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Penman61

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  1. Much as I enjoyed the show, this is how I see it. This Shimmer was neither a dessert topping NOR a floor wax. Sadly.
  2. I hate to defend the showrunners' capacity for complexity and nuance (didn't we just have baby genital mutilation as an entire punchline sequence a few episodes ago?), but I see Midge's set on Shy like this: Midge definitely did not consciously think she was making gay-themed jokes about Shy, let alone "outing" him (not a social concept in 1960; though there were millions of closets, virtually no one was out). As others have pointed out, Midge was directed to do some Shy-based comedy, and so she did, basically on the theme of "Behind the scenes, Shy is really a spoiled cosseted peacock star," and not "Shy can suck a golf ball through a garden hose and is mighty light in the loafers, if you know what I mean [wink]." Shy and Reggie are justifiably paranoid about ANY suggestion that Shy is gay, so they both--or at least, Reggie, as far as we're shown--over-react at this depiction of Shy because, while they aren't explicit, the jokes taken altogether are enough to trigger their paranoia. The audience's reaction is key here, and we don't get shots of a favorite being insulted; we get laughing reaction shots of "Oh, that sounds like him, he's so spoiled, but he's OURS!" So these two things converge: Midge's unconscious oversharing about Shy and the reception of that oversharing by someone attuned to attacks for purposes of professional (and personal) survival. In other words, I can see both Midge's and Reggie's POVs here. Which would be some decent writing, actually.
  3. This finale was a letdown, and I'm not yet sure why. One seemingly trivial thing, though it yanked me right out of the show: When Bradley confronts Alex in her dressing room to say she's leaving the show, and Bradley exits, Alex chases after her, and then continues chasing after Bradley down the nighttime street. Jennifer Aniston plays both scenes with a very distractingly comic prance-run, something right out of Friends or a rom-com. It was brief, but it was an absolute tonal clash with the moment (Hannah's suicide being announced). More generally: I do think having Hannah commit suicide (though I guess they left whether it was in fact suicide somewhat ambiguous) is a story mistake. Yes, it conveys the serious impact sexual abuse can have; but it felt forced, unearned, and didn't fit that character.
  4. I'm wondering why this show isn't having more of a cultural moment: The setting is one journos/critics like to write about because it's flattering to them; The topic couldn't be more timely; The stars are big, the acting is good, and the writing is strong. So why isn't it a zeitgeist show? Did it miss the "#MeToo wave"? (That "wave" seems to keep crashing, if anyone cares.) This episode's Mitch-Hannah scene really highlighted how good this show is: Without relying on a facile rape-culture "It's he said, she said, you guys!" excuse, the scene depicted the messiness of a workplace encounter with a huge power disparity, how Mitch actually believed that he'd been the one who was hurt, and how Hannah felt powerless to stop him. It really shows why these relationships just need to be banned, if not highly, highly scrutinized. But as the previous episode showed, it's an entire culture of abuse and enabling, not just individual actors. Can't wait for the showdown next week. I'm rooting for everyone (except Mitch) and for no one.
  5. I'll have what she's having...
  6. I don't know. I just think something must be deeply deeply wrong when the dramatic climax of a story wherein over 100 children died due to industrial/governmental neglect is whether one of the most privileged persons to have ever lived in the history of our species will be able to spare a tear for them.
  7. That's what I thought, too, but if that's the case (and I do think you're right),
  8. Binged all of season 4. I have questions: In an early episode, we see Juliana shot in her cell and then dissolve into the alt-world where she's immediately almost run over by alt-John Smith. My question: How is this amazing coincidence explained? At the end of the final episode,
  9. Dad: You're not a killer. A killer is what I need. Kendall: [Becomes a killer] Everyone: Kendall FTW outfoxes Dad!! Me: Um...that's not outfoxing. That's Kendall still playing Dad's game.
  10. I don't know anything about this show outside of the show itself, so I don't know if it's common knowledge what the series will eventually do with all the BTK teases, but for me, watching the show, the teases are a bit of a letdown. From the final S1 episode to the first few eps of S2, I definitely had the impression the BTK was going to be foregrounded in S2. Weird and disappointing that, once again, the season ended with BTK tease. I guess it's all leading to a S3 where the BTK will be the main arc? Again, don't know cuz I don't read about the show. Overall, S2 was IMHO plodding and disappointing, with needless, trite character backstory digressions (the detective must CHOOSE BETWEEN HIS FAMILY AND HIS JOB, the lesbian agent has TO BE CLOSETED, etc.), and a general lack of dramatic tension. Also, wtf with the dark dark dark cinematography? I have a blacked out dedicated home theatre, and, man, there was so much I just could not see...I know the subject matter is "dark," but, like...I can't see the actors, lol.
  11. Meta: What if (what has become) Moss's vanity project is actually a cry for help and a wish to escape from her own cult?
  12. Sorry I was unclear: I should have asked, "What did Mrs. Lawrence die from?"
  13. Just a factual question: What did June do, exactly, that allowed Mrs. Lawrence to die? I confess I might have been hiding under the covers in fear of surprise Moss close-ups.
  14. [Me, watching what I think is the ep's final image, an unusual profile shot of June with eyes obscured by her bonnet]: Interesting shot. Well, at least it's not one of those damn extreme closeups we've been getting at the end of every epi-- [Cut to EXTREME CLOSEUP OF JUNE'S EYES LIKE THEY ARE TWIN PLANETS SWIMMING ACROSS THE PIXELLATED ETHER OF OUR HD WIDESCREENS]: I hate at a subatomic level everything.
  15. I can't conveniently rewatch atm but I'm sure you're right. Yet I wonder why neither Renata nor Mr. Renata nor the story itself acted like she had crossed a line when she actually--inadvertently--hit him? Like "Oh my god, Mr. Renata, I'm so sorry!" (Also note that that unintended consequence of violence would fit perfectly with the more severe violence at the center of the story, Bonnie pushing Perry and that inadvertently killing him. Another missed opportunity...) But I don't think the writer was that aware. I DO think that Renata batting Mr. Renata was intended as a "Go, girl!" moment. And. that. ain't. right.
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