quangtran

Well, I think this new status quo is an improvement to whatever was written in the previous episodes. Maybe this has to do with the complete lack of Chris. Also, it doesn't make sense why they are going to great length to keep Ramona alive. Jorge knows that she tried to steal his daughter and send him to prison. Her plot armor is almost as bad as Thony's.

I swear, Chris must be one of the worst written characters on tv. This show just makes me want to strangle fictional kids.

I still think it's a huge leap that her being blandly pleasant (like she always is) is interpreted at sending mixed signals. Heck, there's barely any eye contact between the two. At least with Raikes there was an actual courtship. I don't think she is to blame, because a lot of their interactions was her being a teacher and actual family (asking Dash to walk Ada down the aisle). I guess I'm in the opinion that basic kindness should never be considered sending mixed signals, because this is why women always get victim blamed.

I'm surprised with the number of people who blames Marion for sending mixed signals, when she has never been flirty or romantic around Dash, especially compared to how her relationship played out with Tom last season.

The way I saw it, shots of her walking through her vast apartment was to contrast with her final place in the show, which is a cozy little room with all her comedy memorabilia where she watches tv with Susie. Talk of if her life is big or small seems moot because she can do both.

Yes. The official press summary for this show (since the very beginning) has been about how Midge goes from housewife to being a guest on Johnny Carson's couch. Of course there was a slight change of plan with replacing Carson with the fictional Ford, but the endgame is the same as it has been since day one. The flash-forwards are simply there to answer all the questions from beyond the 50-60's timeline. The scene at Grand Central Station was one of the few times I sided with Susie, because I do think Midge is being weirdly impatient, as if she somehow knows it's the second last episode ever. She's making good money for the first time ever, and is regularly booking additional paid gigs with her name on the marquee.

I just realized that this is the second show I've watched where a Jewish person explicitly says that happiness is for stupid people. In Crazy Ex-Girlfriend, Rebecca tells her mother that if she ever has a daughter then she'll want her to be happy (because their own relationship is strained), in which Rebecca's mother says that happiness is for stupid people because Jewish people are all about survival. Which is a silly mentality for people of privilege to believe because the Cossacks aren't coming back.

I'd say that were ALWAYS like that. People complained about how annoying the Maisels were since their introduction in episode 2.

I don't think it works that way, in that film and tv aren't homework assignments where you have to source your references, especially if it is legally distinct.

According to an AVCLUB review of the season, there is... So either it was cut from the episode, or more likely imdb has it wrong and both appear in a future episode. Emily Bergl is a singer, so I doubt she'd have Sutton sing for her.

That 4am call wasn't just an echo to her calling Suzie in the past, it was a reference to Midge (and Rose) always being obsessed that Ester grows up pretty. From their very first scene we see them worry that Esther's forehead is too big, or Rose saying that there are good surgeons in Paris who can fix her.

I'm going to have to disagree with those thinking Nadia was ever inconsistent. The casting notes specially described her as a Lady Mac type, so my take is that the writers simply didn't think the pilot was the right time to introduce that part of the story.

I think the show isn't quite living up to its potential (I don't care for Reed or Zack's stories) but I like that conflict isn't dragged out for the sake of cheap drama, and that don't resort to typical Three's Company like comedy (they could have easily worded the Timberly/Reed conversion so that it sounded like Timberly set Bree up with a man instead of sleeping her her herself). The characters are a lot less one note this way. Zack's mom isn't a clingy sex fiend and Timberly isn't an reality show airhead.

I don't think premise of this show was intended on being that specific. The "Reboot" refers to both the "Step Right Up" show and all the characters getting fresh starts and second chances, and it is that idea that has been the focus of most of the stories, like Bree's sexuality, Clay's sobriety and Hannah and Gordon trying to reconnect.

Yeah, Luca is not really a character as much as he is a never ending series of ailments used to drive the plot forward. I find myself more interested in Arman and Nadia's plight simply because Thony's stories are pretty repetitive while Fi and Chris is just a never-ending series of screw-ups.