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  1. Well, all of that happened. I don't have the same similar reference points that many of you know of, but even without personally knowing it's very similar to what other shows have done - I'm just like, meh. Really just mcmeh. For sure that girl at the end with the long brown hair was Emori. They didn't really show her face, but when after Clarke is greeted by Raven and Murphy, and then Clarke greets everyone else, Murphy goes to the side with the brown-haired girl and Picasso. He puts his hand on the girl's back in such a way that it is definitely not any of the other women. But Madi did not choose to "untranscend" and come back to Clarke? Or was she not able to? Because of the state of her mind when she transcended? I mean, Emori was in the chip and she was able to transcend and untranscend. How's that for some permanent birth control? Untranscend and you're guaranteed to have no children - no need to bother with vasectomies and tubal ligation. What was that sort of watermarked scene of Clarke at the end of the final pullout shot on the shore? I don't know what to call it - I'm saying watermarked because it was laid over the shore pullout in a transparent way. Was this a callback to some scene of Clarke from the pilot to artificially bring this all full circle? All I could see was that she was definitely clean and her hair was pulled back and orderly as she was smudging something with her left hand? Was this her back on the Ark? Otherwise, the scene itself shows nothing of importance, so I assume it's from the pilot, but I haven't seen it since it first aired so I don't know. Whatever happened between Bob and Jason, I'm pretty annoyed that it cost Bellamy a peaceful (we would hope) life with Clarke, Octavia, and Echo and i'm exponentially annoyed that it cost the viewers the chance to see Bellamy with them. I've watched the show since the beginning (no Netflix catch-up for me), but for the most part, not followed fandom at all or the BTS stuff. With the exception of the stuff with Ricky, since that was widely reported. That said, I do feel for the fans who are so let down emotionally. For me, this was just one of the many shows I watch, but I can empathize. Different situations, but I felt quite strongly about Veronica Mars season 4 and the BS "justifications" from the creator/showrunner. It turned me off of trusting Rob Thomas' judgment in the future, and I am certainly adding Jason Rothenberg to that list. I think my most favorite actors in the world would have to be in one of Jason's future projects for me to check it out. Frankly, I'm happy that The 100 prequel has not been ordered to series by the CW.
  2. At the end of Olivia Macklin's voiceover opening of the post-pilot episodes, I can't help but say to myself, "and that's what you missed on Glee!"
  3. When the victim filed the police report in June 2019, last year's finals, which were also in June 2019, might not even have occurred yet. And even if the report was filed after finals, the victim might not have heard Drew won by the time she went to the police. I'm not sure how locked down the results are, but I think most of America found out in September when the finals aired. People in the ninja network aren't the average viewer, but do the secrets travel or are they kept under wraps well? Personally, I don't find the timing suspicious at all, whether Drew hadn't won yet when she filed the report, or she just found he won. Also, if Drew was the newly-minted winner of $1M less taxes and someone is after money, it's a gamble to go through all of this like his assets aren't going to be depleted on defense lawyers anyway. And they will be - he's not going to risk staying out of prison with a budget lawyer or decide not to spend money now so he can save it for post-parole (if he does go to prison). Regarding why there was quite some time between the abuse and the police report, the various news articles have a statement in passing about how the mother did not originally go to the police because the daughter threatened to harm herself. In reality, experiencing it, that kind of emotional turmoil is not in passing. I'm sure it was a lot more dynamic and involved. It seems obvious to outsiders to go to the police and go immediately - and some people do - but not everyone does, and they have their reasons for it. Some people feel like it's just going to make everything worse or they'll be blamed, and that's the last thing they can handle. Sometimes, with the distance of time, they are in a different headspace where they can take that step. And even though the mother was the adult with the responsibility of advocating for her daughter, especially when her daughter couldn't do that for herself, going to the police might not feel like an option if your child is not in a good place mentally and actively doesn't want to tell the police anything. Also, many people who have been abused don't recognize how bad the abuse was until they're older. This is true with full-blown adults, and it's certainly true of younger people who have been groomed and abused. So I don't think it's at all odd that a teenager who is 18 and more removed from the abuse starts to really understand for herself what happened to her at 15+, and now wants to do something about it. One more thing about the timing - whether it's seen as suspicious or not, the timing of the report really seems to have no bearing on the evidence the prosecution gathered and cited in the criminal complaint. The timing of their interaction and evidence is what matters. There's no concept of whether the content Drew had in his possession and the messages between them were okay, depending on whether they were in a consensual relationship. By law, she's too young, period. Does it really make a difference if she filed a police report well before Drew won ANW? Does it change what the evidence is illustrating? Maybe to some, it changes the perception of where the victim and her family are coming from, but that doesn't change the evidence. (In case you can't tell, I feel very strongly about the nuances of sex crimes.)
  4. This excerpt is from a Vanity Fair article about Peter Lenkov, former EP with multiple CBS shows before he recently was fired. You can see the whole article here - https://www.vanityfair.com/hollywood/2020/07/the-fall-of-a-cbs-showrunner. Very interesting read. Obviously the CW numbers/scale are different, but same concepts apply. -- Another thing you notice if you write about inappropriate behavior in Hollywood is that virtually nothing happens in isolation and that most of the unacceptable conduct is enabled by toxic traditions. Lenkov is not an unfamiliar type in the TV industry. Many of the people I spoke to described his tenure at CBS as a sort of perfect storm: a man with what they believed was a volatile personality was given a notoriously difficult, pressure-filled job, and left to manage the productions largely as he saw fit. What could go wrong? One of Lenkov’s former colleagues is worth quoting at length on the industry’s dysfunction: “The learning curve when you jump from writer to showrunner isn’t just steep, it’s exponential. It’s crazy that our industry standard is to take a creative person with no management training, and suddenly put them in charge of a small corporation with a yearly budget of $80 million, directly managing two dozen other creative people, a hundred other physical production staff, with unmissable weekly delivery deadlines—and they don’t get much more than ‘good luck’! “There’s no way to know if someone’s going to be a good showrunner until they’re a showrunner. And then, if the show’s a hit, there’s no incentive to change the way the showrunner does their job unless they jump the bar to behavior that will cost the company money or bad publicity. “Running a show is like cocaine. It doesn’t change you, it just reveals who you really are. So if you’re in any way insecure, selfish, obsessive, or just generally a jerk, you’re not going to become a better person in that job. In fact, you’re going to be financially rewarded beyond your wildest dreams for having every one of your personal biases confirmed—for being the purest form of you, for better or worse.”
  5. Wow, I, too, call incredible bullshit on the idea that execs wanted Carina to be solely in charge of black-centered storylines, but she said no. She has never thought she wasn't able to write for marginalized groups before, so why would she balk now? Unless she soured on the idea that she would be held accountable for writing for Maria and any other black characters, at the expense of the attention she wants to lavish on Michael and Alex. And in terms of the network as a whole - let's not pretend that the CW doesn't have black shows with lots of black talent behind and in front of the camera. Why would execs say, for Roswell only, "nope, we refuse to hire any black producers - it must be you, Carina, because look at how much season 2 ratings have eroded (the distinction of having the steepest season-over-season drop-offs of all CW shows) and how little you've written for your only black series regular in the past two years. You are The Chosen One." Black Lightning and All-American have materially higher ratings than Roswell. And no, I don't think this is only because they are fall shows or comic/football-related. I watch both shows - they're not perfect, but their black characters live unmistakably black lives and are not props for white characters. All-American actually grew in ratings s2 over s1. (Obviously, Netflix streaming was a big part of exposure, but viewers stayed on. That clearly didn't happen for Roswell.) So in this context, we're to believe that the CW insisted CAM, a white lady who hasn't delivered any real storylines for black people, is the only one who can write black storylines for Roswell? Because why would they think black producers or writers can?
  6. I don't understand how she has sold herself this narrative (and tries to sell to fans/viewers) that she's such a trailblazer fighting the good fight and paying the consequences for refusing to back down on her principles. I mean, I do understand how - it benefits her self-image to do that. But it feels like she thinks what she has tried to do (badly) with two male leads is soooo amazing and unprecedented because the shows she has personally been obsessed with (SPN and TVD, right?) haven't done m/m storylines with leads. Like, is she not aware that many, many shows have portrayed important gay male storylines and relationships of far higher quality? And that they did not throw POC aside and under the bus to do so? Nothing she does on her end and on her SM is ever going to help her industry reputation. I'm not sure if she actually gets this privately, but publicly she's doing her best to overcompensate and portray this image of her standing tall, no tail between her legs here, no way. But I suspect she doesn't understand this privately, either. And this is one way being a fangirl and living by fandom rules is really not doing her any favors. When it comes to being in fandom and writing fanfiction, there are no bosses or stakeholders that need to be appeased. Criticizing and spurning choices TPTB have made is typically a huge part of fandom, and there are no loss consequences for doing so. A lot of fanfic is born out of this directly. AO3, Fanfiction.net, and readers aren't going to take away your platform unless you're violating Terms of Service. You can have very strong, even antagonistic, opinions and stick to your guns - there's no money or jobs at stake. But you can't transplant this way of thinking and these behaviors from fandom to working in the industry. I don't think CAM has gotten this memo. It's like she thinks fandom rules still apply and all you need to do is get some other fans on your side. Her pandering to fans and trying to manage their perceptions of her and her work doesn't get her anywhere in terms of securing a bigger platform again and being trusted by TPTB.
  7. For someone who casually watches the show (out of the 40 or so shows I have queued to record on my DVR, I would rank it in the bottom 10) and has posted a few times in the episode threads - this showrunner change is fascinating schaudenfreude. I never paid attention to the show on SM (outside of this forum) and I certainly never knew any gossip or read CAM's twitter of IG. But wowwwwwww has she made a huge mess of things. I was only aware of her IRL in terms of her aspirational, seemingly quite thirsty elbow-rubbing with stars and being part of their friend groups. I just don't get that whole Amell-Tyler-CAM-Jarrett circle jerk at all. Anyway, I think it's shocking that CAM still has those ITV posts up on her twitter. Even after the damage control that had to be done on her behalf, she didn't take them down. Even if she was told to take them down, she didn't. I don't know how she reacted when she got a "talking-to" from network execs (and I have to imagine they demanded she apologize to ITV personally), but she's left the tweets up. WOW. I wouldn't be at all surprised if she was just as bullheaded when the execs talked to her - probably doubling down on her "pursuit of justice" and that just pounded the nail into her coffin. She didn't just make an impulsive mistake that showed she didn't have the base judgment, knowledge, and maturity necessary to be a showrunner from a business perspective. She probably showed a level of "uncoachability" and hubris that made them think, "there's absolutely no future for us with someone who doesn't listen to the boss." The earlier HR situations, any knowledge about poor creative decisions - the bosses brushed that off - but when they got it directly from her, they were like, in no uncertain terms, "goodbye." I really don't expect to see her working on any live projects for at least a couple of years, if not longer. I think she'll talk about these great ideas she's developing, but they're not backed by anyone to become a reality. She can do her own damage control on her SM to her "fanbase," but that changes nothing about what the industry people think of her. Even though she's done some work on a Berlanti show and he's got a lot of juice and a huge umbrella of projects, I think he would know it's unwise to hire her, even on shows that have nothing to do with Warner Bros. Too many people on his shows have been publicly exposed, so it doesn't behoove him to hire, even as a supporting producer or a rank-and-file writer, someone he's not sure won't make his productions look bad and prompt more questions about hiring and ongoing HR practices. If she and Plec work together again, there's really nothing that could make me watch it. Even if my most favorite actors were in it and the plot was my dream plot.
  8. Probably something super realistic, like a batch of faulty condoms made by the local condom factory and sold throughout the town. It happened on "General Hospital," so it could happen anywhere!!!
  9. Agree with everyone else about the weird pacing of the finale. One of my biggest problems with this show is the constant feeling that the characters are just chess pieces being moved around to serve whatever plotlines are chosen. It injects a level of inauthenticity I can't ignore. Of course, this happens on other shows, too - like the cliche of secrets being kept between people because of [make up some stupid reason for them not to talk about it for five episodes] - but it's so pervasive on Roswell. To the point where I wonder, "did I miss some scenes that bridged from previous events to here?" but the answer is no. All sides of the love triangle continue to confound me. More chess pieces being moved around willy nilly. It doesn't build suspense or anticipation for the future, because I can't imagine future events won't be just as inauthentic. How does anything feel earned this way. Alex's song was fine, but I just shrugged when he went to the not-Rider-Strong dude afterwards. Liz has no professional ethics. Even discounting alien rights as not existing on earth, and even if most/all of her research was based on Noah the dead villain vs. her alive alien bf, there was nothing ethical about giving Steph, a human, medical treatment that had no real testing/trials and was not consented to by her. I suppose it's possible that, even though Steph talked to Kyle like she just woke up feeling way better, Liz talked to Steph about an experimental treatment and Steph said, "let's go for it, I know you're not a doctor here, but what do I have to lose?" But what are the odds that Liz properly represented the lack of testing and nature of the treatment. Zero. A big issue I have with the narrative idea that aliens don't have rights, while this could be technically true, is that it clashes so hard (for me) with the ideas the show espouses about illegal aliens and how they are treated. Liz is also being willfully obtuse about Diego. And I feel like if she later finds out he screwed her over, she would be shocked and outraged like she wasn't already warned about him. I agree Max has a lot of his own issues in decisions he makes and things he does, but he's been one of the weakest parts of the show to me so that bothers me less. I get that this show is probably budgeted to only allow some of the regulars to appear in, say, 10 out of 13 episodes, but they really need to serve the corresponding characters of Kyle and Maria a lot better.
  10. Helena is so mad at Jesse Manes and probably also so tired of hearing what "a Manes man" would or would not do that she's like, "fuck you all, I'll show you what 'a Manes man' would do, and that's die violently, bleeding out of every orifice." I'm not sure what it's supposed to mean that Helena said that same quote as the Maneses about if disaster never strikes, justice will never be served. Nothing? Or something? But I don't remember the nuances of both versions of the quote and which Manes man said which one (so maybe I do need constant reminders of what a Manes man would do ...). That was, like, three episodes ago when they discovered the paper Tripp hid behind the diner bricks, so that's long disappeared from my brain. When Isobel was recovering from going into Mimi's mind at the bar, she was openly knocking back a bottle of nail polish remover. In front of a room full of patrons. ??? Sure, those patrons are also drinking and possibly inebriated, but why on earth would she do that in plain sight? Liz is the worst. She and Charlie Cameron continue the grand and disappointing tradition of brilliant CW women developing something for ostensibly good purposes, but failing to give due consideration to, or even recognize on a basic level, how that could be so easily used for nefarious purposes. (In addition to Felicity and whatever she was doing with Alena a couple seasons ago on Arrow (I honestly cannot remember what that computer program was), Lena and Project Non Nocere on Supergirl.) For me, it really takes the wind of the sails of their brilliance because it's so dumb how naive and tunnel-visioned they are about it. Diego, if you're not going to eat that free churro since you're too busy being a total creeper, at least give it to me.
  11. Sad to see Gregory go, especially since it was on a down note for him. I hope he fully recovered quickly. What a bummer. I love Melissa, and I hope the final two are Melissa and Bryan. I'd love for Bryan to get the win in his third finals, but I won't be too sad if Melissa wins, either. That said, I am so here for Bryan and everything Dad about him. I love all of the dad jokes and his laugh, where his eyes seem to always flick to the side or somewhere else. We all know that the phonetic representation of laughing is "hahahaha," but Bryan laughs like an android who wasn't programmed how to laugh, so he taught himself how to based on what he read on a piece of paper. And I could not be more here for it!!! I also love his even temperament and congeniality towards his competitors. Of course he helped Stephanie (I believe it was her voice thanking him) by carrying something large/heavy for her at the staging for elimination.
  12. Dean is such a giant piece of worthless shit, I just can't with him. I know he's just dug himself a deeper and deeper hole as he's gone along that he no longer has any idea of what's right or wrong, but I hate him. The way he looks at and treats Murphy like she's the one who killed his best friend disgusts me. I need him to get his comeuppance by the end of this season. But on the other hand, I'm sure it's fun for Rich Sommer to play this kind of role since I don't think he usually does. While I will never stop believing that using a guide dog training facility is a good conduit for money laundering and drug trafficking, I think the writers have done a good job connecting a lot of little things together to keep tension across episodes and throw constant twists at the characters. I was waiting for at least one of the characters to try to run away since some people would entertain that as their only way out. I do hope Jess comes back, though. I expect her to pop back up (of her own volition??) when Murphy and Felix need her most. I agree that Dean's going to have a hard time using Murphy's drug cane against her. It must have her prints and DNA all over it, but it has Chloe's, too, and Dean can't prove Murphy was in possession. And even if he could, he wants to keep Chloe out of it. She will find out at least partial truths about him, though, eventually. Maybe not that he killed a young boy, but at least some of his other crimes. I'm hoping that Dean, unable to submit the cane as evidence, gets tempted to sell the drugs himself after he, for instance, gets one last call from Chloe's school saying she cannot come back until he pays off her tuition balance, so he unloads the drugs in desperation to make a good faith payment. (Murphy didn't buy "that much," but maybe Dean is running on fumes when it comes to bills.) But somehow it all bites him in the ass and it turns his mission to bust Nia, Murphy, and associates on its head. Gene will spearhead that discovery. In some way or another, Dean's being behind on the tuition is going to be the catalyst for something in the last few episodes. I can't say I was surprised when Darnell admitted his real relationship with Nia, but since I honestly can't tell how old either of them are supposed to be, I also wouldn't be surprised if that's not actually the truth. Sam is already suspicious as to why Nia let Darnell off so easily, so I think she's going to poke at that as Nia feels more pressured to pretend it's arms' length handling. As the conflict grows, we'll find out it's the classic situation of Nia not being his sister, but his mother. Her mother and his grandmother died young. Nia pretended to be his sister raising him. She just can't turn on Darnell, no matter what, and that leads to some real internal fireworks within her gang as the season ends.
  13. It's my understanding that the potential spin-off is a prequel and takes place soon after the events that made Earth uninhabitable. So I don't think anyone from the parent show will go to the spin-off, at least not without some element of travel back into time or possibly an actor playing a character's ancestor who looks just like them, haha. I think it would be funny if everyone left at Sanctum across all tribes/groups/krus went through the anomaly and came back out 100 years old. Then they can just sit against tree trunks, tired and not very mobile, in peace that has only come about due to their old age and "the 100" years on their bodies. Old Murphy yells at some animal, "Get off my lawn!" THE END. Also, Jordan is so incredibly useless.
  14. I'm not saying she was, but I can believe that RR was a thorn in everyone's side during production. I don't know that it was exactly as the ONTD poster said, but if she was unhappy enough to want to get out of her contract, saying "I want to be released from my six-year contract as the title character" probably wouldn't be enough. But if she makes the producers want to get her out of there, too, they're more inclined to release her. So if she was being a diva and creating production and interpersonal problems, that might not have been just "how she is," but more so how she was purposely behaving to get that contract release. Other actors and actresses have done stuff like this before, I'm sure. The only one that immediately comes to mind is how Jessica Biel was purposely doing risqué photo shoots and things to try to force a dismissal from Seventh Heaven. Of course, there's consequences to this hypothetical course of action. As mentioned above, studios may think twice / not at all about casting her in any prominent roles. The public will get the surface-level diplomacy and leaks from alleged inside sources, but in Hollywood, they'll talk much more freely about the "she said, they said" sides. It's a calculated risk that may or may not pay off - she may find continued success in projects of shorter commitments, or she could end up one of the endless string of young actors who lose traction. I haven't watched OITNB, but I've seen her in multiple movie roles and she always comes off the exact same to me. (Not that The Meg and XXX: Return of Xander Cage were roles of depth, haha.) I honestly didn't see much difference in her as Batwoman/Kate, either.
  15. Tom Welling has openly and unabashedly talked about the toll that filming Smallville took on him. For years and years afterwards, he stayed away from television. I'm not sure if he told his people, no lead roles or no tv at all, but he was so over it. Granted, it took him quite a few seasons to get to that breaking point, but he hated the long days/months and minimal sleep. I think he's even said he would petulantly refuse to get/stay in shape over the summer hiatus and just come back to shoot the new season looking however he looked. He just could not care about putting even more time into the show. Happily, he did have a nice reunion with television as an ensemble character on Lucifer, so yay for that. He initially made sure to negotiate a certain number of episodes only, but came to enjoy the show/set so much that he asked about appearing in more episodes than that original number. Anyway, I don't really have anything to add to the "why" speculation behind RR's departure. I know the party line is it had nothing to do with her previous injury, and while that may be true, it was kind of a yucky indirect reminder of that production assistant's grave injury right before the Batwoman set shut down due to the pandemic. I don't think it was at all calculated for the production team to say that (as if they were trying to give the impression, "set safety is not a problem here and no one worries about that, let alone our previous star"), but I feel quite badly for the young lady who was hurt.
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