eastcoastress

Thanks, GraceK! I didn't expect anyone else to be reading at this point haha, but my long-winded commentary helped me work myself through both praise & frustrations. I get what you are saying about pace and I should clarify that I love the momentum of this episode (and most of this season's). My issue is why couldn't every season be this way?! We could say well, then, there'd only be about 3 seasons! Ha! But with the right storytelling points & character arcs, the same time could have been filled beautifully. More on Olenna, for example. I would have loved to have seen more of her shenanigans and motivations. Jamie's character? Hell ya I wanted more development there. Tywin could have been stretched out more. More of Stannis's grammar lessons. SO many characters warranted more time. Plots, more construction. Relationships more developments. Certainly there was enough material to fill, allow for quality writing, great pacing, (the quality actors were already in place), without sacrificing audience investment. And yes, Jamie's face at hearing that first dragon wing flap. His face told many tales this episode. Another thing I forgot to mention--Jon's resemblance to his mother, a detail I love. I have this completely unscientific, purely anecdotal theory that the majority of sons resemble their mothers (conversely, daughters resemble their fathers, although usually it's first born daughter following my nonsensical rule which rules out Sansa & Arya even though the latter is totally her dad and the former her mom but I digress).

33 pages late but reading through has been a great way to process & decompress after watching the finale 2x (I never rewatch epis so that's a big deal). I really loved it. I loved the chat between Bronn & Jamie (cocks!) I loved *hard* the moment with Bronn & Tyrion. I may have teared up there, oddly for me. I loved "how do you answer to these charges....LORD BAELISH" There will *never* be enough memes for that. You could fill the citadel with them. I loved Arya & Sansa. AND Arya, Sansa & Baelish. And Arya's "I miss him". Don't we all. Yet that one line strikes home once again that it was never about Ned. But how powerful his character & actions determine the course of the story. "In the winter, we must protect ourselves, look after one another." Perfect. I loved Brienne & The Hound. Their briefest of knowing smiles. Their mutual respect for Arya. And even a grudging one for each other. God I loved Drogon's entrance with Dany. Although I teared up at not seeing 3 dragons flying above, making their beautiful serpentine paths. I loved the little moments and dynamics in the arena. The shared wtf glance from Tyrion to Jamie (about Euron). I love how the show never lets us forget the bond between Jamie & Tyrion, even if they don't share a single scene in forever. This continues in Tyrion's march to meet Cersie. And the subsequent scene with Lena was just gold. Followed later by Jamie's scene with her. His expressions in just seconds seemed to convey all our built up frustrations with him. The snow in King's Landing. Perfection. The music throughout. Perfection. I loved the power & beauty that came with the wall falling. I may have wept for what became of Viserion. I am way too emotionally attached to show animals. And CGI ones at that! I loved Sam & Brandon-now-tree. Sam's wtf/nervous smile, like, uhm, yeah, okie dokie alrrrrighty then uhm. "you've seen this in a...vision?" Camera pans to Brandon holding raven's message. Har! What didn't I love? Cersei's wig. For the love of all that his holy what in the ever loving fuck is going on there. Every week Dany has another braid but Cersei's hair can't grow an inch? I 'm sure Qyburn has a potion for that. I didn't love the amount of time focused on Theon's redemption. I loved Jon's scene with him (and I think Jon's comment about Theon not having to choose; he is both Greyjoy and Stark, will be important for Jon later), I just didn't feel it was *earned* . Which leads to my biggest problem ( and I really have no issue with the incest or all the R+L hubbub, or Jon's pledging to Dany, or Sansa's motivations....although I appreciated reading the pages on those topics). My biggest problem? PACING. So much fantastic stuff happened in the finale, even in the penultimate episode. But so much has been rushed due to the short season. I feel this magnificent cast and richly drawn characters had so much more potential. So much more story could have been explained. Character arcs fleshed out more. Motivations connected more. It's not that I need to be spoon fed; in fact I loathe anvilicious work (kind of teetered there with Brandon's exposition during boat sex). But it was clear this season that time was of the essence and I feel our characters & plot suffered. Too many unbalanced seasons where things moved at a glacier pace (looking at you Dany, in Mereen or any of the several places we were interminably stuck). Or where there'd be an excellent, fulfilling episode but only after waiting through 4 total fillers. There is no reason this show couldn't have had solid, even writing & pacing throughout. SHAME! Audiences deserved more. *I* wanted more!

Absolutely. I think I commented on that pages back. That even though we saw Celeste making plans, getting the apartment, stocking the fridge, setting the the bunk beds, (to me) it felt like she was going through the motions. I saw a shift in her body language & eyes (just subtle enough) when she learned about Max. Only then was she committed to make the change.

You're right. I just checked that scene (and didn't mind doing so because I love Renata's rants). She does have her hair pinned into meticulous little rings close to her scalp. Jeez that alone takes forever. When I first watched, it looked like the phase in home hair coloring when the product is soaking into hair and piled onto scalp. Not that I have any experience with coloring hair. Due to grays. Or anything :P Love Renata here. "Those women. I hate them all. Except Jane. " That is so telling. Renata was basically out for blood when it came to Jane but the second Jane shows Renata some compassion by coming to her home, which definitely took guts (not sure we saw anyone else do that in series though perhaps they had already tried that route and were burnt out heh), Renata has warmth for her. She so desperately wanted to have a place in the other moms' worlds. She took everything as a dig (a lot were but her defense mechanisms were in overdrive so she took everything as a dig at her success, mothering, etc...). I remember some comments wondering about Renata's fast change of heart toward Jane (was it bullshit) but nope, she genuinely needed someone to reach out. It was one of the few times I recall her face even softening. And since I was reviewing that scene, whoa to her shelves (glass shelves!) of shapely perfumes. It was like an entire wall at Sephora. Edited to add: in that same scene, Gordon suggests blowing off the party. Renata explain-rants (Rantata!) why that is impossible. But imagine if they didn't go. That knock on the car window wouldn't have happened. Which gives me chills. Everyone sort of had a role in saving a life. Goes back to my comments being fascinated with what seems like the simplest of choices characters make (we make) that could have endless varying results.

I was/still am obsessed with the opening credits. I think a good % of views on YouTube's Cold Little Heart are mine. I recognized Renata mainly because I find Laura Dern quite distinctive looking & have somewhat been drawn to her as an actor. And the hard, cold look she gave the camera sort of played with the idea maybe she was the one who snapped (yes they all gave that steely look but Renata's caught my eye most). What blew my mind was that she actually colored her hair for the benefit (not Dern, heh). That's commitment! Go big or go home for Renata.

As I said in my first post, I stumbled upon this show surfing around last week (I think I was checking to see if I had set DVR to record TWD). I wasn't looking for BLL, I had no recollection of even hearing of it. Episode 6 was underway and something about the filming style, the atmosphere, the mood, and the performances hooked me immediately--fast enough that I didn't keep surfing up channel. I realized I had to stop & find the start of the series. Pretty much when I heard the opening theme, Cold Little Heart, I was all in (soundtracks & show themes are key for me). I definitely would have dismissed this show had I heard about it prior. I am not a huge RW or NK fan (I don't dislike I just don't *have* to see their work). The general synopsis wouldn't have done much for me. So this was a great surprise. What further surprised me is how much I responded to that ending, that final theme. That it wasn't exclusively about Perry's abuse of Celeste or Maddy's marital crisis, or Renata's whirlwind power facade, or Bonnie's subtle scenes, or even the kids. It was about their individual insecurities vs their combined strength. What lies beneath those surfaces (all that glass!) That stuff? Generally not my thing. But this show, wow, took that tropey 'girl power' if you will, and brought such depth. Those women, just screaming for validation & acceptance, just to be liked, to be seen even (all those glass homes but nothing is truly visible inside). They behaved ways they thought they had to behave for self preservation (emotionally & physically). To have them all finally be exposed, their raw selves (and I include the men in this because, Nathan, Perry, Ed were stripped down to who they really were, hell even Tom & Gordon got layers). Just good stuff all around.

I'm obviously losing focus because while I don't disagree, all I could think of was Syrio Forel on GoT. What does Perry say to making a counseling appointment?

This brief interaction amused the hell out of me. It was such an alpha male moment (or Gordon's attempt at one). Very I see you looking at me, but I got eyes on you too, bub! On the surface, just two guys being all cool with their hellos but some clear subtext. Also, I wonder if Gordon didn't feel a little stupid after being told to leave the cafe but at benefit he's keeping the front (to Tom) of "That's right, I'm in your grill, we're leagues above you, but here's my schwanky hello wink wink" Obviously mileage varies on this. But for all the previously mentioned reasons, Celeste (to me) was the very opposite of free. Perry was calculating; he (and Celeste) had to create the illusion of happiness and that Celeste was 'free' (as I said in previous post). Otherwise, a truly home bound Celeste could draw suspicions, especially from a busy body like Madeline! But Perry (this is in my opinion) *liked* giving off a certain controlling vibe. I think he wanted Celeste's friends (basically the other moms at school) to think to themselves "hey, Perry is so smooth, really has it all together, runs a tight ship, and look how much Celeste & those boys adore him with always being there for him, responding to him, etc...." Almost as if Perry liked that Celeste's outside circle was *just* wary enough but not so much to be creeped out or suspicious. To make other think "Celeste probably can't (talk, go, hang out) because (Perry)" but in a healthy way (like Celeste is just all about her husband). To Perry it was a calculating balance and it achieved an air of mystery for him which both fed his ego and kept things under his control. To be questioned every time that Celeste made plans without Perry (either for herself or the boys) with "Why wasn't this discussed with me " (followed by tense back and forth & culminating in the eventual beating) is not my idea of free. But Perry was careful to afford Celeste certain, limited freedoms that kept up the illusion of their fab family life and her utter fulfillment as a woman, wife, and mother. All illusion. Which takes one crafty fucker. Which is also why, when Perry finally snapped, it was so very complete. To the point you could see & hear him unhinge. The vocal intonations, the wild gazing about, stuttering, the snapping at others. Illusion blown.

Oh that's right! I did remember a slightly compensating tone from Madeleine when she responded to Perry's " what's making my wife laugh so carefree without my presence " ( obviously not his words but what I heard heh). Nothing distinct but I did get impression that Madeleine felt uneasy in his presence. Maybe uneasy is wrong word ... maddy interacted with Perry like he was someone she barely sees , with perfunctory dialogue. Interesting scene. I'll have to rewatch

Like a pp said, there are other ways to isolate than lock & key. I think Celeste was pretty isolated in that she (for however many years) was a prisoner in that she could not live freely (like her friends). Family & work was given up (freely, but I bet it became more of a condition). She was a prisoner emotionally; she could not share her fear with anyone (talk about Ed's marital pretending speech--Celeste & Perry were actors playing actors). Perry probably allowed for a degree of socialization otherwise that level of isolation in a tight community (of similar aged parents raising school aged children) would draw dangerous scrutiny. Some facade of normalcy had to be presented. But even in scenes where Celeste was out of the house, it was limited (dropping off/picking up kids, a quick morning cup of coffee with the girls, maybe an occasional lunch or dinner--but I wonder if most of those occurred when Perry was out of town). And if she did go out or entertain notion of going out, enter Perry's threatening 'why was this not discussed with me?' And in those scenes when she was out, I never found Celeste 'free'. Brings back that initial scene when Jane talks about never feeling like she's living her own life...she and Celeste share a gaze. And I don't recall seeing anyone visit Celeste's home. Like I said earlier, I'm sure she avoided friends coming over at all costs, lest they catch hints of Perry's rage. So no kid playdates, no friends, no pizza delivery. Something I find interesting is that whole "none of this would have happened if it wasn't for that fateful morning when Maddy rolled her ankle" thing. It just fascinates me how the tiniest of life threads, choices, paths, etc...can potentially alter outcomes. If Maddy wasn't outspoken...if she didn't get out of the car...if she didn't roll her ankle, if Jane didn't happen to be right there, if sweet, thoughtful Ziggy didn't say, 'geez, shouldn't we check on that lady mom?', if Maddy didn't take such a liking to Jane, and so on....to the point where one could say that Jane essentially saved Celeste's life. Just something that fascinates me.

This scene was handled very well. Without being too soap-operatic or too on the nose, Celeste is basically telling her young son that it's ok, honey, you are not your dad. That is not who you will become. Your future is yours alone. (the tooth fairy will come) Celeste was already in the stages of changing her life but I don't think she fully committed, in her heart of hearts, until it became about her son(s).

I think you are onto something here. I believe the children are, to a degree, mirrors of their parents/households. They definitely are huge catalysts & connection points for the entire narrative. Madeline is 'drawn to damaged people' (Chloe's easy, genuine way with Ziggy--not that Ziggy is damaged but a smart kid with heavy thoughts), Chloe's quick wit & overspoken-ness) Amabella's more reserved, probably absorbing all the self-fulfilling negativity of her mother (Renata). That is one oppressive, anxiety-filled household! Of course, now that I type that, all the households are--perhaps even Skye's due to what emotions Bonnie has to rein in and all that passive-aggressive nonsense of Nathan's. Skye is often overlooked probably because she is purposely kept out of the shenanigans from a mom who likes things chill and quiet, and who is reacting from Maddy's attitude toward that family. You tend to forget about Skye's presence just as we'd tend to forget about Bonnie, always on the periphery! The twins, well obviously Max absorbing the negative energy from his dad...but also they are kept rather separated from school friends due to Perry's controlling ways. And most likely because Celeste doesn't want anyone to potentially witness what's happening in her home. The boys were almost cypher-like from the start as they were part of the mystery. Ziggy is there to be the reminder of his mother's secret. It was all crushing down upon Jane because Ziggy is getting older & more curious...he is asking more and more questions (which is natural for his age) but also serves to further his Jane's plot as she is reliving everything, growing more anxious. But Ziggy is also a question mark because of his origins (just as his mother's backstory was to be a mystery). And the children *together* have their own world, outside of their parents. The abuse/bullying, the secrets, the bonds, perhaps even the jealousies, and whatever else is transpiring within school walls, or wherever they are outside of parental supervision.

Fair enough. I believe Ed knew (or strongly suspected enough). His eyes, his expressions said more to me than words on that matter. And also why I think that balcony scene is so important between Ed & Maddy (for Ed's character development). I think the repeated looks & disconcerted looks at the benefit only confirmed this for Ed.

I think this is *huge* and really, a driving force in this series. In my first post I mentioned the 'insecurities yet power of these women. They all saw traits in the other that they liked, even envied. They recognized aspects in one or all of the others that they wished they had, or could achieve, or maintain, etc... That breeds all sorts of snarky, catty behavior from grown women! BLL does an incredible job portraying this. I think all the women craved understanding, support, and friendship. Renata sold this particularly well (the more she ranted & raved, the more it was obvious to me). It's not a trait I am proud of but I've seen it in myself and I'm mid forties. And the risk of a show portraying this is it can come off very 'mean girl-high school', very one note. I guess that's why I don't mind the beach scene at the end (I did chuckle at someone commenting that it seemed too Lifetime-movie-esque, and I get that, too!). But in this series it really worked for me. As a part of that, showing that Celeste isn't sequestering herself and the boys somewhere, isolating them--which I could understand being a very real reaction--but instead showing that she is nurturing them to grow into healthy young men. No isolation. No punishment. That takes a lot of bravery. And the acceptance & understanding of her friends in order to do this is, well, true friendship.

This. I complained earlier that I didn't love the Maddy affair story. But it does serve the characters of Maddy, Abby, and Ed in their own ways. Ed's being the one I feel most. Last week, Maddy was breaking down and said to Ed "I did something so bad" (or to that effect) and it seemed she was about to confess. Ed reached over (despite his own anguish), touched her hand, and basically shushed her. He knew. He knew she knew he knew. She knew he knew she knew he knew . And so forth :) It was the unspoken that said so much (like so much in this series). Ed was being strong for both of them there and that takes quite a bit of character. He wasn't letting Maddy get her confessional; her suffering was hers to bear--which does not mitigate Ed's pain but that was his line to draw and he did with compassion as opposed to spite.