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STOPSHOUTING

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  1. STOPSHOUTING

    I'm Sorry

    Agree. I absolutely adored this show in season one. Like loved, loved, LOVED. This season I'm behind and when I asked my husband if he wanted to watch one to catch up, he said no, because Savage is getting on his nerves. And while I don't exactly feel the same and still mostly enjoy this watch; I see it. Show seems to have lost the good heart it had underneath the coarseness, and is now mostly about the shock value stuff. Which, frankly, wasn't at all why I was watching. It's a tightrope that few shows do well. Catastrophe and Fleabag being the only ones I can think of, and while I'd put season 1 of I'm Sorry in that group, I can't say the same about season 2.
  2. STOPSHOUTING

    Season 5 Discussion

    I love most of the actors on this show, and Jane Fonda and Lily Tomlin play off each other so well, as do Sam Waterston and Martin Sheen, that I usually enjoy my time watching it, and laughed a good bit this season, even if series does seem to be running in circles. Maybe I'm in the minority but I love June Diane Raphael as Brianna, FOR her awfulness, with (very) occasional grudging niceness followed by subtle self-loathing whenever she allows herself to feel. She is absolutely the worst, but in a delicious and very-funny-to-watch way. And, also in a way that is somewhat organic for the character in that Briana was raised by Grace (or more accurately the nanny Grace name-checked early in the season), who is also not exactly warm and cuddly. Many of Grace's funniest lines are when she's talking about how she low-key hates her grandkids, which is very Briana-in-40-years And the beach house itself is definitely one of the stars of the show, so of course they had to get it back. I didn’t believe, or love, how they so quickly reset the series though, even if I could have listened to Fonda, Tomlin and RuPaul go back and forth for days. The stuff with the home health aide was nonsensical and, honestly, I could have done without the lasting addition of Jane Margaret. Once again, money is no object in this show, as hiring a useless full-time health aide seems to not effect their finances at all. Besides, does anyone really think that Grace or Frankie are really cleaning up all those enormous messes they’re constantly making in that gorgeous house (always whisked away completely by the next scene)? Obviously, they already have at least bi-weekly, if not a lot more, cleaning help, so it’s not like they’re actually alone, which is what the kids claim to object to. The idea that the house, with its many stairs, isn’t totally practical for women their age is fine, and I liked the line Robert put in about them buying a one-story for that very reason, but this show is so realistically impractical when it comes to all things money-related (how a house sale works, how people pay for things, who needs to work or doesn’t), it’s almost weird when they bring anything approaching reality into it. Honestly, I'd be better able to suspend disbelief about the finances if they weren't sometimes relevant, and sometimes not. Like, money matters when it's Coyote paying them back, or Say Grace going under; but not when you're talking about undoing escrow, or hiring a helper for upwards of $50k/year. This might be one that’s better not to binge, because by the end I was so exhausted by Frankie and all of her destructive schemes that I was basically rooting for Grace to leave her forever. Like, what did Grace do wrong? Take two weeks for herself? NOT plan someone else’s wedding with vague instructions and no guidance? Refuse to destroy their business? Also, "all the way up shut fuck mountain, where there are no fuck ups to shut" is an instant classic. No question. Lastly, no way in any reality, alternate or otherwise, does the elegant Grace turn into a tacky Patio Princess, no matter how much I enjoyed the (let's face it, skillfully altered, but not all that altered) face and George Hamilton guest appearance. I think it was more cleverly poking fun at Fonda's own seeming transformation from free-wheeling hippie to conservative cowgirl when she was wed to Turner. Both Fonda and Tomlin look fantastic, and I do think Fonda WAS in on the plastic surgery gag ("once it settles in"), but there's no denying both have had a lot of work done. Good work? Hell, yes and more power to them! But it's more than a "little" work, that's for sure.
  3. STOPSHOUTING

    Friends From College

    Except they're all supposed to be the same age/graduating class, except for Smulders, who is supposed to be two years younger (freshman when they rest were juniors).
  4. STOPSHOUTING

    Friends From College

    I can't believe I remember this, but they did discuss this in season one, where it was said that Sam wanted to keep her relationship with Ethan just a friends-with-benefits hook-up, even though he wanted to get serious, and then he met and fell in love with Lisa, bringing "the froshie" into their group, and Sam probably had some regret that he was able to move on…Also, probably more why she kept sleeping with him for so many years—that same ego feeding feeling of being wanted—than anything even close to actual love on her part, which I think we still saw portrayed this season. She was with Ethan because she didn't want to be alone. She wanted to feel wanted.
  5. STOPSHOUTING

    Friends From College

    You can not track conception to the day like that; that's a BS plot point. They use date of the last period, plus ultrasound measurement, and that can usually get within the week. But conception can take place across a 72-hour period, so reliably nailing it to the exact day is not a thing. They can test for sex and DNA if you have some genetic testing, which as she's 35+, they would likely be doing. (Aren't the characters supposed to be, like, 40-something? Again, the disparate actor ages vs same character ages are very confusing.)
  6. STOPSHOUTING

    Friends From College

    I didn't hate season one nearly as much as critics, and I kind of loved season two and watched it all in one long snow day gulp. This friend group, in particular the incredibly funny Fred Savage, with an extremely great performance by Billy Eichner as his saint of a fiancé, really cracks me up. They don't seem real (the actor's ages alone are a logistical nightmare for a group that supposedly all attended college together), and they're definitely terrible for each other and the world, but they're also really, really funny. I think they gave Jae W Suh so much more to do, and I love it, and the entire opening with the "yeah, everyone said that was a shitshow" meta reference to season one was gold. Bless my '90s girl heart, I really loved it.
  7. STOPSHOUTING

    The Ranch

    So, I would like to think this season (or "part" in Netflix parlance) for getting me out of an abusive relationship with this terrible, unfunny and ultimately depressing show whose highest praise at any point in its run was, 'Meh, it's fine I guess?' My husband travels a lot, and I try not to watch things we both like when he's away. Somehow, this has resulted in me seeing, up until now, every episode of this utterly mediocre, at best, show, thanks in large part to fond feelings about the non-Ashton Kusher/Danny Masterson cast members. (Growing up, my mom absolutely adored Sam Elliott and Debra Winger.) But two episodes and endless lazy redneck and Democrat jokes into this batch I finally, FINALLY pulled the Netflix rip cord and said, 'No, I absolutely do NOT want you to start the next episode.'
  8. Makes sense Luke Perry directed this. Who else would make a camera man lie on the floor in order to make Dylan look tall enough to punch out the rocker guy, who is basically bizzaro Dylan to begin with. Also, that closed sign is so twee, I'm surprised it doesn't say "clothesd"
  9. STOPSHOUTING

    Season 5 Chat

    Ugh, I hated this episode. I hated what they did to Junior. (This isn't how gap years work and is totally out of character for the Junior we know who has survived, and thrived, outside his parents purview for years.) I hated how they continue to have Dre treat him this way—cruelly and abusively—and play it for laughs. I hate that Dre and Bow sat in that ugly, impractical new kitchen and and talked about, 'Why could Junior possibly want to do this/not be ready/etc" and never even MENTION that, oh right, as he was graduating from high school we were divorcing and blowing up his world totally, then his grandfather died, and this was all just a week or so ago, because they didn't even DECIDE to split until Junior's graduation, and then had separate lives/houses for several months in the story's timeline, and reconciled when Bow's father died so, given a 2-1/2 summer vacation, they couldn't possibly have been back together for more than a week or two, TOPS…Because none of that will ever be mentioned, referenced or brought up again. And while it's good they FINALLY addressed the extremely unlikely ongoing shared bedroom situation for Jack and Diane, to do so by hinting at incest, and then follow up with an older brother acting like a prison cellmate ... It all struck me as a gross and insulting and not even slightly funny. This show, which I once thought was wonderful, and whose historical sum-up/animations continue to be fantastic talking points for my young kids, is off my list.
  10. Hasn't Brandon's cheating been pretty recent? I mean, I know this season lasted 576 episodes, but we're talking months, not years or decades. I've seen relationships regroup after affairs and it's never a straight-forward thing; there are ups and downs, zigs and zags. The forgiveness and rebuilding of trust is a process. The instinct to put a bandaid on the wound with a new house, new baby, marriage proposal, etc. is also not unheard of, though often very ill-advised. Of course, that's all very serious, realistic and thoughtful and this show is none of the above and Brandon and Kelly clearly hate each other's guts so, yeah, they totally should break up and eat all the bees, per Sarah's instructions.
  11. STOPSHOUTING

    S02.E10: Every Potato Has a Receipt 2018.06.29

    Yes. That's exactly what I'm saying. Word for word. ? The internet is fun! I was alive in the 1980s, but I was a kid. I do know what a women working in sports TV in the 1990s was like, though, and the number of times my (all male) bosses "joked" about how much of a raise I'd need to sleep with so-and-so for access is part of what makes me highly skeptical of the storyline. I disagree with none of this. I don't think Ruth would or should be OK with it happening…I just didn't think she'd be that surprised. Heck, the entire set-up, even before she knew it was dinner in a private room, should have set off all her actress alarm bells. Take a friend or co-worker, or whatever other protective, but non-offensive, maneuver she could come up with. I said it was a disgusting fact of life. That doesn't equal acceptance, or say it wasn't unsettling and upsetting, and definitely to be avoided if possible. Industries of ALL types had private lists circulated amongst female employees of who to avoid, and client code words to warn other women of the leches and the creeps. Heck, they often still do. Most women with any success, would have had a coping strategy, a la Debbie, and most men in positions of power within the industry, even if they weren't like that themselves, WHICH SAM HAS ALREADY SHOWED US HE WAS, would still be much more, 'Yeah, that's the dirty side of the business,' not all, 'Well, I never.' In a realistic scenario, I think the odds are they would have been way more angry that Ruth offended their boss and endangered the show. Sam has been commenting on all his actresses looks and " f-ablity" since the pilot, including Ruth's. He's demeaned and used them, including attempting to sleep with his own daughter at one point. Now this guy is shocked and appalled an exec would use his position to get one of "his girls" into a hotel room? For real? The casting couch was an open secret in Hollywood pretty much from the minute Hollywood existed and, heck, before, to Broadway and other theatre. There's a reason actress was synonymous with "whore" for hundreds of years…Not because actresses WERE whores, but because men in power EXPECTED them to be. Look, it's cool to agree to disagree with whether that element of the show worked for you or not. I get it. I'm not trying to change anyone's mind there. But saying I felt the handling of the scenario was anachronistic to the time is NOT AT ALL the same as endorsing the behavior. Bottom line: I didn't buy the way the plot line played out. I didn't need Sam to be Ruth's knight and shining armor, and turn them into a will-they, won't-they working couple. I think it was a huge misstep for the series. Other's disagree. That's cool.
  12. STOPSHOUTING

    S02.E10: Every Potato Has a Receipt 2018.06.29

    The arguement is definitely not that such things didn’t happen in the 1980s, duh. It’s that everyone, sans perhaps Debbie, is so outraged about it. That’s the anachronism. This is a normal and mostly accepted part of being in show business. The idea Ruth, a struggling actress, was shocked by it? Give me a break. And they all would have deemed Ruth hysterical for running away, not leapt to her defense. Like Debbie said, you don’t have to sleep with them, but you definitely have to let him think you might. Particularly Sam, who seemed super OK with perving on his own actresses. The guy we’ve met? No way he’d act that way. Maybe Keith, but it wasn’t a credible character trait for Sam. It’s an age old story, but they reacted to it in a way that felt very much like today; not 1985.
  13. STOPSHOUTING

    S02.E10: Every Potato Has a Receipt 2018.06.29

    No matter when this was filmed, this was unquestionably the show's #metoo arc, even if you don't give it that name. And instead of telling us anything about Ruth, or even much about Debbie, though I think her reaction was spot on and realistic, it tried to make a hero out of the usually creepy himself, Sam. The entire season was so little about Ruth at all…She just let stuff happen to and around her. I didn't like this season as much as the first and I read a Vanity Fair article yesterday that really clarified why for me ... This season this show that is nominally about a group of women, focused mainly on ... the men. Bash and Sam got the big storylines, Debbie's storyline was almost entirely about her ex and Ruth, our main protagonist, was relegated mostly to dodging grope-y execs or doing will-she, won't-she with others. The stories of the women themselves got sooo much less attention than last year. Marc Maron is fine in this role, but I simply tolerate him. I don't need to see more of his jerk persona, nor do I need a season-long redemption arc for him. I think exploring the AIDS panic of the '80s is great, but the focus on Bash does the women a disservice. We even saw the men invade the women's space more directly; appearing in their wrestling show. The only really good man the show even has is Keith, and I'd love to see more of he and Cherry. I think they were sorely lacking on this season, especially after Cherry was so central to season one. Even the bus ride to Vegas that ended the series focused almost exclusively on couples. Is that what this show is supposed to be about now? Romance? Because I couldn't be less interested. I mean, I don't hate seeing their personal relationships, but I'm much more invested in the women's relationships to each other, and think that's what made this show special in season one, thus somewhat less so this year. Best ep of the season, to me, was seeing the push-pull between "Welfare Queen" and her son; his mix of pride in his mother's performance and embarrassment for the character she was playing. Give me an episode like that about every one of the ladies instead of 6 on Sam and Bash.
  14. STOPSHOUTING

    S02.E10: Every Potato Has a Receipt 2018.06.29

    A live show done for free—they made a big deal about how they were pulling people off streets to get an audience, not making money on tickets—vs a Vegas headling gig for profit is a wildly different.
  15. STOPSHOUTING

    S02.E10: Every Potato Has a Receipt 2018.06.29

    Just finished this and enjoy this show overall, even though I dislike wrestling and never saw the original GLOW though, technically, think I would have been in the age range. Even as a kid, I never got into any of the '80s wrestling stuff. Thought it was stupid even when I was 7-8, which is why we didn't watch this at all until relatively recently, finishing season 1 just before season 2 was released. My big question is ... If KTLA "owns" the characters, how are they taking them on the road to Vegas? Stage productions would almost certainly still be out of bounds without the rights. Also, as someone else mentioned, KTLA cancelling the show but not wanting to sell their rights to someone else makes ZERO financial sense. A syndication deal would likely land a small station pretty big bucks, even if they didn't air the show themselves. The real GLOW, from my brief Wiki read, was set in Las Vegas, so that gets us there, but, again, hard to get past the idea that IF YOU DON'T OWN THE CHARACTERS YOU CAN'T PERFORM THEM. I'm also a little confused about Bash's arc. I mean, obviously, he's a closeted gay man dealing with the death of his friend/love interest, and his fascination with wrestling is all part of that awakening. But like others I'm very confused about whether we are supposed to believe he and Florian had an actual relationship, or Bash was just pining for him. I sort of thought the former, until I saw the picture of them together as kids, which doesn't read lovers to me. I'm not sure what the show WANTS us to think, not least because even watching Season 1 relatively recently, I admit I barely remembered Florian. I don't really think I'll go back and watch to see if the groundwork was laid, but this seems like a second season storyline that, don't get me wrong, could be important and work for the time period, but doesn't seem to track all that well. Now, I'm all for subtext, but this show doesn't seem to be doing that on any other level, spelling things out VERY clearly (see this shows lesbian storyline, as well as my nitpicks below), and the consequences here if he and Florian were romantic partners are pretty huge to the plot now that he's married another main character, vs just a closeted character seeing a friend/crush boldly come out and then be quickly felled in the most terrifying and final way possible. Loathe the idea of Sam and Ruth getting together. I mean, Ruth is a terrible person, which I think the show has tried to backtrack on, but sleeping with your best friend's husband, twice, just because, right after she had a baby is next left awful. Debbie breaking Ruth's leg while high on coke doesn't make them "even," which I think is the show's perspective. I don't think Debbie is all that great either, nor in the right to resort to physical violence, and wasn't cheering that she did, but the whole "get over it" mentality the show seems to have for "poor Ruth's" transgression doesn't work for me. At all. Also I hate, hate, HATE the angry women burns all her husband's stuff or sells all her worldly goods for no money or some other completely bat-crap crazy overreaction to a divorce. In the real world, money IS important. Sure, sell the bed. Fine. But the wholesale fire sale of everything, at a time when they're struggling financially, strains not just the bonds of credulity, but also practicality. Like, most people know they need dishes and chairs and if you sell all of these, you'll have to just get new ones you can't afford. And what was supposed to be the big reveal that she kept the baby's room intact was incredibly, blindly obvious in a way that disappointed me in the show. Unless that was Debbie's way of telling us she was suicidal—and I didn't get that AT ALL—the entire thing was both dumb and then completely ignored by the show moving forward. Lastly, as much as the show gets the cheesy '80s ensembles and general aesthetic right on so many levels, the #metoo plot line was sooo obviously a 2018 voice in a 1985 world, meant to make Maron's character a hero. The entire thing totally took me out of the show.
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