quangtran

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.

"She's a reality star...she didn't come here to make friends." Seems like I'm the only person who found this line funny. Anyway, one thing I think that didn't ring true was the reveal the Fuckbuddy Mountain and all reality shows are completely scripted, which in reality isn't actually true. This matter made the news when the recappers from TelevisionWithoutPity (the precursor to PrimerTimer) revealed that that they were hired as scripters for America's Next Top Model, where they'd looked over existing footage and wrote full scripts around that as if it is an episode of Lost. So yeah, these shows do have writers, but the contestants aren't in on it.

Yes, that is correct. Shannyn Sossamon (Hawaiian and Filipina descent) was initially cast as the lead, but her first table read didn't go well so they cast Elodie and changed the character's ethnic background to Cambodian to match the actress. Incidentally, they also did that in Daredevil, where Elektra was always white-Greek but when Elodie was cast they later changed her backstory she that she's Asian/French. Anyone else get Lost flashbacks when seeing Naveen play a guy pining for a Nadia?

When all the critics mentioned a twist in the first episode, it became easy to figure it out because Steven Levitan did family related twists in the pilot of his last two major shows, like the main news anchors having a kid in Back To You and that three families in Modern Family actually being one big family.

This made a bit more sense in the comic, and they show sliced out an important punchline. There, Chantal (not Zelda) falls in love with a sentence and they are the perfect couple, but she cries when she realises she can no longer read. Interestingly, the book she is holding has a "z" on it. In the book, Rose spells out how she views all of their dreams, and I'm curious as to whether newbies think the show properly visualised these meanings. - "Chantal, dreaming intricate, self-referential loops, trying to reveal nothing of herself to herself." - "Zelda, still fighting old battles, the little girl lost in the woman whose heart she shares." - "Ken's churning world of money and sex and power." - "Barbara's rich dream-life, more valid and true than anything she feels upon waking." - "Hal's endless quest for identity and love."

Britney was/is an empty shell of a person long before her conservatorship was in place.

I always got the impression that Maddoc ended up worse. Before he lacked inspiration, but afterwards he lost all ideas altogether.

Hmm, I'm curious as to how other non-readers will review this ep. Even though the stories are 90 percent faithful to the text, I feel like a lot of the dark moodiness of the comic has been stripped out of the some of these episodes. The harsh shadows in the book did a lot more to sell the horror than the blue tint in the show. As for the acting, I mostly didn't mind the actresses who played Rose and Lyta despite the many complains from viewers and critics, but for this ep could have used a more experienced actress to sell the sad plight of Calliope. I don't get the impression that this was the message, only because Neil himself has been an advocate for diversity in this very show.

Seriously, I was confused with that scene because I thought Hal was kissing Ken. This makes a lot more sense. Back on topic, I think if they intend to finish this series properly then they should plan this as a 4 (maybe 5) season series, because I don't have faith that they'll keep this on the air for that long unless it is a monster hit. This will mean only telling the favourite standalones and I agree with the person above about cutting A Game of You.

These changes likely are the results of the demands of modern storytelling. Modern girls aren't allowed to be damsels anymore, hence why Rose was a lot more empowered, was able to fight off the muggers this time and has given more agency in the story. Audiences and critics are also more conditioned to expects high stakes, hence Dream has been disempowered somewhat and Corinthian's blade managed to injure Dream this time and there was a threat of Rose taking his role.

I don't think this is true, because 1) Jesse Alexander was the showrunner of the second season of American Gods and 2) Fuller departed from most of his shows due to creative differences (The Vampire Chronicles, Amazing Stories, American Gods and ST Discovery).

I'll have to disagree with both these things. Bottle episodes are usually one set affairs written to reduce costs, while 24/7 was still a pretty expensive and effects heavy episode. Seconds, Sandman is a series made up of often loosely connected stories, so calling them "filler" makes them seem pointless when they are the point in the first place.

I'd say no. Virtually every celebrity creator has favourite actors and a distinct style of writing, and the few negative tics from their style usually comes with a lot of positives that made them famous in the first place. Palladino characters are talky and annoying, but their shows are charming and heartfelt. Shonda shows are talky and over-the-top, but they are romantic and addictive. Damon Lindelof shows are often frustrating, but they are ambitious/innovative.