beadgirl

While we're at it, how about they have Nick take a test and learn that Kelly really isn't his son? They can give Adalind her two children, and they and her Hexenbiest powers and law degree can go off to live in Paris or something, never to be heard of in Portland again. Sigh. I keep hoping the writers will course-correct, but they aren't. I haven't watched the last three episodes, and I don't miss it at all. I do miss what Grimm used to be.

I'm enjoying them too! And Sarah, have you read Josephine Tey's Daughter of Time? That book convinced me that Richard the III has been horribly wronged by history.

Now was a good time for Blaine's zombieism to come back, huh? I kind of look forward to his revenge on Mr. Boss. And I was ridiculously happy to learn that Drake is on the side of angels. i fear that means he's doomed, though. Interesting choice to let the daughter get away with it. I forgot all about the Max Rager subplot! It was good to see Rita/Gilda/whatever genuinely afraid of Liv, however, rather than her usual smugness.

Oh God, do Nick and Adalind actually kiss? I can put up with a lot from this show, but that is beyond the pale. I guess I won't be watching this episode.

Dean goes to work for the other firm, but it becomes apparent quickly that they are just humoring his legal pretensions and want him solely to impress and entertain their clients. Meanwhile, Stewart realizes that his family was better off with Dean in the house. The two firms meet in court when they represent a married couple divorcing, and Dean and Stewart have one of those I'm-talking-about-my-client-but-really-I'm-talking-about-myself moments (with the clients saying "no, that's not how I feel about my marriage!") and they make up. Dean "rejoins" the firm and moves back in, and buys the lot in back of Stewart's lot so he can build his dream house. But watch it if you can, there were lots of great, silly moments. I really adore this show.

If that's what they were going for, I have a suggestion for even more control -- make your own pizza. It's super easy, especially if you have the foresight keep a few balls of dough in the freezer. But I'll admit I'm biased because I live in NYC (and I'm a decent cook), so there is never ever a reason for me to buy Digiorno or even order from a place like Papa Johns or Pizza Hut. The Pepperoni commercial needs to get off my TV now now NOW. It's AWFUL. I'm not a snob about songs used for commercials (I've discovered some great music that way), but this is unacceptable.

Was he a known sex offender at that time? Or was he just one of many neighbors and local people? Maybe she only killed as a last resort, once she was in danger of being found out. At the time she attacked Mina, she may not have thought she'd ever have to kill someone. It's like Holmes said -- she was just trying to stall them for two weeks, until she had access to the trust. There have been real-life cases of people pretending to be missing children, and the family clinging to the deception despite even more obviously hinky circumstances. It's baffling to me, but I guess the family wants so desperately to believe the child is back they overlook all manner suspicious details. All this said, I am still mystified as to how she found Mina when law enforcement couldn't -- assuming she was telling the truth that she first learned about the case and got the idea for the fraud from an anniversary article. I suppose she could have run into Mina first, figured out she was abducted, and then upon investigating learned about the wealthy family, but that seems equally improbable. Also, I think she was unduly confident, with her whole "I've never committed a crime; you can't prove the murder because I have six explanations for it." They may not be able to prove the murder, but they sure as hell can prove fraud -- her deception to the parents. And that carries actual jail-time. Unless she's hoping to get a suspended sentence with a sob story about a horrible childhood and wanting to belong to a loving family? Regardless, she is a wonderful character, and I really hope we see her again. Interesting, too, to compare her to Moriarty.

Mike's pontificating certainly got tiring (in general I wish TV villians would stop philosophizing so much, they do it poorly), but I think in his case it serves as a character beat, rather than the writers showing off. Others have commented in this thread and elsewhere about how hard Mike works to show his erudition, as a consequence of the racism he experiences.

Yes, the bad girls were punished. The woman who facilitated her husband's criminal empire for decades, who tried to take over for him when he was incapacitated, who ordered a gang war, who raised psychotic sons, was killed. The teenager who's idea of rebelling against her father was to sleep with an assassin and then give him the information he needed to kill her father and the rest of her family was killed. The woman who manipulated another woman and tried to seduce her in sneaky and underhanded ways was killed. And the woman who ran over a man and drove home with him stuck in the window, still alive, will be punished for that. Almost all the bad boys were punished, too; and even the two who escaped -- Hanzee and Mike -- will be punished eventually, by Malvo or corporatism. Is the punishment because of patriarchy, or because of the objectively bad things they all did? Here's the problem I had with Peggy's victim speech: yes, 1979 was in some ways worse than our current era with regard to gender issues. But still there were women who chose not to get married or have kids, there were women who became doctors or lawyers or business managers or artists or professors, there were women who became housewives without giving up their identities or personalities and without worrying about whether they were rising above their "station." Peggy didn't have to be a victim; she could have made for herself the life she wanted. The fact that once things began going pear-shaped she took a lot of initiative shows she was capable of it, as Eyes High mentioned.

I disagree. A lot of what Peggy was saying was generally true, but Peggy herself is responsible for the mess that is her life -- her failure to get her act together, to actually talk to Ed about what she wanted, to think about the consequences of her actions, and so on. A lot of people really did die as the result of her choices, so for her to blame the patriarchy for the way her life turned out was a bit much. I laughed at Mike's fate; it seemed like a twisted version of the last scene in Working Girl. The episode in general was anticlimactic, but there were some lovely moments. And that guy (forget his name) turned out not to be such a shit cop after all.

This was a surprisingly sweet episode! I love that they gave Bart's future selves nuance, rather than making him a "comedic" loser type.

I will forgive all the Juliette nonsense of the past year (including the wig) if she puts an end to the *gag*Nick and Adalind pairing*gag*. I spent a good part of a commercial break trying to figure out how the Resistance and the Royals fit in with HW (given Meisner), but apparently the writers asked us to forget about the Royals?

I don't know what you guys are talking about. That's a picture of Adalind making some evil threat to Nick, and Nick thinking he's going to take her out once and for all. That's my story and I'm sticking to it.

I did. My brother helped narrow down the initial field and recommended a few makes and models, then I looked into them -- their safety ratings, handling, comfort, bells and whistles, pricing, etc. Still have that car 14 years later (and good thing my research paid off, because I can't afford a new one now!). Love love love the Temptations kitty treat commercial, with Elton John plaintively singing "sorry seems to be the hardest word" while cats endure all manner of ridiculous holiday outfits (my cats were lucky I only put bows on their collars). It's been a long time since I actually laughed out loud at a commercial. Here it is! https://www.youtube.com/watch?v=wMH4xmOeKxc

From your lips to God's (or the writers') ears. Followed by Nick saying "We can have a truce for the sake of our son, but we will never be friends, and if you do something evil again, you are dead."

I fully expect Floyd to be the only surviving Gerhardt (except, I guess, for Charlie), and to be broken by the experience. Is it foolish to hope that the authorities will go easy on him? I absolutely think people should pay for their crimes, but he is also a textbook case of someone who can reform and lead a good, productive life. Peggy will skate, because she is so utterly clueless of the destruction and ruination she has caused. Ed I think will die, and Peggy won't shed a tear for him. I am interested to see if Hanzee escapes his life. Mike, I think, won't, although whether he dies in the massacre or off-screen because of the way he bungled his task, I don't know.

Perhaps she should have researched how to drive. That's awesome!

All milk substitutes are wrong and gross (in my opinion), which is why I loathe those almond milk commercials -- some are like drinking candy! -- but that's for another thread. I liked how grumpy he was about the meal (I'd be, too, although I'd keep it to myself), and how the family took it in stride, and how he joked about the ornament. I've never understood the car Christmas present thing at all. Don't people wait until they need a car to get it, whenever in the year that happens? Don't people heavily research safety and needs and prices and extras when deciding what car to get? Don't people spend time working out the financing and payment structures? And would you really want to take on a new monthly payment during the month you will most likely be spending more than usual?

I keep checking the spoiler and media threads, hoping for a tweet or clue or rumor from the show-runners that no way are Adalind and Nick getting together, but no luck. I then watch this show and see stupid cutesy scenes between them, and get my hopes up when Nick roots through her drawers -- he'll find her journal recording her evil master plan! -- but nope. This plot element, and it alone, may be what stops me from watching this show. Yay, Trubel! I knew the daughter was the killer (typical tv-feminist twist), but I was pleasantly surprised that her father was expecting her to do that, and wanted her to take over his business, not marry some dude.

I'm assuming it's a Wesen uprising to "reveal" themselves to the world. I'm having a really hard time getting back into this show. I can accept what they did to Juliette's character, and the killing of Kelly, and the burning of the Winnebago, but a relationship -- romantic or friendly -- between Nick and Adalind is too much. I don't care if hexen powers turn people nasty; she is still accountable for her actions, and I am repulsed by Nick, Rosalee, and the rest just glossing over what Adalind has done. No kidding. Even if the involvement of the police required Nick to go through normal channels, she should have still let the Council know, so they could intervene discreetly. They could have still gotten them into the cult (maybe there's a mole on the Council!), but even a sentence from Rosalee or Nick along these lines would have made sense. It really would be a problem to have Wesen teenagers completely unaware of Wesenness loose in the system.

Yeah, I noticed that too; we'll see what they do with him the rest of the show. It'd help if he weren't the only Native American character. I have a feeling Ed is doomed, but Peggy will skate. And her boss! It's remarkable how she can be so right and so wrong at the same time. Jean Smart is just magnificent in this role. And I could listen to Offerman talk all day. But if I start praising all the actors, this comment will be paragraphs long.

As with the show and the more recent movies, I feel like the writers start to generate some actual plot and tension, but then back down and keep everything fuzzy and non-threatening, which is a shame. It is possible to tell a story that is comforting and pretty while still engaging and dramatic, but the writers seem to be holding back too much. Add actual magic! Add people who don't get along but aren't therefore good or evil! Decide once and for all if Abigail (that her name?) is a bitchy foil for Cassie or a genuine ally with a different way of doing things! Give Cassie a flaw or two! Generate realistic happy endings, not total wish-fulfillment endings! Allow conflicts to go beyond an episode or movie! There really is potential with this series; it's a shame we aren't getting it.

No kidding. Given the choice between climbing into my own grave or rushing someone for suicide by, uh, gangster, I'm going for the latter. I might even get lucky and escape! I think so, too. What I have been wondering about is how she feels about everyone else. I think she does have some affection for Ed, despite the fact that she would not hesitate to use him or ditch him if it were for her own advantage.

I watch them, but more because of Tom Selleck than out of love for the movies. In fact, I don't know why Selleck's characters lately have been so dour (Stone movies) or self-righteous (Blue Bloods), given that Selleck himself can do wit so well. Let the twinkle in his eye out, people! I liked October Kiss quite a bit, too, although I do think we needed more scenes of the two leads alone together. Ashley Williams was very good, I agree -- she's got the right vibe for a Hallmark movie, but she also brings talent and intelligence to the role, which not all actors in these movies do. As for Christmas Land -- maybe Hallmark should focus on fewer new movies every year, and re-air the really good ones from the past.

I love when little-girl Lisa shows up. But she stole my Halloween constume! The adult Halloween song was brilliant, so on-point. Actually, that was Eddie and Lou (and I squeeed too). Lenny and Carl were dressed as Kang and Kodos.