alrightokay

I think my favorite part of tonight's episode was Mrs. Hernandez telling Paula she was a good person. The instrumental to "I'm a Good Person" played, and it was like Mrs. Hernandez was singing. That was a lovely moment. Otherwise, this episode was a bit disappointing. Greg was right to be upset, and I think he came around too quickly. Josh was sweet and earnest, and I was glad he tried to do the right thing here, but I was frustrated that Rebecca only heard what she wanted to hear. Finally, I think we don't need to meet any more of the coworkers at the law office (the tampon lady wasn't very funny, and they gave her the tag at the end). Let's get to know Neighbor Heather and White Josh better. Or let's shift to the people at Aloha Tech. ETA: There was one other part I liked: how many times a character said, "Bu-bu-bu-bu-" to shush other people (I'm not sure how to write it out, but I swear, I think every major character made that sound tonight).

I loved this episode, especially the unexpected ending. The only thing that didn't ring true was how awed Dev was by the vows said by the marrying couple. I thought they were kind of cheesy, and I would have expected Dev to roll his eyes at them. (I was hoping that the vows would turn out like that speech given by Grant in "Plan B" about how wonderful it was to be a dad: pretty words that hid a darker truth. But here, they were taken at face value, I guess to kickstart Dev's insecurities about his relationship with Rachel.)

This is the episode with the "firm wedge," right? That part was hilarious. A great, well-acted episode, all around.

Santino Fontana's also going to be in Shades of Blue with Jennifer Lopez. His role will probably be small, as you only catch a quick glimpse of him at 1:19 in this trailer: https://www.youtube.com/watch?v=befGQC1iMgI#t=81

Heh, Angry Birds would have been appropriate, as many people have compared Capaldi/Twelve to an angry (but adorable) owl (Google Peter Capaldi owl, and you'll see the pics).

Right--that's really troubling, if that means that even more people have died than we saw in this one, final rebellion. The only way I can reconcile this with the Doctor's motto that he "saves people" (from "The Girl Who Died") is that saving the 7 billion humans and 20 million Zygons on Earth is worth the maybe hundreds or thousands that died in these 15 rebellions (still a grim thought, though). OR, that the 15 times this has happened before only refers to the showdown with the Osgood Boxes--so the Doctor has had this conversation 15 times already as part of this one and only rebellion, wiping everyone's mind each time until this final round, when they get it right. PCTA said: The Doctor did say at one point, "I'm 2000 years old, I'm old enough to be your Messiah." So the Christian connection is there. And I just realized, Jesus was a hybrid--part human, part divine.

I agree with your reservations about this episode. I don't think the story really held together; the acting saved it in the end. To be honest, I liked Capaldi's quieter moments in the episode more than I liked the big speech itself (as good as it was). For instance, I loved the calm, nonchalant way he said, "Thanks," when Osgood said that if she were invading the world, she'd kill the Doctor first. Or how, when she noted that this was the first time she'd seen him smile, he said, "Dazzling, isn't it?" And his pensiveness when Clara asked how it was to think that she was dead--that moment seemed to "show" more than "tell," while the big speech was a lot of "telling." But if the big speech is what will finally win over those viewers who've been ambivalent about Capaldi, then so be it, because he definitely deserves the love (and has deserved it since S8).

Watched all 10 episodes--the series, as a whole, gets better and better as it goes along, because we get to know the characters and the actors become more confident, comfortable in their roles. And while Aziz's character can be snarky, selfish, and superficial at times, he's ultimately decent, and there are some truly moving moments in every episode. I LOVED Episode 4 ("Indians on TV")--incisive commentary there on racism in the TV industry--and then the last three episodes, "Old People," "Mornings," and "Finale," which were so sad and lovely. "Parents" (Episode 2) was also really good, though I would have loved even more flashbacks to the parents' childhoods/young adulthoods. Highlights (without being too spoilery): The Sickening! The Sickening! Anush cracked me up with his exercise mania and then his showing up in such a visually funny moment later in the series. Alfred the Ghost and Baby Justin Colin Salmon and Shakespeare The actress who played Rachel's grandmother--wow--amazing. Paro started out creepy but ended up adorable and so necessary. H. Jon Benjamin was fantastic as the fellow actor on set, who gives such honest, wise advice. Sidenote: I'm a huge Flight of the Conchords fan, and as I watched Master of None, I sensed moments where Aziz's show was sort of a natural "evolution" of Bret and Jemaine's show. (BTW, Aziz was in the "Drive By" episode of FOTC.) While Bret and Jemaine were two hapless immigrants (befuddled New Zealanders), trying to figure out love, friendship, and work (and in their own off-kilter ways, they addressed issues of racism, assimilation, and masculinity), Aziz is the "second generation" comic who's exploring the same issues but who's tech savvy, culturally assimilated, and blessed with more opportunities/options. A nice connection, besides Aziz himself, is that Todd Barry (the director of The Sickening) appeared in both shows (playing a jerk in both, as well!). I also thought I saw Murray's office in a scene in Episode 4, with Ravi and Aziz sitting in the same chairs Bret and Jemaine used to sit in.

I thought this episode did a great job depicting the bitterness Asians and Asian Americans feel toward Long Duk Dong. (And given how much Louis loves John Hughes movies, that humiliating stereotype must have really hurt.) The episode also conveyed how hard it is for any person of color to "represent" their race, and how you feel "damned if you do, damned if you don't." Quite a "meta" subject to tackle, since Fresh Off the Boat itself has had to deal with accusations of not "representing." And I think that they were trying to make their point clear in an uncomfortable way by putting that Bill Cosby joke in there.... The "Are we dating?" story was cute, though the acting was a little stilted at times on the part of some of the kids. I still think Dave is the funniest ("What if I'm afraid of horses?"), though Brian (the littlest guy) is the best actor.

Lots of praise already for the "Settle for Me" number, so I'll talk about other things I liked: Greg had an umbrella ready for when it started raining during the Taco Festival. I liked how Greg and Rebecca made up after their mini-fight--that was amazing (before she left with the man-bun guy). Also, I'm not remembering it accurately, but Greg's line, "How could guys with man-buns know anything about authentic food?!" cracked me up. I also liked Josh's subplot--there was something poignant about him feeling trapped at the radiology lab, a job his dad called a "healthy" choice, even though they had to wear layers and layers of protective gear to keep from getting cancer. I'm glad he eventually got the Aloha Tech job, and it seems like a workplace that will give us a chance to meet more characters. The show's doing a good job slowly introducing new characters and making them seem "lived in." For instance, Heather, the neighbor, has become more likable and intriguing. For some reason, it felt sweet when she called Rebecca "Kiddo." And Rebecca's essay, which she tossed off in less than 5 minutes, with its references to Kafka, Harper Lee, and Go Set a Watchman, was hilariously wrong for the job Josh was applying for.

I think I have to see Part 2 before I'll know how to feel about this one. I loved the X-Files-ish vibe of the episode, what with New Mexico being one of the settings and Kate looking all Scully-like. Unfortunately, Kate was so inept here, telling Zygon-Clara all about the anti-Zygon toxin and how few troops they have dedicated to this project, and then going to NM all alone. (Is it too much to hope that she wasn't really "Zygonned" and that she's pulling a fast one on Bonnie over the phone at the end?) Nevertheless, I liked the connections between this story and real-life current events, as heavy-handed as it sometimes was, and I thought the Zygons' new weapon of being able to look like loved ones from a person's memory was chilling (if a little awkwardly acted). And while I had thought that Osgood was only amusing before, when she was a Doctor super-fan, now I think she's fascinating--her whole speech identifying as a hybrid, fully embodying the "peace," was beautifully acted and thought-provoking. Now I can see why people wanted her to be a Companion--she and Capaldi have a nice rapport. On a side note, It was fun seeing Rebecca Front and Peter Capaldi together again (they costarred in The Thick of It), though it was too bad they had to be so serious the whole time--just one witty or snarky exchange between these two would have been lovely. (I was also disappointed last series when they never had Chris Addison and Capaldi do a scene together.)

I think I like Dave the best out of Eddie's friends--his love of the Traveling Wilburys was so random but so right. And Evan and Emery's "Silence of the Lambs" costume was too adorable.

I thought that he did check in on Ashildr once--we don't know when this happened, but didn't he say that the last time he saw her, she was starting a leper colony?

Ooh, ooh! (Raises hand to prove Who-nerdery) How about "The Shakespeare Code," which would have taken place not too long before this episode (at least in Ashildr's timeline)? That episode had "witches," and Ashildr herself was accused of being a witch--maybe she helped to inspire Shakespeare's Macbeth? :)

I thought it was fantastic--much better than last week because Maisie Williams was given much more to do, and she did it all so well. And Capaldi was wonderful here--grave and compassionate during the long, thought-provoking conversations. The discussions of immortality were so powerful because they shed light on the Doctor's loneliness, especially Twelve's. I also loved Sam Swift, who seemed like such a throw-away character at first but then became crucial for teaching Ashildr the importance of loving life. Finally, the coda with Clara was quite moving. Except for an unbelievable villain and some silliness in the action sequences, this was one of the best episodes ever, I think. Nice moments: the Doctor's willingness to pun and banter (despite his dislike of these things) to save Swift from hanging; the Captain Jack reference. Great visual joke: the Doctor's "Wanted" poster, with his huge, fluffy hair.

He's anguished over losing Ashildr and thinks that, as a Time Lord, he's doomed to keep losing people. He then flashes back to when he (as Ten) saved the family from the volcano eruption in Pompeii (Capaldi played Caecilius, the father, there). He realizes that he chose Caecilius' face for his Twelfth incarnation to remind himself that he can save people, and he's thus motivated to bring Ashildr back to life.

Oh dear, this episode was crazy. Too much going on here, and too much silliness that overshadowed some really profound moments (I did like the Doctor's private conversations with Clara, especially the part where he realizes why he chose this face). I generally love when Capaldi gets to be funny, and he was great at being sarcastic and putting down the Vikings (and the rest of the universe); but it seemed like this episode was trying too hard to be funny, when it needed to be more subtle and moving. I usually enjoy the comedy style that this episode was trying to emulate (Monty Python and Benny Hill and all), but it's hard to say that that kind of comedy has "heart." Doctor Who is supposed to have heart. Because this story was so ridiculous, I found it hard to care for Ashildr and her new existence at the end. It's too bad--I loved Jamie Mathieson's episodes from S8, "Mummy on the Orient Express" and "Flatline," but this one fell short.

Jeremy Lin popped up in Louis' flashback to his days watching Pretty in Pink at the pizza-table-making factory. Lin was working next to Louis, making fun of the "sad red-haired girl."

I love Eddie's group of friends--they were so cute figuring out their dance moves, getting haircuts (the frosted tips!), and generally supporting each other (or copying each other, in the case of Dave and the smallest kid). And it was so sweet how Eddie got to dance (or mosh) with the girl from piccolo class. Aww! Interestingly, this was the one episode where I wasn't as interested in Jessica's plot line, though I found Honey really endearing in her love of horse murals and her sudden worry over her mom. Loved the Jeremy Lin cameo, too! BTW, did we ever find out the big announcement Louis wanted to make to his crew at Cattleman's Ranch?

Here to echo the Santino Fontana love; in addition to being Hans in Frozen, he was also the Prince in the recent Broadway production of Cinderella, and here's a lovely video of him and his costar singing in Central Park.

Not as strong as last week's episode, but some enjoyable moments in there. I loved the image of the Fisher King looming above Twelve, but their showdown seemed to get resolved too quickly. I wish O'Donnell hadn't died; she was a fun character, more interesting than Bennett. And the kiss between Cass and Lunn felt shoehorned in. Still, I do think the acting has been excellent all S9, and Sophie Stone, the actress who played Cass, was especially good (loved the scene where she tells Clara off for convincing Lunn to get the phone). The part where she walks down the corridor, unable to hear Moran dragging the axe behind her, was really well done. I also liked the eeriness of the Soviet-style town--the imagery was so evocative, I wonder if, besides the fact that the TARDIS landed in 1980, there was a thematic reason for the set decor. The pre-credits scene wasn't necessary, I think--the Doctor didn't have to tell us about the bootstrap paradox in order for us to get the timey-wimey-ness of this story. It might have been better to give that extra time to the Fisher King, to make him scarier/more threatening. Still, I love Capaldi so much that I'll watch him do anything, even play Beethoven on the guitar. I did like the "tour" of the TARDIS we got there, as Twelve walked around the console room, up and down the stairs, past the shelves, etc., picking up items , putting them down. BTW, I think the DW theme song is better with the guitar flourishes--I hope this version stays!

At first, I was worried that the whole "Asians are cheap" angle would become offensive, but the episode got better and better, capped off with a wonderful turn by Shaq himself. I loved the callbacks to past episodes, including the Chipwiches that Louis and Jessica casually pull out to eat while giving one of the car dealers "the silent treatment." The "Shaquila" bottle made me smile, as well as learning the real reason the doorframe to Shaq's office was so scuffed up. And the Beanie Babies/Hot Dogger story with the boys was so sweet (Evan's quite the painter). So far, I'm loving this season.

The TARDIS also tried to avoid/shake off Captain Jack in Utopia (S3), going all the way to the end of the universe to get away from him (but good thing she couldn't shake him, as Jack was delightful interacting with Ten and Martha). Speaking of Jack and other former Companions such as Donna, I agree with others that it would be fun to see them working with Twelve, as I think their sass would bring something new to the Doctor/Clara dynamic. I actually wonder if "Under the Lake" and "Before the Flood" were written with a new, naive Companion in mind, since Jenna Coleman was thinking of leaving at the end of S8. There was really nothing that Clara did in "Under the Lake" that was particular to her except for the cue cards part and the TARDIS conversation about finding a new hobby/relationship--as both of those scenes felt a little shoehorned in, maybe they were added to the script after Coleman decided to stay? (That might explain how awkward they felt? I actually liked the jokes in the cue cards, but that moment felt jarring, given how confident and in-charge the Doctor seemed in the rest of the episode.)

I thought this was a good ending because the Doctor can't be dead (at least not for long), so that means the ghosts aren't really ghosts, or, he'll figure out a way to bring them back to life (because he has to come back to life), and I'm eager to find out how. It's better than the Missy/Clara cliffhanger in "The Magician's Apprentice," where we could figure out pretty easily how they survived the Dalek blasts. That was a great moment--I love that Twelve is done with the self-doubting and thus able to "take charge" this series.

I liked it! It reminded me of Classic Who in the best possible ways: the Doctor was dynamic and confident, the Companion was active and supportive but didn't steal the spotlight, everyone worked together to try to solve a mystery/crisis, and the cliffhanger was actually surprising. Some parts went by a little too fast: how did the Doctor realize that the scratchings in the spaceship were "magnets" or a "song"? I also didn't understand the short conversation Twelve had with Clara in the TARDIS about her starting a new relationship, etc.--was that to acknowledge that Clara got over Danny a little too quickly? Was Twelve just trying to convince her not to go back to the base in order to keep her safe? In any case--that was a fun, well-acted episode that didn't seem to try too hard, and that's why it was so good.