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  1. I did! I totally forgot about Lena! (Geez, and I love Katie McGrath...)
  2. Late to the party and haven't read thread, so excuse me if I repeat anything... I liked it, though pilots are always a bit rough. They have to set the tone, introduce the characters, establish relationships, story-arcs, etc. It did the job. Lots of things seeded that'll be explored later in the season; mainly the disappearance of Bruce/Batman, the identity of Alice as Beth, and the inevitable death of Sophie's husband in such a way that she'll end up blaming Batwoman, who will be guilt-ridden over not saving him and compromised by her feelings for Sophie - hey, this writes itself. I appreciated that so many of the cast are women: the protagonist, the villain, the stepsister, the step mum, the love interest... That's the thing that kinda bugs me about Supergirl: there's really only Kara and Alex in the main cast (and more recently, Nia) amidst a slew of male characters. Female relationships are just as important as female protagonists, and to do that you need more than one. Of course, they compensate by giving our female protagonist Daddy Issues. *sigh* Re: Batman. You know, if a vigilante who regularly fights master criminals suddenly and mysteriously goes missing, I think it would be very safe to assume he's dead. Of course, he's NOT, but in-universe, they definitely wouldn't have been saying he's "missing" or that he's "abandoned Gotham." He's dead, guys. (Except not). I think I'm going to enjoy Mary, especially since she's channeling Bruce: a flippant, superficial exterior hiding deeper altruistic motives.
  3. Well, I stand corrected. I'm glad it worked for people, but I still wish they'd pulled a Captain Marvel with Natasha and just left her romance-free. She already had a great atonement/found family arc.
  4. I'm surprised no one has mentioned all the MCU films, which are consistently terrible at a) villains, and b) romances. They got better with the former, but not the latter. Tony/Pepper are easily the best of the bunch, followed by Steve/Peggy (though I know people preferred them as "ships in the night" that were tragically parted; a dynamic that was upended with the conclusion of Endgame). Gamora/Peter also seem to be reasonably popular, though Peter's man-child persona exhausts and irritates me. Peter/MJ? Cute, I guess. But everyone else... Thor/Jane? Meh. Scott/Hope? Meh. T'Challa/Nakia? Meh. Wanda/Vision? Meh. Strange/Rachel McAdams? Meh. Does anyone even remember Bruce/Betty? There's nothing overtly bad about any of them, they're just profoundly uninteresting. And of course, Natasha/Bruce, the most inexplicable and out-of-nowhere ship of the entire franchise. It's telling that after Joss Whedon introduced it, the Russo Brothers/Taika Waititi barely acknowledged it in subsequent films. No one cared, not the writers, not the actors, and not the audience.
  5. Long time lurker: I was pretty happy with this. It reminded me a lot of the finale of "Orphan Black" in that the bad guy wasn't that interesting and so got taken out relatively quickly so the finale could concentrate on the dynamics of the cast and their final send-off. In hindsight, this season spent WAY too much time on the prison ship; time that could have been spent with our supporting cast of characters. Surely Pree, Fancy, the Warden and Turin could have been given something to do, especially after all the trouble it took to get them de-brainwashed by the rain. That goes ditto for Jaq, especially if you look at his involvement in the show as a whole. Was he even that necessary? What exactly was his purpose? To be a permanent host-body for the Lady? (That's more of a rhetorical question, since I found most of the plot on this show to be impenetrable. The Green? The Hullen? I just went with it). Pip's return was the world's weirdest asspull, but hey - whatever. It made Zeph happy. Dutch and Johnny's goodbye was lovely, and like others have said, it was an elegant way of splitting the team up without it being for good. As he said, there's always going to be more to do, and this demonstrated more adventures are to come, together and as individuals. All things considered, it was an interesting choice to focus more on Dutch/Khylen - and I loved the return of the red box with the human Lady: only this time she gets a doll. So many implications there, largely to do with Dutch giving her a chance to be someone she never was. Despite what she said ("Khylen taught me never to kill what I need") the doll made it clear this was Dutch at her most merciful. Delle Seyah Kendry gets away scott-free. Not sure how I feel about that, but then "redemption equals death" is a pretty lazy trope these days. Pree/Gared made it to the finish line! I had faith in this show given its track record, but still - too many writers/showrunners just can't resist killing off one half of a gay couple. One little touch I liked that some may have missed: Johnny says he's going to find Clara. Nice to hear her namedropped, even though she and her cohorts were probably the biggest dropped thread of the show. Never much cared about Dutch/D'avin as a couple, but hey - they're happy, so I'm happy. Gonna miss this crazy little show.
  6. I don't mind the presence of Ewoks in Return of the Jedi - in fact, I kinda love them. Yes, Wookies would have been a million times better (which was the original plan) but I love the idea of the Empire totally underestimating the "primitive" aliens species they thought they could so effortlessly subjugate, not to mention the idea of the Rebel Alliance calling on the natural world to combat Imperial science (they did something similar at the end of Star Wars Rebels, when the characters included giant bats/wolves on the planet of Lothal into their battle strategies). And yeah, I've heard the complaints that the Rebels took advantage of the Ewoks in a sort of "superior colonizers co-opt primitive savages to fight their battles" kind of way, but not only is that a bit of a stretch, but the film itself makes it VERY clear that the Ewoks are in this of their own volition after hearing C3-PO's dramatic retelling of the gang's adventures. That was such a great scene, and along with Leia's kindness towards Wicket, establishes why the Ewoks would chose to throw their lot in with the Rebels. Oh, and that moment when the two Ewoks get hit, and one gets up and nudges his friend as if to say "let's go!", only to realize that he's dead? Gets me every time. I'm a sap.
  7. And if you go further back, there are clearly roots in Greek mythology, specifically in Eris, the goddess of Strife, who threw the Golden Apple engraved with "for the fairest" into the gathering of goddesses, which kick-started a chain reaction that led straight to the Trojan War. Why'd she do it? Because she wasn't invited to a wedding. And honestly, villains who do things for petty reasons are somehow more horrifying than the ones with tragic backstories, because you can't understand them, nor win with them no matter what you do. That the Ancient Greeks had a handle on "some people are just assholes" while modern day writers are obsessed with everyone having a sad childhood is as tedious as it is depressing. Which is to say, I have negative-levels of interest in the forthcoming Joker movie.
  8. It's my coping mechanism. I have to mock it or else be permanently enraged...
  9. Well, obviously Rey heard some bells which triggered her crazy Sith genes.
  10. I was delighted that Sansa was immune to Dany's charms and unimpressed with the dragons, I was just hoping that it would eventually lead to a grudging two-way respect between the two women instead of...what actually ended up happening.
  11. Sansa will never be as needlessly cruel and vindictive as Cersei (I don't think ANYONE could ever be), but it's also naive to think she didn't pick up a LITTLE on some of Cersei's mentality that outsiders were not to be trusted. The problem is that the show ends right when Sansa's reign begins, so what kind of queen she'll be is largely left up to our own imaginations. Queen of the North is a VERY different gig from Lady of Winterfell. Here's a hypothetical: for the sake of peace and an important alliance, a Northern Lord wants to marry a much younger girl from another House. Queen Sansa knows the strategic importance of the match, all of her male counsellors are encouraging her to give her blessing, and granting this lord the boon of a young bride means he owes her a favour. But the girl in question really, really doesn't want to marry this man, who is twice her age, not very attractive, and who clearly has mercenary motivations. She's come to beg Sansa to let her off the hook. So, does Queen Sansa make the girl go through with the marriage? Or does she risk the ire of all the men around her by denying social tradition, ignoring their perfectly reasonable request, and siding with the girl for no other reason but to rescue her from what Sansa had to go through? What version of Sansa did D&D leave us with? The one who says yes to this scenario, or the one who says no? (This is largely rhetorical BTW, I'm just trying to illustrate the fact that we're left with no real understanding about what kind of ruler Sansa is going to be. In comparison, Cersei would have clearly made the girl go through with it, and relished her despair. On the other hand, Dany of the first eight-and-a-half seasons, never would have done so - because she explicitly empathized with women in this position, and had the hard power (dragons) to ensure no one could undermine her decision. When it comes to Sansa, I honestly can't see which way she would have gone).
  12. I'll give em this: the Duffer Brothers know how to do a finale. In all, this was a solid, exciting, amusing season of entertainment, very much like an eight-hour movie in its three-act structure with very little flab. There were a couple of loose ends (why were the Flayed eating chemicals? And what was the green goo in the Russian compound? Did Nancy ever write up the story for another newspaper?) a few characters/dynamics that were neglected (poor Jonathan; even his big moment in doing impromptu surgery was a failure) and a lack of proper closure (we really needed to see the community grieving for the missing Flayed - let's not forget there was a little boy among them - , not to mention the reaction of Billy's father to his son's death) but hey - it was all good. That said, I wasn't quite as captivated with season three as I was the previous two. On reflection, I think it's because there was no obvious main character or key relationship. The first two seasons it was Eleven/Mike and then Eleven/Hopper. Here the most important dynamics were Eleven/Mike/Max, Hopper/Joyce and Steve/Robin, with everyone else spread a little thinly across the plate. So for the first time in the show's progression, this was truly an ensemble piece - and yet without a protagonist it did feel a little center-less. As such, I was never truly moved in the way I have been previously: Mike and Eleven's emotional reunion after a year apart is still the highest bar the show has set for itself. Other observations: For the comments on Winona's frumpy appearance: I have no doubt that she'll get to glam up when she and Hopper finally get to Enzo's. What's an eighties-based TV show without a female lead getting the "beautiful all along" transformation scene? I didn't quite buy the calmness with which Mike and Eleven allowed themselves to be separated. Yes, a big theme of this season was growing up, and yes, the two needed to be less co-dependent, but after everything they've been through and the times they've been forcibly apart, they would NOT have handled this well. As Murray said: shared trauma. That said, I'm interested in seeing Will and Jonathan as brothers to Eleven. Will/El is a dynamic I was looking forward to this season, and didn't get much of, even though they have so much in common. Nice of the air ducts to magically expand themselves to accommodate Murray when it was a big plot-point that only a child Erica's size could fit (okay, so Erica's ducts were in the ceiling and Murray's were in the floor, so maybe that accounted for the difference. BUT STILL). The Mayor was a bit of a pointless character; largely there to get Cary Elwes in the cast - but hey, I said the same thing about Billy last season, so maybe he'll be back next time. I have no real opinion over the Robin/Steve not!ship, only that it clears the way for the potential ship I'm really interested in: Steve/Kali. DON'T roll your eyes. Just THINK about it for a minute... On that note, I hope that season four really expands itself outside of Hawkins. Obviously we're not done with the Russia plot yet, the Byers have relocated, and it strikes me as interesting that no one visited the Upside Down this season. More than this, I want to know more about El's childhood, her mother, the government facility and the other subjects there. She's Eleven and Kali is Eight, that leaves at least nine other lost brothers and sisters...
  13. So Erica finds the weapon and Dustin is the one who gets to use it? Urgh. (Sorry, still salty about the time I ran and grabbed the fire extinguisher and some douche yanked it out of my hands because he just COULD NOT allow a woman to save the day). I liked the Mike/Max argument simply because I could see both sides. Mike is right: she's been working overtime lately, and Max is right: El knows her own limits. Also, glad she got called out over spying on the boys. Not cool, girls. Trying to sell Robin as a loser nerd at high school doesn't work when she's clearly the daughter of Uma Thurman and Ethan Hawke. That said, she's just the latest in a VERY long line of stunners that films/TV tries to pass off as pathetic losers. Not buying that Joyce and Hopper wouldn't immediately be high-tailing it to Hawkins to reach the kids - heck, the fact they've spent so much time away from El and Will this season is a little hard to fathom. All these episodes are starting to blur, so maybe this was the last episode, but I liked seeing Lucas distract Max with a "can you catch this in your mouth?" competition to give Mike a chance to talk to El. That's probably the smoothest we've ever seen Lucas. Loved that Erica believed everything Dustin told her about the Upside Down... but not that her brother was involved.
  14. After complaining about it last episode, this one granted my wish: two of the groups team up! And the immediately split up again at the hospital. Ah well. This was a bit of a step-down after the last episode, as everyone regroups and shares information, and the action sequences at the hospital weren't as exciting as those at the sauna/air ducts. Jonathan should have been seriously injured by the beating he took, not wandering around. Glad both Joyce and Nancy got vindicated by circumstances, and the dudes who kept talking over them acknowledged as such. The goop is disgusting.
  15. As they say: shit got real. This was definitely the best episode so far, and I loved the intercutting between all the secret plans that were initially going pretty well: Dustin/Steve/Robin/Erica at the mall, Nancy at the hospital and the rest of the gang at the swimming pool. The staredown between Eleven/Max and whatever's in Billy was intense and frightening, so kudos to Dacre: you could really see something cold and cruel staring out of him (one that's much crueller than Billy at the best of times). Also, I'm glad the show has finally justified Billy's existence. Last season he seemed so extraneous - just an eighties Stephen King bully for the sake of having an eighties Stephen King bully. Liked Will stepping up and taking charge of the operation, though I'd dearly love to see some more interaction between him and Eleven. They're the most scarred and traumatized of all the kids, and they have so much in common (not to mention a bit of competition over Mike) so I'd like to see that potential mined. Erica reminds me of Lyanna Mormont in Game of Thrones: wildly popular in her first appearance, leading to the show bumping up her appearances, after which she's immediately disliked by audiences. I enjoyed her in this episode - girl knows how get the best out of a situation. "I die, you die," was adorable, but Steve's nonchalant reaction was amusing: it was such an over-the-top pre-teen thing to say that you can really only shrug it off. As someone with claustrophobia, I was wincing at Erica's air duct crawl and the room suddenly being an elevator. *shudder* Oh, and Mrs Wheeler finally gets to be a mother to one of her children! That was lovely, and you could see the regret in her face when she thinks of her own life choices. I hope it works out and Nancy DOES sell the story to a much bigger newspaper.
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