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  1. Yes, after posting, I verified with my mother (born in 1945 in Scotland). She said peanut butter was something the "toffs" might have, but "regular folk" almost never. Her father was the gardener for an earl, and the earl's daughter introduced my mother to peanut butter and cucumber sandwiches. The whole PB&J thing stuck out to me because I grew up hearing my mother commenting on how strange it was. She made it for our school lunches, of course, but she found it odd at first. We were American kids, though... so we had our PB&J. My folks went back to live in Scotland for a while in
  2. Actually, peanut butter itself wasn't available in Scotland at the time of Bree's passage (nor Claire's in 1968), so Claire having the sandwiches is an anachronism on Diana's part too. Unless of course, Claire packed her sandwiches in Boston and kept them throughout the flight (I can't remember (been a while since I read the book)... did she do that?), and managed to keep them in reasonable condition over the day or so that she might have taken to get to the stones. I mean, are we supposed to assume she basically landed in Britain then took a taxi directly to the stones? It's a 9 or 10 ho
  3. Eh, we could just credit his hardy Scottish constitution. ;-)
  4. My pet theory is that Janet is a God, and she's getting more and more powerful in her ability to create. She can create entire worlds, now even with simulations of people (like Derek) to populate them. As the judge's and Michael's plans began to formulate, (while the Cockroaches were off to the side, wondering what was going on), Janet moved over to Michael, which indicated to me her readiness to put the new plan into motion. The moment the idea is visualized, the new reality exists. Because Janet sees it all, knows it all, and creates it all. After all the reboots, she may no longer even need
  5. For me, the difference was that Kendall actually displayed emotional intelligence and seemed to genuinely want to see if Krystal could or would be real, and connect on a friendship level. Taylor just wanted to lord her "emotional intelligence" over Corinne (who granted, was annoying as anything), but never seemed interested in actually trying to dig deeper to really understand Corinne. Kendall's emotional intelligence came across as quiet confidence and self-awareness. Taylor's came off as insecurity and credential-bragging. I enjoyed Kendall's more.
  6. Kendall vs. Krystal. Deep vs. Shallow. Knows herself vs. Knows how to pretend to know herself. Observant vs. Oblivious. Merciful vs. Catty. And last but not least: Kendall wins hands down, because finally... finally... a contestant who knows how to describe a relationship between herself and another person! Kendall wins the Pronoun Game! She's way too good for Arie.
  7. He was played by the same actor who played Randall on Black Sails. :-)
  8. I've noticed Sam's delivery too, and I think it's a combination of factors. The other Scottish actors rarely have to deliver a paragraph of lines that are meant to sound poetic, all at once. Most of them get to play off other actors, so their conversations sound more natural, in general. Add to that, the effort the writers are making of keeping some of the dialogue from the books intact, which doesn't actually lend itself to the spoken word very well... and Sam's fighting an uphill battle. Plus there's the tendency on the part of Scots (about 1/2 my family) to slowing down their speech a bit w
  9. I finally have a chance to sit down and weigh in here. Just to add to everyone's great comments. I loved it. Especially the fight between Jamie and Claire. So fantastically acted. I loved the grit, the rough edges in it, the powerful emotion. Well done! I found the reasoning for everyone's actions... Jamie's, Claire's, Jenny's & Ian's... solidly scripted and justified. When this show delivers, it delivers. I feel like they do get the angry angsty emotional beats pretty well, as writers. All in all, I'm a happy book-reader and viewer this week.
  10. We must be looking for the same things, Petunia. I enjoyed this one too, though I can understand the frustration that some are having with it. I loved all the looks from Jamie, like "here we go again, with the surgery and life-saving-thing." LOL He still gets her, in some ways. I also like the groundwork they laid, creating the sense that yes, these two are both still very unsure about how to integrate the 20-years-later-selves with the people they knew before Culloden. They still have the passion and vibrant awareness of each other. They still make each other's days more interesting. Bu
  11. Talk about over-complicating and infusing politics everywhere! Totally agree @GHScorpiosRule! Good grief. And this... "They even had a theory as to why the audience was largely older adult women." ... Their theory is all Strong Women this, Strong Women that. I'm a middle-aged woman, and for me, it's simple. I have been waiting over twenty freaking years to see these books done, and I'm ecstatic that they're done well. It has nothing to do with politics, feminism, or social-anything. It's simply that they're fantastic character-driven stories, and I like them. Of course I'd become a fan
  12. LOL Got it in one guess. And yeah... it was more complicated, but ultimately they just couldn't understand what it was that fans were really looking for.
  13. Exactly! I'm not opposed to sex. I do think this is a fairly common point of confusion in Hollywood though. So many production teams seem to think that when fans are clamoring for the depth of emotion felt by their favorite couples to be shown, that we mean "we want the sex!" I was thinking about this the other day. One of my formerly favorite shows was completely ruined (and finally cancelled (I checked out at the end of the third season, in complete frustration)) because TPTB could not conceive of intimacy meaning anything other than getting together sexually, and they were adamant that
  14. I nearly mentioned this exact thing in my previous post, but deleted it because I didn't want to get too specific with my complaints in the episode thread. But yes, yes, yes! That was the other big emotional scene that ended up feeling flat to me. I mean, eventually I got to the place where I conceded it was nicely done as they did it too... but the initial viewing left me going "wait, what? Is that it?" Sometimes less isn't more. More is more. LOL
  15. For me, looking at the show as a whole (from season 1 to now), this seems to be the point where the production team loses me most. I mean, don't get me wrong... I love the show, and will continue to watch. It's just that they rarely seem to let the emotions breathe in the scene. I know they've got a lot of plot to get through. I just get the most disappointed when it's one of these giant turning-point scenes, and we're missing the emotional depth that the scenes in the book deliver. And they promised, teased, and all but directly affirmed that this particular episode would be allowed to breath
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