even more than e1-3 of s2. Some of the storylines don't interest me, but that was true of prior seasons too.

Things I am loving so far...

(under cut because there may be teensy weensy spoiler references)

Sister Sage! Yes, she says the lines that are in the trailer, but they are so misleading about the type of character she is. I LOVE her so far.

Homelander's frustration with being adored no matter what he does and his ennui about being surrounded with sycophants (which tbf, he engineered). I am SO glad they're walking that back to some degree. Related to point 1 above, I am delighted by the way he goes about solving this problem.

Every single scene with Ryan is so fucking good?? Like, Cameron Crovetti is the ideal Ryan of my mind's eye when I write fic. I feel SO bad for him. But I am loving the divorced plot and them jockeying to be his dad. Some of it reads like fucking fic, in a good way too. Like I can't believe the conversation between HL and Ryan after he comes back from Butcher's place actually happened on TV and not in my head.

I am actually SO SO happy they decided to outsource Billy Butcher's shitty tendencies to his Tyler Durden. I did not expect him to fucking apologize to Ryan for the S3 debacle. Even ~I~ felt apologized to for that "necessary for the plot but makes zero sense outburst".

I am loling every time Noir speaks. I don't know why, but I'm finding it hilarious.

I think they're actually doing a good job with A-Train's storyline, or a better job than I expected to justify how he becomes their new double agent.

I'm enjoying Chace Crawford's work in season 4. I like that he's sincere about the comic relief role.

Hughie is so charismatic, and for the first time in 4 seasons I think he elicited tears in me (in the scene right before his mom shows up when he's listening to his dad's messages).

I like Ashley's dialogue more this season than season 3. Part of that may have to do with me enjoying her character when she's angry rather than scared shitless or "trying to imitate HL"

I welcome the larger Victoria Neumann presence, and can't wait to see more about her past.

I enjoyed BIlly Butcher using a crowbar in a fight

I enjoyed seeing Antony Starr playing a mommy and a daddy and a.... secret third thing in the mirror.

What I'm meh about...

I hate to say this but the Boys' storylines are mostly dragging and feel disconnected. I'm already tired of Frenchie and Kimiko refusing to talk to each other and attempting to drink/drug their problems away. The mystery about why Frenchie is distraught was mostly solved right away, and Kimiko's mystery is still some derivative of her backstory in S2. It just doesn't feel connected.

Mother's Milk is fine, but I do think his character took a turn toward the unreasonable in season 3, and it has sort of continued. It's not clear to me why he's kicking Butcher out of the team multiple times, especially when Butcher saves them, and clearly has nothing better to do with his time. It feels especially cruel to kick him out when he tells him about the terminal illness.

Annie's storyline is.... fine, I guess. Maybe it will develop into something more interesting, but it feels like the writers don't exactly know what to do with her now that she's out of the Seven. I don't know why Firecracker had to have a personal vendetta against Starlight beyond being a symbol of 'wokeness'. I guess I'll wait to see if Annie's meangirl past becomes relevant as the season goes on.

Firecracker is okay. I'm amused that Homelander seems bored and annoyed by her, so I take it it's fine if we feel the same way too. It's certainly an interesting addition to the Seven to have someone so underpowered.

Hughie's mom frustrates me so much I wanted HL to come and laser her instead of Hughie after that chase. Her explanation made it worse for me, not better. I await to be proven wrong, but so far I think Hughie is being a really kind person to her. "Your father didn't want me to talk to you". But you were allegedly talking to him for years? And you son is in his 20s, I think you could have contacted without his daddy's say-so. UGH.

I don't really care about this so much, because I don't like character deaths, but it is pretty funny when Vicky doesn't kill Hughie or Butcher, and when Homelander is nerfed beyond all belief and is unable to laser Hughie in a closed space. I'll chalk it up to him losing a step or fifty with the enlargement of his prostate.

#review of episodes 1-3 #the boys season 4 #the boys spoilers #the boys #the boys tv

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cheslock · 6 months ago

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I'm finally watching episode 1 of the Weston arc anime and I'm so mad about them changing the word fag... Obviously I know why but STILL 😩 my very clever blog title pun will mean nothing to the new fans now. 🥲

#my post #episode 1 review

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shizukateal · 7 months ago

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Grimm Variations - Episode One Review: Cinderella

Ok, starting with the heavy hitter aren't we Grimm Variations? Really have that much confidence in yourself in spite of your kinda ugly art direction? Ok. Alright. I see how it is.

GATHER 👏 ROUND 👏 CHILDREN 👏 LET'S 👏 TALK 👏 ABOUT 👏 GOOD 👏 VS 👏 BAD 👏 SUBVERSION 👏 SLASH 👏 DARK 👏 TAKES.

This is actually a pretty fascinating example, since it has both cases simultaneously.

(sorry for the shitty gif, I don't know how to reduce size without sacrificing quality)

Let's start from the beginning: This version of Cinderella takes place somewhen at the intersection of the Meiji and Showa Periods in Japan, which is to say in the Roaring 20's. Instead of our usual protagonist, the story centers on Makiko and Sawako, our prospective Evil Stepsisters, as their mother Tsuruko, a former geisha, marries Viscount Otawara, who has a single daughter: Kyoko. Kyoko enthusiastically welcomes her new family with open arms, even gifting precious things to her new sisters, who clearly love the luxuries of the social ladder that they've climbed. However things take a turn for the dark as Kyoko starts manipulating everyone around the house with wounded gazelle gambits to convince them that her sisters are mistreating her and usurping her place. The story thus becomes about Makiko and Sawako going to the ball (hosted by a count's son) to try and escape their Evil Little Stepsister.

There's also some background stuff at the start of the episode about the brothers grimm and that little girl Charlotte up there, who appears as a living doll of Kyoko's, but since none of that is explained here we're just gonna focus on what this dark take says thematically about the tale of Cinderella.

Right from the beginning the overturn starts when the first scene makes it clear that Cinderella's dad holds all the power in the relationship with the Evil Stepmother, whereas the Grimm and Perrault versions make her the one wearing the pants. It's never explicitly stated in either of them, but it's natural to infer that the Stepmother is of a higher peerage than Cinderella's Dad to explain how she would hold power over him and his daughter when trying to rationalize the story, and it's a common plot point in adaptations. However, this alone a subversion does not make. After all, if you read trashy romance in aristocratic settings (like I do), you know that it is extremely common for social climbers to be presented as sniveling usurpers, who get arrogant and greedy and turn into bullies the moment they have a modicum of luxury and rank in spite of their Inferior Manners (unless they are the protagonist of course). Lots of Cinderella stories follow that formula.

And that's exactly what Kyoko uses against her stepsisters.

Makiko and Sawako are stupid. If their unrefined manners are forgivable and a simple matter of environment and time, the way they openly slobber over and covet the riches of their new house makes them no favors. When they think one of the servants stole jewelry from them (and it was a piece that Kyoko had given them at that) they immediately get angry and physically aggressive towards a person whom they were equal in rank perhaps mere days ago. It takes them too long to stop and realize that hey, no servant would openly flaunt a piece they'd stolen from their master, so maybe something else is afoot, but by then it's too late. The other servants of the house can no longer trust them, so of course they continually take the side of the poor, defenseless little mistress Kyoko.

The tale so turns into an interesting mix of one-part hitchcokean aristocratic horror-thriller, impulsed in part by the flaws of the protagonists, and I'd say around a quarter-part view into the hypocrisies of class. Makiko and Sawako's refusal to engage with the servants with respect and compassion, trying to act the rank they've ascended to, cuts them from a support network, even as they are handed wealth and luxury. However it is undeniable that because of their lowly origins and etiquette people view them with scorn, distrust, and antipathy, a fact that is driven home when they are the ones who get mean whispers and comments upon entering the ball. They don't stop from being victims in the narrative just because they aren't likeable. By contrast, Kyoko may wear old plain clothes and do house work, but because she's nice to the staff and is seen as the legitimate blood heir, everyone looks at her with compassion and chucks her unnaturally cheery disposition towards her circumstances to good breeding, to the point that she gets away with poisoning her stepmother for years until she dies.

Likewise, at the scene of the ball the sisters fail spectacularly at captivating their prospective Prince with their uncouth behavior, so all our Cinderella has to do is be pretty and make a scene in front of everyone for things to take its predestined course. Tsuruko dies that night thanks to her stepdaughter forcibly feeding her one last cup of bleach before she leaves. And even though everybody witnesses the sisters grieving over their mother's corpse, nobody has sympathy for them the next day, when Makiko becomes the head of the family at Kyoko's (clearly secret) behest. The moment the Prince appears and declares his intention to marry Kyoko, Makiko and Sawako are expediently given the boot to the ass and thrown out of the house. Thus both of them are forever expelled from aristocratic society... and forever free from Kyoko.

Cinderella has followed her usual course of ascending to a higher to a social strata while reclaiming her lost position thanks to the intervention of a powerful man... But it's the Evil Stepsisters who have escaped an abusive situation by leaving the comforts of status behind, which goes very specifically against the message the original story gives. What's more this is due to their own character development: they knew that Kyoko would sabotage them if they tried to escape her via marriage, so they baited her into pulling a stunt and deliberately sabotaged their own chances with the Prince so that he would take her away from them.

THAT, my guys, is actual subversion. THAT is commentary. It's impeccably brilliant...! Or at least it would be were it not for the biggest flaw in the story: Cinderella herself.

Near the end of the first act the sisters try to warn their mother about Kyoko's nefarious acts. Of course, she doesn't believe them. After all, she asks outloud, what does Kyoko get out of acting like that? It seems that the scriptwriter didn't realize that asking that question explicitly in dialogue would put it at the forefront of the audience's thoughts before the whole thing went into print.

I mean the script makes Kyoko talk about her family being her precious "dolls" or whatever but that explains absolutely jackshit when her attitude is so inconsistent. Keep in mind, this Cinderella kills her own dad when he unwittingly threatens to disturb her status quo and starts the second act by saying out loud that she fears the situation she's created might end, but after the sisters do succeed in suckering her she just goes "oh well :) thems the breaks" and it's implied she'll move on to torturing the Prince for shits and giggles and that's it.

Alas, however, I must be fair and truthful in my final assessments. I came into this series expecting vapid edginess and mediocrity and while it hasn't exactly disappointed on that front, it has just enough thematic juice to move into the tier I was most afraid of: trash but still good enough to be frustrating. Join me next week for more suffering if it keeps up this way.

#grimm kumikyoku #grimm variations #cinderella #anime review #episode 1 #everyone reblog this it is LITERALLY my birthday at the time of posting this #CLAMP

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blackcat419 · 5 months ago

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Hotd S2 E1 A Son for a Son review

It's here. Two years weight and I'm more disappointed than a vegan at Outback Stake House. Lets get into this then.

Predictions for Season 2 and if they came true

My predictions for the reactions towards Blood and Cheese were pretty damn on. People justify Jaehaery's death, missing the irony of an eye for an eye, a son for a son, when Aemond didn't get Luke's eye and Jaehaerys isn't Aemonds son, Alicent being blamed for it.

Blood and Cheese was an accident, meant to go in for Aemond, stumbled upon Helaena, and just got told who the son is, at least they didn't accidentally trip and stab Jaehaerys.

White walkers are alluded to even though we now know they're so easy to take care of, just need one episode and POOF!

No Dyana mention so we'll see if she shows up.

Where we left each character and where they are now

For TB its very consistent. Rhaenyra is mourning Luke, Daemon is pushing for war, Rhaenys is pushing for no war, and Corlys is pushing to be relevant.

For TG its all over the place. Our consistent characters include Otto pushing for war and control, Alicent pushing for control but less war, and Larys pushing to hold the most secrets any person can. Our characters that have changed are Aegon now wanting to be king and trying to prepare Jaehaerys, Aemond deciding he totally did mean to kill Luke, Alicent changing from rule follower to now rule breaker, and Cole deciding he does like sex actually.

Aegon and Aemond's transitions make sense, they were set up in last season and it works for them. Alicent and Cristin are in a full-blown sexual relationship that's been going on long enough for them to feel comfortable doing it in mid-day. That was not set up. We miss an entire character arc for both where they 1. decide they don't want to follow the rules society tells them to and 2. decide they want to bone. This was not set up in season 1, it comes out of nowhere, there is no explanation for why these two are boning now, how they justify it to themselves, if they justify it to themselves, nothing. So instead of an interesting character arc where we see change, we just get the end with no idea how they go here. Thanks, I hate it.

Conflicts

Again, for TB the conflict is consistent from season 1 and makes sense. Rhaenyra is being pulled by her duty to the realm for peace but by her grief for war. Daemon is pushing for war, Rhaenys is pushing to not start the fight, and Corlys is there too.

But for TG it's all over the place. We still have the dumb conflict between Alicent and Otto over how much war we'll have. Not between peace and war but just, should we have more or less? it's not even really about involving the dragons as that's Aegon and Aemond's position. Overall, Alicent and Otto's conflict is poorly thought out and their positions hold so little difference that it borders on meaningless.

The conflict between the two groups is who will strike the first blow. We already have one kid dead and a blockade but we are still waiting for someone to act. wow, so intense much drama.

Adaptation from the Book

The main parts of the book being adapted are Jace's visits to the Vale, the sisterlands, White Harbor, and his stay in the north. Rhaenyrs finds out about Luke's death, and blood and Cheese.

The only part done well is Rhaenyra's grief over Luke's death. It is so powerful and Rhaenys saying that she can't properly grieve until she knows Luke is dead is very powerful. Jace has an amazing trying to talk while he cries scene, the funeral pyre is so emotional, and very well done in showing how much losing Luke affects these characters.

I am very disappointed that Jace's whole storyline going north is turned into exposition about Stark customs and the wall being so sexy and cool. No Jace and Cregan being friends, no Jace trying to convert Cregan, not even Jace hooking up with Cregan or Sara Snow. just nothing.

Blood and Cheese has to be the worst thing I've seen in a while. We have Daemon telling them to kill Aemond but it is ~ ambiguous ~ whether he said to kill Jaehaerys. We have Rhaenyra saying she wants Aemond dead but it is ~ ambiguous ~ if she knows Daemon is doing this. Blood and Cheese literally walk past Aegon in the throne room? No secret passageways into the queen's chambers, no plan, no nothing! they just happen to find Helaena. We also lose the character development of Helaena where in the books she offers up herself to be killed and only after Blood and Cheese say they'll rape Jaehaera and kill all of them, does she give in and choose Maelor to die. We don't get their cruelty of telling Maelor his mom wants him dead and then killing Jaehaerys. No, Helaena just offers up her necklace, they take it, then AFTER she knows they're going to kill her son (one of them says they need a head and a son for a son), she just walks out and runs into Alicent riding Cristin? Why? Where is the tension of Helaena being forced to choose a child to die only for that child to know their mom chose them, the drama of Helaena offering up herself to try and save her kids, the horror at what these monsters are willing to do for coin? Nothing. It was emotionless, I only felt shock at how poorly it was done.

Overall Enjoyment

I did not enjoy myself. This was not fun or interesting to watch. The showrunners are scribbling over a beautiful sketch with crayons.

What I hope for the next episode

NO MORE ACCIDENTS! I swear this show is the house of accidental war crimes.

I want to see Nettles, Daeron, and Maelor.

I want actual character development instead of character teleportation.

I predict that Alicent's character will continue to be massacred and put in scenes where Ryan Condal can see Olivia Cooke naked.

#hotd #house of the dragon #House of the Dragon Season 2 #Hotd episode 1 #a son for a son #hotd review #hotd season 2 #D&D did a better job telling B&C with less time

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lettingthoughtsflow · 4 months ago

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season 1: episode 1 (crush, chop, & burn pt. 1)

alright y'all I'm bulletpointing as I watch so let's go!!

the whole "mrs. and mr. davenport" beginning scene is literally seared into my brain from childhood-i think it's funny how clearly i remember it

when we meet the team they're in these mission suit esque things and seeing as all they do is train, is that what they live in????

davenport saying "i don't want to brag, but i am incredibly smart" when introducing the kids is so wild when you consider the fact that he probably didn't have anything to do with making the kids

i love how offended they get when tasha calls them robots

tasha and leo have such a cute relationship i freaking love it

i know we hate donald, and rightfully so, but this episode really amps me up bc dude you are literally introducing them to your wife and you keep talking about them like plants you're growing

when donald is introducing the kids, tasha's the only one recognizing that they're children

"i wanna go upstairs" 😭

they literally never leave the room, it's not just because of filming and set design, they don't even have a place to run THERE'S A RAT WHEEL

@fairytalesociology said that davenport feeds the kids glorified dog food and they're so right

you can't just feed them food??? even preordered????

they eat, sleep, and bathe in their capsules no one can convince me the man was just looking to be cost effective in getting these inventions perfected (they were not children to him AT ALL)

bree is just a girl and i love her for it bc thinking about breaking into song/dance numbers is so real

If you pay attention to the background you can see chase playing with a random locker for a while and I think it’s so funny/cute

Honestly I with it opened and he was just using his bionic hearing to unlock the locker

i just noticed leo has brown paper wrapped around his textbooks and it reminds me of when my mom and i use to make book covers out of trader joes bags and decorate them 💗

baby chase was insterested in chess club and taking med school courses, he deserved more extracurriculars and hobbies in the show

the early heat vision graphics 😅

"i know a chiropractor in the phillipines" is so cute

davenport is awful but the freaking out performances are great

30 grand for a situation to go away is insane bc what really happened??? like yeah the mascot's head caught on fire but it wasn't like they destroyed the building. and even if it was a bribe to get rid of witnesses, you'd have to adress the entire school bc it was a pep rally

tasha being a mom to the kids is so cute like yeah, they're just kids

bree immediately getting excited about the party with tasha is freaking adorable, we deserved more Tasha fr

honestly i think she was more freaked out about the kids than their bionics

lecturing them about how they were designed for missions is so disheartening bc 1. you've probably told them all about how they're top sercret their whole lives and 2. they are superHUMANS

it honestly feels akin to when a parent tells a child they have to be perfect or pushes them into a career they never wanted

yes bc having no contact with the outside world will prevent their glitches and train them for missions (not to mention real life)

obviously it's the perfect solution

honestly if they socialized they would probably have better emotional regulation and control over their glitches. like you could have at least brought them to a company party (and told everyone to treat them as humans) so they have practice talking to people.

chase really was always in blue plaid from the start huh?

"they are not just science projects, they're teenagers" TELL HIM QUEEN

bro you're going to tell me that you can't reprogram your ROBOT FRIEND to like your WIFE

like he can still be snarky but he literally hates her

i really hope someone gets this, but there are a few scenes where Adam feels more like a regular person than just someone who's core personality is being kind of dumb and reckless, and the ending scene before everyone goes to bed is one of those few scenes

#lab rats #chase davenport #adam davenport #bree davenport #donald davenport #leo dooley #donald davenport hate #Tasha davenport #episode review #episode reviews #episode recaps #season 1 #1x1 #watch with me

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episodicnostalgia · 1 month ago

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Star Trek: The Next Generation, 124 (May 9, 1988) - “Conspiracy”

Teleplay by: Tracy Tormé Story by: Robert Sabaroff Directed by: Cliff Bole

The Breakdown

The Enterprise is en route to Pacifica for… it doesn’t matter, because Picard gets a top secret late-night-call from his old buddy Captain Walker Keel, of the starship Horatio. Keel implores Picard to cancel his appointment with Pacifica, because he has some piping hot tea (earl grey, presumably) that he can only spill in person, but it’s gotta be now …and also, don’t tell anyone why. Since Picard probably hasn’t had anyone to gossip with since his hairline met his forehead, he orders the Enterprise to “fuck our meeting with Pacifica, and take me to a nearby abandoned mining outpost instead,” much to the crew’s bemusement.

Upon arriving to their new destination, the crew find three other ships have also arrived, with three designated representatives already waiting on the mining-planet’s surface, so Picard beams down before Riker can admonish him about breaching protocol. On the surface Picard is greeted by Keel and the other two ship’s Captains, who are all pointing phasers at his head, and asking him a bunch of MFA questions (which Picard obviously crushes; the dude is nothing if not savvy). Since Picard has proven he’s not an imposter, Keel proceeds to explain that he suspects a vast Conspiracy within Starfleet, that may have permeated even the highest levels of command. Apparently Starfleet has been restructured in vaguely suspicious ways, and also Keel’s first officer and doctor have been acting super-sus. Picard remains unconvinced, but agrees to keep his eyes peeled, and leaves their clandestine rendezvous so he can get back to following orders like an upstanding person.

Of course, wouldn’t you know it, just as we’re getting back on track to the Pacifica story we all came here for, an even more interesting tragedy strikes; The Horatio has been destroyed, claiming the lives of Keel and his entire crew! That alone is enough for Picard to suspect that something is amiss, but when Data pours through all of the Starfleet command files at super-android-speed and finds that things do indeed appear quite suspicious, that clinches it. After bringing his key staff up-to-speed, Picard resolves to bail on Pacifica altogether [sorry Pacifica, sucks to suck. Maybe try being part of the main plot next time], and return to starfleet command to get to the bottom of things once and for all!

Upon arriving to earth, Picard is greeted by three Admirals we’ve never met before, which historically means they can’t be trusted. Fortunately however, Admiral Quinn is amongst them (along with his snivelling-sycophant-commander Remmick, leering in the background) who, you may recall, came to Picard several episodes ago, warning of a conspiracy against Starfleet. Picard explains to the admirals that he has something urgent to tell them, and they seem pretty happy to hear him out. In fact, they even suggest that Picard and Riker both come down away from prying eyes, for a private little dinner where they can discuss it, and nothing bad will happen. First though, Quinn wants to come up and take a quick look at the Enterprise (because who wouldn’t), and Picard reasons that the Admiral probably wants to warn them about something.

But he would be wrong.

It turns out all three of the Admirals, including Quinn (and also that fucking weasel, Remmick), are possessed by alien-bug-creatures that burrow into the back of your neck at the base of the skull. Thankfully Picard clues in that something is wrong when Quinn back peddles hard about his previous Conspiracy woes. Since the dinner is obviously a Trap, Picard orders Riker to hang back for a bit and keep an eye on Quinn, while he heads down and hopes for the best.

Up on the Enterprise, Riker starts asking too many questions, until Quinn is forced to admit that he’s here for nefarious possession-related purposes (he brought a possession-bug onto the ship, with Dr. Crusher being the intended target in this case). But since the jig is up, Bug-Quinn starts beating the shit out of Riker, because being possessed gives the hosts super powerful bodies.

Geordie and Worf show up to find the Admiral hunched over Riker’s unconscious body, and do their best to help, but they also prove to be no match for Quinn’s super-bug-strength. Thankfully Dr. Crusher has more common sense than the chief of security and pretty handily knocks Quinn flat on his ass with a phaser (seriously Worf, way to drop the ball). With Quinn secured in sick bay, Crusher is able to determine what the heck is going on, and bring Picard up to speed. Suddenly Riker makes a miraculous recovery, and sneaks up behind Crusher, implying that he got body-snatched after Quinn shit-kicked him.

Meanwhile Picard is down on the planet surface, and the Admirals pretty much confirm that they have indeed been taking over key members of Starfleet, with the intention being to use humans as slave hosts. Right around then Riker shows up claiming to, in fact, be possessed with the bug that was intended for Crusher. But it all ends up being a ploy (yep, that whole moment in sickbay was all just a classic red-herring), and once everyone’s guard is down he starts blasting the shit out of everyone in the room. The ensuing fire fight ends with Picard and Riker following a bug into a command station where Bug-Remmick is ostensibly plotting something evil. The possessed commander espouses some obligatory villain-monologue nonsense, but Picard figures enough is enough, so he and Riker straight up phaser Remmick’s head until it explodes. But it’s not over yet, because a giant queen-bug-worm-thing emerges from Remmick’s oozing chest cavity, and you can bet this thing isn’t going down easil- oh… never mind. Yeah, so Picard just vaporizes that too.

With the mother-bug reduced to space-ash, all of the possessed peoples are released, and the reset button has formally been activated. Data does make one salient point, and informs Picard that prior to his death, Remmick had been sending a message into the far reaches of uncharted space. The contents of the message are unclear, since the bug-dialect is unknown, but Data hazards a guess that the message may have been a homing beacon to earth…

Anyways it’s probably nothing! The end.

The Verdict.

If you had shown me this episode when I was eight years old, I would have probably identified it as a perfect hour of television. A physically imposing enemy, who can’t be easily detected, and who could be your most trusted friend? Check. Creature FX, hand to hand combat, phaser fights, and corridor chase scenes? Check, check, check, and motherfucking check! It’s actually kinda fun/interesting to see a number of preliminary concepts being experimented with, that would eventually be reworked and repurposed in other (arguably stronger) stories later down the line [more on that below].

Overall I’d say there’s more good than bad here, even though quite a few moments end up being unintentionally comical by current pop-culture standards, that’s also part of the charm. An episode like this is a perfect example of classic pulp-camp television that has always been part of Star Trek’s DNA, and you have to go in with that attitude to enjoy it. The clunky fight scenes barely hide the obvious stunt-doubles, the stop-motion creature effects are obviously inhibited by some clear budgetary & technological restraints, and the resolution is a bit overly convenient for how dire the circumstances were supposedly meant to be. As much as those things could be considered limitations, I almost appreciate the show even more for being so unapologetically sincere, even when it doesn’t perfectly stick the landing.

Overall, I think the creature work is actually quite impressive, and the practical special-effects used for Remmick’s gaping chest cavity/mother-bug are largely effective. The other limitations might stop me from hailing this episode as a masterpiece, but they all work to the effect of telling an entertaining, if technically-over-ambitious story. Even where our heroes make questionable choices, I can forgive on the grounds that the villains do the same; at least there’s an internal logic (or hilarious lack thereof) that remains consistent across the board.

Although, as much fun as ‘Conspiracy’ was, it didn’t have a lot to say. Apparently at one point, there was an earlier draft of the script that was intended as a real-world allegory to the Iran-Contra affair, with the episode centering around an ordinary coup (sans body-snatch gimmicks), but was kiboshed for being too depressing/controversial. I imagine that iteration of the story might have still likely failed to hit the mark on any meaningful commentary, mainly because Star Trek historically has (especially during this still-early stage in the franchise) a very politically-liberal-colonial bias; ie, lots of good intentions, but with clear blind spots when it comes to addressing the root corruption that our core institutions are built upon, amongst other issues. All the same, I kind of wish that earlier draft had been allowed to pass, even if it was a disaster, if only to see what it was that TPTB found so distasteful (it’s not like the season 1 scripts were batting 1000 anyways).

Overall, a harmlessly fun hour of camp TV, and a welcome change of pace after the last episode.

3 stars (out of 5)

Parting Thoughts

Silly things that I find interesting: I’d honestly never heard of this episode prior to watching it, but I wasn’t as avid a fan of TNG growing up (DS9 & Voyager for me, baby), so I was left to consider the possibility that I’d somehow missed out on even hearing about a major Space-bug-bodysnatchers story arc. Because, I gotta say you guys, that is one pretty ominous cliffhanger. So yeah, I obviously felt compelled to look ahead for answers, like the slutty little gossip that I am. [My “research” primarily entailed reading subreddits and fan sites. Which means, y’know… grain of salt, subject to error, and all that.] Supposedly, the bugs were meant to return as a recurring ‘Big Bad’ for the show, but the creature effects were too costly to produce on a regular basis. Although, it seems that the borg were possibly utilized as a more cost-effective to achieving a similar hive-mind-themed existential threat. Likewise, I’ve heard it suggested that some parts of the Changeling arc in DS9 may have been inspired by this episode, but who knows. All the same, one wonders how this story might have otherwise played out if given the chance, although it may be just as well that it didn’t; I think I still prefer the borg.

Remmick’s death is pretty violent for syndicated television. I suspect that level of gore probably wouldn’t make it past most network censors today. I realize that streaming has largely circumvented those kinds of restrictions now, but exploding brain matter still isn’t exactly a common occurrence, even on the newer (and notably more graphic) Trek shows.

So, are the events of this episode a matter of public record? Just before the climax, the bug-admirals indicate that they’re not far off from achieving total control of Starfleet, implying there were many other infected officers (which would support Keel’s suspicions). Is the invasion-attempt something that’s common knowledge across Starfleet (not to mention the general public), or was this all kept hidden somehow? A conspiracy this large could reasonably be expected to set off virtually every alarm across the entire Alpha Quadrant, rousing most governing bodies/empires to a vigilant search for a compact enemy that can turn almost any humanoid into an insurgent super-soldier. I dunno man, I don’t think I’d just let this one go, personally.

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