paramitch

As a poverty-stricken freelancer, I'm a sucker for dream homes. And as a former Floridian, those homes and water views this season were so amazing it was definitely fun to just enjoy the home decor silliness, no matter how bad some of it was. But this season was SO frustrating. First and foremost, I'm sure that Leslie and Lyndsay are perfectly nice, decent people in their everyday real lives. But oh my GOD, for me they are the most irksome, annoying, fake, over the top people I've ever seen. Their worst sin is that they are just the worst actresses ever when it comes to participating in anything "reality." Both twins speak in these exaggerated pushes so that every! single! word! sounds! like! it's! being! screamed! by! a! cheerleader! who! smokes! a! pack! a! day! And they both do it. It's incredibly fake and mannered, and I find it unwatchable. It doesn't help that they have incredibly cheap taste. Like, they do have some good ideas -- like the really lovely loft home office -- and then they destroy it with kitschy stuff like that horrible faux-animal-print wallpaper. And they're in love with cheap knickknacks and wicker/rattan stuff. It's like they succeed at the macro but then fail on the micro. And soooo much clutter. I'm still salty they won the outdoor challenge when theirs was by far the worst in terms of thought and design. The ugly, cluttery furniture placements! The terrible pool setup! Nothing faced the actual water! Aagghhgh. And they keep making these mistakes in logic -- the dog cleaning station upstairs was the perfect example. I did love the solar panels, but the installation on the roof looked incredibly temporary, unprotected, and -- as depicted -- would not have survived one major thunderstorm. I loved a lot of the guys' house -- their living room was absolutely gorgeous, and those ceilings were to die for! -- but I frequently disliked some of the art. The Zen room was lovely, but the "Buddha" painting I thought was just terrible, and cheapened the whole room. It looked like a talented high schooler's art project. And that closet was embarrassing. In Florida, what the heck is a fireplace in a closet beyond a waste of space and a fire hazard?! I liked several of the Baumlers' rooms, and loved the elevator (absolutely money well-spent in a THREE-STORY home where you'd have to climb stairs with those groceries. But I disliked their kitchen and (badly) connected dining table. Just not my cup of tea. The curved walls and organic shapes were soft and pleasant even if they aren't my thing (and there was too much white on white for me). But their pool area, patio, and balcony were all really lovely. I really dislike Paige and Mitch's taste and their utterly bonkers space planning. I did love the grocery/dumbwaiter but I hated so much of the rest about their home -- the outdoor shower on the balcony (why not put one by the pool instead?) -- the spice rack cupboard behind the stove (so that you would have to reach over hot burners and boiling items to reach spices!), I hated the twice-elevated master bed (stairs and then the extra step up into the bed -- talk about a tripping hazard), hated the cheap-looking "couch swing" in the patio, and just thought the home office with the elevated motorized bed looked oppressive and claustrophobic. This was the weirdest part this year (and always seems to be year after year) -- all this emphasis on overstuffing crap into non-living spaces! Nobody needs three washers and dryers, fireplaces in closets, or wine walls (which is just not a great way to store wine). They seem nice enough, but oh, man, they are just awful for me in terms of watchability. It's like watching bad actors overacting real life every step of the way. They just come across as fake to me -- in the way of people who have forgotten how to be genuine. I've always figured the show was fake (or mostly fake), but wow, looks like they won't be coming back for the next one.

I thought the last episode was incredible. I was so invested in all the outcomes. I love Jet and Antonia both, and it broke my heart that one of them had to lose. I hated watching Jet lose. And hated watching Antonia lose in the finale (I may even have gotten a little teary at how devastated she was). I did think Maneet slightly edged her out -- Maneet is so amazing when it comes to creativity, and to maximizing the randomizer. It's just staggering to watch. I hated watching Antonia lose -- I have adored her forever on TC and a variety of FN shows -- I loved her on GGG for years and especially on "Cutthroat Kitchen," and she and Alton were practically Roz Russell and Cary Grant, they had this zingy funny dialogue that was just wonderful. I was rooting hard for Antonia to win, she cooked incredibly, and you could just feel how much she wanted it. She was also, as always, so witty and smart and fun with her commentary (I have a weakness for funny chefs, which is why I also adore Alex, Jet, and Tiffany). Thank you for sharing this! I loved the interview, and found Maneet to come across as very humble, appreciative, and genuine. And honestly, TOC has really impacted my perception of Maneet. I always enjoyed her on "Chopped" and when she'd show up on GGG, but my perception was of a superb but limited chef. Then on TOC, I've honestly been blown away by her creativity and breadth of ability. Yes, she loves Eastern Asian flavors, but she also intermixes or elevates them in gorgeous and surprising ways, and she has also frequently cooked French, Southern, and Asian techniques with complete ease and relaxation. I've absolutely been blown away by Maneet's ability. I wanted Antonia to win, but I'm not unhappy that Maneet did, and I salute her talent -- she really did earn it. And I liked that we could see that she was elated to win but genuinely sad at Antonia's devastation. For me, this was a hell of a year. But -- I absolutely agree that the show needs to depart from the regional heat approach and just mix them all up next year. It's frustrating and repetitive otherwise.

I'm so happy this show is back, and think Kristin is doing a great job overall. She's warm and comfortable, and her work on other shows has really paid off, I think, in giving her that comfort before the camera. I did get a little tired of her getting "goosebumps," which I think occurred at least twice, but she's new and enthusiastic, so it's all good. I also think her status as a Top Chef winner really gives her an added panache as host -- she is confident in discussing what she tastes, likes, doesn't like -- and what she expects. I will personally still miss Padma -- I thought she was a smart and elegant presence on the show, and increasingly warm and likable as the years went on. It's early times, but I really like Michelle, Dan, Rasika, Manny, Kevin, and Valentine. I did not like David -- beyond the fact that he just appeared sort of greasy and unkempt (including his workspaces), I really disliked his passive-aggressive nastiness, and he did made quiet little digs at people and situations 3-4 times this episode. It's always good to see everyone back -- so good to see Tom and Gail again, too.

I thought Tiffani was a very gracious loser (as she was last time). She hugged Amanda and was nothing but kind, complimentary, and wished her luck to take the championship. From their comments on both sides, it seemed like she and AF are friends away from "Chopped," and I can't imagine that would change now -- anymore than when Tiffani beat Amanda. I do think Tiffani was frustrated with herself (I think she tends to judge herself harshly), and that she may not be back for TOC again.

I absolutely loved this. Loved it. I can be a little hit or miss with Alexander Payne but this was just wonderful. Sometimes I feel like Payne's "observational" writing crosses over from accuracy into cruelty, if that makes sense -- he did this with Election and Citizen Ruth a bit (although I loved them), and especially with About Schmidt (which I did not love). For me, Sideways is kind of his perfect film -- it's still got that Payne cruelty, but it's softer and sweeter around the edges, too. Not to mention all the actors hitting it out of the park, and Virginia Madsen giving the performance of her career. But this is up there with Sideways for me now in terms of my favorite Payne films. I just really loved this, and the best part was that I really didn't know how to feel about Hunham for easily the first third of the film -- he was petty, cruel, visibly checked-out from caring about his students, but his kindness and real concern for Mary made me curious, and by the midway point, I loved all the characters left in the weird sweet little holiday group. The core group was just perfectly cast -- Giamatti has always been so underrated, and I was honestly rooting for him to win the Oscar here (although I was fine with Murphy getting it too), and Da'Vine was just wonderful as Mary (she totally did win -- and deserved it!), as was newcomer Dominic Sessa, who absolutely knocked me out as Angus. I'm a sucker for "found family" stories anyway, and by the time they were all allowing themselves to enjoy being marooned together, I had absolutely fallen flat for the movie. The thing that moved me the most was watching this very accurate portrait of Hunham -- someone most movies would never look twice at. A slightly chubby, late-middle-aged loner with a walleye, fishy body odor, damp hands, and a bitter, time-hardened heart. Every time someone was kind to him, you could see him struggle with his hidden loneliness, and struggle not to show himself softening up. When his school associate Lydia was kind to him, and then Angus kidded him that she liked him, Giamatti was so masterful at showing that he was allowing himself to feel a tiny bit of hope that she might actually feel romantically for him -- hopes that we can see leave his eyes when her boyfriend arrives at the party. But still, I just loved that he ended that break by saving one young boy's soul and future, by being a friend to the grieving Mary, and a real caring teacher/parental figure, by being brave, and by rediscovering his own sense of hope. I'm old enough now in middle age to be moved by even the small victories, and I thought this was just a really lovely movie that saw people in all their weakness and imperfection and wonderfulness and still loved them. It really did. I got goosebumps at the crackles in the soundtrack, the audio pops, and the splotches on the "film!" And the soundtrack was fantastic. Thank you for sharing this -- it was really fascinating, and they did an amazing job of creating digitally the lived-in feel of a 1970s-era movie shot on film. Honestly, I thought it was miles better than Dead Poets Society. I get why people love it (especially for the late, great Williams), but let's face it, Robin Williams never appears to actually teach the kids much of any actual poetry or English, and instead seems to want to be a kind of radical-rebel life coach who is then shocked (shocked!) that teachers and parents aren't thrilled at the result. It has some wonderful scenes, but I just don't think it's a very well-written movie overall. I know I'm in the minority on this, though. But in terms of an elite private school, and who I would buy was an actual real teacher? This movie wins over Dead Poets hands-down. I hated Angus's mother so much! Hated her. Her reactions were so over the top, and her desperation to please her new husband really gave me the creeps. She was willing to send her son to military school (basically, school prison) because he wanted to visit his Dad at Christmas. I mean, sheesh. I was uncomfortable with Danny's attentions to Mary. She was visibly grieving and visibly did not want to be wooed, and he just kept trying (and touching her). I kept wishing she had spoken up because it made me really uncomfortable. That was such a beautiful moment, and it moved me a lot. I also loved that Mary is clearly struggling with alcohol as a way to get through her grief, but the movie doesn't get preachy about it, it's just part of what she's going through. The scene in the kitchen at the party broke my heart. I so wanted Paul to win! I wasn't mad that Cillian won, but I was rooting for a Giamatti-sance. And I so agree. I loathed poor Angus's terrible mother, and loved that Hunham was brave enough to save him from her at the end.

I thought this was good, but honestly I felt like it was also one of those bloated, stolid ponderous 4-star movies that plods but never dances. Which is increasingly what Nolan just seems to prefer. As a biopic, I thought it was very well done, although I was slightly bored by how much time was taken up by the trial in terms of the story -- I was disappointed that there wasn't more focus on the science and scientists, especially on the interlude at Los Alamos. Honestly, for me, Matthew Broderick's adaptation of Feynman's memoirs into the film Infinity (1996) did a better job of conveying the atmosphere at Los Alamos -- the combination of curiosity, fear, excitement, discovery, and madcap humor that took place there among the team. The trial was well-acted and presented, I guess, but once it became obvious that it was a put-up railroad job, it just felt like it went on forever to me. Downey was good, but also felt very one-note to me. I also felt like Nolan was too in love with his own shots -- so many of them lasted so much longer than they needed to. So many endless seconds of billowing flames (most of which didn't look remotely atomic). So many endless closeups of stoic faces center-screen. And once again, increasingly lately, I just don't like the way Nolan writes women. Nolan has a bad habit of writing two simplistic/oppositional female characters in most of his (very male-heavy) films -- see also Inception (evil wife/sweet Ariadne), Dark Knight Rises (Selena/Miranda) and Interstellar (love-addled astronaut/pissy daughter). Here, we have a cast of thousands, literally a dozen male name-actors alone, and then there's Emily Blunt and Florence Pugh -- both just playing lazy female tropes in a forest of men. Blunt gave a great performance in the second half, when she was finally allowed to have some complexity, but for most of the first half, her character was just a thankless alcoholic shrew to further demonstrate Oppenheimer's 'problematic women.' Speaking of which, poor Florence Pugh -- oh, my God, that poor girl. I felt like her performance as Jean was badly written, overacted, and awkwardly filmed, and that her nude scenes were utterly unnecessary, prurient, and bordering on silly. Having him speak his "I am become death" quote while they're having sex? Seriously? I mean, come on. It utterly weakens the moment he actually said (and meant) the words later on. Why keep adding "gravitas" on gravitas? It wasn't necessary. I did think Cillian was great, and I was so happy to see him get his much-deserved star moment here. He's always been so gifted, and this was a terrific showcase for his talent and beauty and capacity for visible sadness just beneath the surface. And I absolutely loved Tom Conti as Einstein -- absolutely perfect casting, and a perfect performance. Anyway. I thought it was a good movie overall, I just don't think it's the greatest thing I've ever seen. It never evoked a moment of real awe for me. I know I'm in the vast minority on this, but as far as "Best Pictures" go, I honestly thought Barbie was smarter, took more creative chances, and the movie I'll remember for much, much longer. Thousands died in this story but it didn't make me feel much of anything. Whereas I was given a few glimpses of the poignance of simple everyday life, and I was a sobbing mess in Barbie.

I was frustrated and a little confused by the writing choices in this. It's a handsomely produced movie as always and the performances were great. The stunts were of course fantastic. But oh, man, they really let the characters down! One of the things I've enjoyed about the progression of the series -- especially through the last 3 films -- was its increased and consistent focus on the characters and team. We had Ethan actually get a close genuine romance with Julia in MI:3 (who was awesome), and the movie showed how much he still cared for her in Ghost Protocol and Fallout too (knowing the relationship was over) while he also grew closer to Ilsa, who was seriously his female counterpart in so many ways. The end of Fallout was a nice way to show that Julia had finally moved on permanently -- and really heavily implied that Ethan/Ilsa would finally take the leap on a relationship together, and I was all for it. But the story structure here was just so weird. The first third (after the super-weird "La Femme Nikita" retcon), we get the traditional team stuff, we get poor sweet Benji admitting he loves his friends more than anything else while melting down over the bomb/cypher, and Ethan as always does his best to save Ilsa at the last minute while also navigating Grace being an increasingly tiresome triple-crosser. I thought Benji's cypher/questionnaire was going to be the theme/subtext of the entire thing -- that it was a wonderful potential way to get to the hearts of these tough agents and reveal their hearts. And it kind of did that until the midpoint. In the middle section, the movie doubles down on Ilsa/Ethan, we get the hints of romance and the absolutely lovely sequence in Venice -- then suddenly the Gabriel standoff where Ethan looks all tortured at the idea of choosing between Grace and Ilsa (and later they are put on weirdly equal footing again when Ethan flashes to glimpses of each of them plus the girl from the prologue). Anyway, then it all goes off the rails. Poor Ilsa gets fridged (and I agree with everyone who found it weird and awkward and not believable) and literally dies for her replacement female (Grace, who GOT HER KILLED). And Ethan and the team barely blink over Ilsa's loss and are instantly indoctrinating Grace into the team for her big mission. And then there's this instant weird overly intense pseudo-romance energy between Ethan and Grace for the rest of the movie, and I honestly just resented it. It felt forced and disrespectful. I mean, Jesus, Ilsa's body isn't even cold. For me, the odd thing is, aside from the first movie (ugh), I would say that romance has been very well handled across the series. I always believed Ethan's connections with his romance -- with Thandwe Newton in 2, with Julia in 3, the slight "almost-romance" (both of them grieving) with Paula Patton, and then his connection with Ilsa in Rogue Nation and Fallout (and again, without abandoning his bittersweet feelings for Julia, which I thought was such a nice touch). I've always felt like while the romantic aspect was usually not front and center in the series, it has been nicely handled overall, and there have been some nice moments as Ethan and his friends and flirtations managed the nihilism, shifting loyalties, and tensions of their work. I think the bummer is, this movie sort of started off pretty heavily implying that Ethan and Ilsa's three-movie slow burn would sort of be a focus or culmination here. We sort of got that -- it was implied that they were an actual item here, and the lovely little moment of intimacy in Venice implied that further. But Ethan's reaction to her death and afterward was such a misfire from Cruise -- I just didn't feel much from Ethan about the moment. And while I love Hayley Atwell, and she did a great job here overall, especially with a physically demanding role -- I just really did not like Grace. Her entire storyline just consisted of her being kind of an asshole, double-/triple-crossing Ethan over and over again (even when it became increasingly clear that she was hindering him in a "Save the World" situation). And then of course pretty directly resulting in Ilsa's death. So by the time we got the big train situation -- her reversal was too unbelievable to me. Suddenly she's remorseful and begging for support? Why should they trust her for a single moment? Despite the incredibly cool stunts and action sequences with the train at the end, I didn't feel any tension because I didn't care if Grace died or not (sorry, I know that's cold) -- and I knew that Ethan wouldn't. This was a big letdown for me. I thought Cruise brought his usual dynamism and energy, the stunts were amazing, and I loved the team at the beginning, but by the halfway point I was kind of over it all. Bingo. It was so insulting to Ilsa. Especially given that Grace had put HERSELF in this situation over and over again and double-crossed him every single time and actively put his life in danger because nobody mattered to her but herself. Why should Ethan care so much for her? Ugh. This is perfectly said, and exactly, exactly how I felt. I thought Morales was okay, I just thought his character was a smirky, shallow trope. And I was so disappointed that after that wonderfully tense, suspenseful early sequence with the whole team working together, and those moments of real fear and emotion from Benji -- and then they were gone for most of the movie! This exactly! The instant hiring of Grace -- who is woefully unqualified in every single way -- and who also showed that she is utterly untrustworthy, not a team player, and cannot be depended on -- was laughable to me. And insulting to Ilsa, whether they meant it to read that way or not. It could have been so much better written and finessed, in which Grace proved herself over time (and over the two movies) instead of immediately being brought into the fold here. I so agree with you on Julia! And I would add that Julia's appearance in Ghost Protocol as well, also strengthened that sense of continuity and her meaning to Ethan (his "mourning" her for most of the early part of that also contributed to a sense of her importance) and tying MI3 and Fallout nicely. And I agree -- it absolutely should have been Julia Gabriel killed, not some woman Ethan was involved with that we don't know. It's a cheap device and means nothing. This was so silly and sloppy to me! Just ridiculous. These are some of the most skilled and preternaturally trained agents on the planet, not wayward crime children assembling under Fagin. And the way Grace was instantly inserted into the team just felt so unbelievable and disrespectful. Much less her 'hiring moment' at the end. To each their own, but as a woman, I actually like the MI movies AND the James Bond movies to be great big fun candybar movies that diversify the cast beyond the "white male hero" and that ALSO treat the female characters like actual smart, complex people and not cardboard cutouts who need protecting. Bonus points if the women are badasses. Especially when both series have already demonstrated that they can do this (i.e., Casino Royale and Skyfall; MI3, Ghost Protocol, Rogue Nation, Fallout, etc.) THIS! It drove me bonkers! I kept wondering if scenes had been cut out to explain this because Grace was such a repeatedly self-centered jerk who was also completely willing to kill/endanger Ethan over and over again (even when he had repeatedly saved her), I couldn't figure out why he was so weirdly intense about saving her.

Aw, it tried, but it just didn't work for me. I didn't hate it, but I didn't love it, either. It was just kind of sweet and okay and innocuous, with lots of repetitive patter-songs. When the two best songs are from the movie 50 years earlier? Yikes. The main issue for me: Wonka (both book-version AND Wilder-version) is a devilish charmer, always the smartest guy in the room. I get that this is a prequel to a younger Wonka, but I felt like here, Paul King (a real visionary for the Paddington movies, previously) here just tried way too hard with the innocent whimsy and what we ended up with was not Willy Wonka, but Paddington Wonka. A sweet innocent wandering the world. And -- I just -- nope. Adding to this, as mentioned, I just felt the songs were very weak. They all ran together, they were limited in range, similar in melody, and all patter-songs (mostly pallidly talk-sung by Chalamet's Wonka). They made zero impression on me. So it's weird that this is a musical. Why aren't more people singing? Why is Chalamet doing all the singing when he can barely sing? I figured most of the songs were solos because nobody would be able to hear him otherwise. I mean, Wilder was not an operatic divo, but he convincingly sang, held notes, there were actual songs happening. The only time I liked Chalamet's singing or felt like he made a real effort was in the final reprise of "Pure Imagination" when Noodles found her mother. Suddenly, he was actually singing! He had vibrato! It was an actual performance! I liked it. I just felt like it was a bummer it was so late in the film. And it was still very wan and pallid. No projection, no diaphragm. Ultimately, I just never bought that Chalamet was actually Wonka. He's twinkly and likable and not as dead-eyed as Depp's horrible interpretation (thank you, God), but he still lacks the spark of the book-Wonka that Wilder inhabited. And I just do not believe that Willy Wonka traveled the world but was somehow unable to read. I do not buy that Wonka was so gullible as to be taken in by the innkeepers. I do not believe Wonka could be so taken in by simplistic plots by fellow chocolate-makers (or that they would INSTANTLY attack him). But my main issue is that the entire movie didn't tell us of the genius and whimsy of Wonka's inventions and beginnings -- instead we have to wade through a silly manufactured two hours of sidetracked "he needs a home" silliness in which I was never worried for a single minute about anything but a happy ending. I wanted a movie about Wonka's factory and his decision to close it. I wanted a movie about his genius and whimsy and loneliness. This movie just took the easy way out. Which, okay. Just not my cup of tea. Bite your tongue! Oh, man, I hate that movie so much. I know the Dahl estate gave it a tongue bath, but Depp's horrible creepy Wonka has NOTHING to do with the book character (Wilder's version is chapter and verse much more faithful to the character -- and has far more lines that are right out of the book.) Then add in the stupid "Dentist father" subplot and the whole fallacy that Depp's version is more "faithful" to the book is just laughable. I mean, okay, Mr. Bucket is still alive. We get squirrels instead of geese for Veruca (the geese were understandably easier to film, and I still honestly prefer them -- they didn't change the plot, either). But -- ugh. I truly love and respect the book but Dahl was a goofball for his rage against the Wilder adaptation. The only real sin of Wilder's is the title change (branding) and the "Fizzy Lifting Drinks" scene -- which I can forgive, since it wasn't expressly forbidden (unlike every other child-transgression) and was just a way for Willy to show that it wasn't about children being naughty, but about picking the truly ethical child, which Charlie was. (Meanwhile, don't get me started on Grandpa Joe. Grr. Getting out of bed after watching your family starve for decades -- and only when a lifetime of rich food is guaranteed -- is not a good look for anyone.) You know, I loved Great Glass Elevator as a kid, but I reread it again recently as an adult and was shocked that I kind of hated it. The entire thing is just Grandma Georgina being an ass and messing things up for Wonka and everyone else repeatedly (same formula as "Chocolate Factory," but just one person messing things up over and over again). She's screechy and really tiresome. I loved the Vermicious Knids as villains (and they are really scary and creepy) but it just feels like a giant missed opportunity. The book ended for me just when it got interesting. On the plus side, it does have several lines by Wonka that were included in the "Willy Wonka" movie with Wilder, so I love that someone definitely pulled all the good witticisms of Wonka's for the movie. Anyway. I thought this was sweet and innocuous. But the movie version of soda. Completely sugary and forgettable.

I usually love Kathryn tremendously, but I did not like her here. I just felt like it was a badly directed, overacted (oh my God, so much), self-indulgent "Look at me" performance. Every time she was onscreen, I cringed. It was all dialed up to 11, all the time. Merritt was one of the only performances and characters I liked her. And ugh, I just full-body-shuddered at the idea of this getting a second season. Please, God, no more of these awful people.

Welp, I finished it feeling very ambivalent as always with this show. It's well-produced and beautifully rendered, I just dislike the writing, plot, and worldbuilding. They all feel lightweight and shallow. And the final conversation between Percy and Hades I just felt was cringeworthy while they traded back and forth about which magical/mythical items they were actually concerned with, and who was double-crossing who, and at a certain point I just rolled my eyes and checked out. Why should I care about any of those items? The only one I did care about was the marble representing Percy's mother's exit from the Underworld. The whole "Forget the rod and the shield and the whatever and just give Hades the hat" thing was ridiculous, and took up huge minutes of time. None of it mattered. I realize I'm probably being too tough on the show, I was just shocked at how bad it was. I love plenty of kids' shows and fantasy kids' shows (I would include Doctor Who in that mix), but this I just could not connect with at all. It was so superficial and bloated. And nobody actually evolved in any deep way, including Percy. Everyone was the person they started out as being. It's just not for me. I won't be back.

I wish I liked this as much as everyone else seems to. For me, it's just incredibly childish, and not in the good way. Some of my favorite books and movies are about children, but the writing for these is barely competent to me. It's bright and shiny with very little substance underneath at all for me. And on a shallow note, while the kid playing Percy is okay, his voice is incredibly unpleasant and whiny, and I keep wishing someone else was playing him when he speaks. For me, the Greek mythology knowledge feels like the author did a quick Google, and that was it. I've been so disappointed. Nobody is surprising or reimagined in any way. Even Medusa, with her horrible origin story that cried out for her NOT to be just "a monster" was betrayed by the show to be... yep, a monster. I was so angry and disappointed. Meanwhile, onward. It was nice to see Omundson back again, and he was a lovely and quiet Hephaestus. But meanwhile, there is very little subtext -- everyone just says whatever they need to say to move the plot along. And the arcs all move at lightning speed -- "I hate you!" "We're best friends!" etc. The casting is okay, the acting is okay, I appreciate the diversity, I just wish the show was better. I feel like they spent all their money on effects and far too little on caring about the writing or worldbuilding. But since the author did the adaptation, I'm guessing the books are just this bad? Maybe it's just not for me.

I just found this forum. Yearrrrrrs later! But still! I started watching "Thirtysomething" when I was in my junior year of college, and I was just absolutely head-over-heels in love. The writing was so intelligent, the acting was amazing from a beautiful yet believably real cast, the cinematography and music were superb, it was everything I wanted. I didn't really hate anyone, although Hope was probably my least favorite. She was just always so clenched and passive-aggressive. But I also felt for her and Mel Harris always made her very warm in unexpected moments. I absolutely adored Ellyn (flaws and all), and would have happily grown up and married Billy (sigh, oh, man). I frequently loved Melissa, but she also irritated me just as frequently because she was so self-destructive (and frequently a bit narcissistic -- I absolutely hated her reaction to Gary's death and was so turned off I had very little empathy for her at all -- she was just so determined to make it all -- about -- her. And it didn't help that I thought Melanie Mayron overacted most of those too). But I absolutely loved Melissa with Lee, and thought they were so effortless and magical together. But I just adored Nancy, always, one thousand percent. I remember when I started watching the the show I thought she was a bit plain, but then by season 2 or so I realized how gorgeous she was and how I'd been taken in by the Mom-hairstyles and kid-barrettes, etc. I loved Michael, and I also honestly really loved Elliot most of the time. Could Elliot be an ass? Sure, frequently! But I just thought Timothy Busfield always made him so vulnerable -- you could see his uncertainty and emotion beneath the assholery. I also really loved Elliot's arc across the show -- he really ends the show as a much better, kinder, more confident man than he began. Unlike most people I know, I really liked Susannah, but partly because I weirdly identified with her -- she always struck me as being outwardly prickly with this soft center, and she seemed so lonely. Then she fell for Gary (and was rightfully worried about that), and not only that, she had an entire wall of friends/family to contend with who basically almost immediately decided they didn't like her on sight. I also really enjoyed the rich way the show explored how differently people can behave/be depending on who they're with -- the relationships were so beautifully handled. I cared so much about Michael & Elliot, Michael & Hope, Elliot & Nancy, Ellyn & Woodman (and Ellyn & Billy, and Ellyn & Melissa), Melissa & Lee, Gary & Susannah, Michael & Miles Drentell (such a fantastic character!), etc. What's interesting to me now -- as a middle-aged woman today -- is that I was such a baby when I watched it -- I mean, I was a film production major and thought Elliot and Michael's lives in advertising were so glamorous. Now they do seem a little desperate, empty, and crass to me, but that's after doing some production, studio, and ad work into my mid to late 20s and realizing how much of your life revolves around just the right phrasing for Rice-a-Roni. Or just the right ad copy for the back of a milk carton or cereal box. Which -- hey, it's work. But I was just so starry-eyed about it at the time. The episodes I still remember most that stay with me: Hope & Michael's "Gift of the Magi" episode ending with the Christmas tree and "River" on the soundtrack The "Rashomon" episode about the night out that was the last straw in Elliot & Nancy's marriage Michael & Elliot's company closing (that ending voicemail just killed me) The "murder" episode where Gary fell in love with -- and screwed it up with -- Dana Delany (who fit right in -- I felt so sad when she was just a one-off) Nancy's incredibly beautiful, heartbreaking cancer diagnosis episode Hope's struggle to go back to work Ellyn & Melissa both competing for the gynecologist (still one of the funniest moments ever in the show -- Ellyn in the stirrups, looking up and going, "Bob?") Susannah giving birth (taking place in reverse time) Susannah and Hope coming to terms Nancy's "Second Look"/Gary's death. I didn't always love Hope, but her reaction to the news was so incredibly real -- Michael tells her, and her knees immediately buckle -- that happened to me, and the memory of it (and of that scene) will always move me. Melissa's "fairytale" episode where she fell for Lee Nancy's almost-flirtation with the woman in her cancer group who ended up being so toxic Ellyn falling for Billy (and Billy almost screwing it up with his former BFF) Michael going to the writing class and Nancy doing better (and him sort of creepily writing about Nancy from little intimate things Elliot had told him) I haven't rewatched the show in decades, but it made a huge impact on me. I also bought the soundtrack and absolutely wore it out for years after. I loved the show -- I'll be interested to rewatch one of these days, but I'm sort of hesitant. I was too young when I watched it before, and I'm too old now. It's more than a little ironic.

This was really cool to see yesterday -- I was so swamped with managing Dragon Age Day (our sixth year!) I barely watched it. I just hope the game is good, especially since EA totally gutted BioWare of so many talented writers and artists in that last big layoff. I still can't believe they let Mary Kirby and Luke Kristjanson go. I mean, Patrick Weekes can only do so much. I just hope Dreadwolf is a good game.

I thought this was amazing, and easily one of the best show (and series?) finales I've ever seen. Incredibly smart, satisfying, emotional television. It was beautifully written, so well thought-out, and managed to be complex, moving, and even slyly funny throughout. The entire cast was as always terrific, but especially huge props to Owen Wilson for Mobius being the soulful heart of the show, to Wunmi Mosaku's Hunter B-15 as one of its treasures (and she looked gorgeous in that orange gown at "Brad's" premier!), Gugu Mbatha-Raw (she's so talented and charismatic, even if I found Ravonna a little one-note), and Tara Strong for voicing Miss Minutes and making her truly creepy this season! Ke Huy Quan was so good as always and was instantly a seamless part of the team, and while I am not a fan of Jonathan Majors's reported real-life behavior, I thought he again gave very charismatic performances this season as both HWR and Timely. Also, can we TALK about Natalie Holt's gorgeous music for the finale? Her work across the show has been so fantastic and innovative (those playful opening credits!), but then that finale sequence as Loki made his choice and crossed the bridge and beyond was so majestic it had me in tears. But give Tom Hiddleston all the awards -- the complexity of what he's asked to portray in the final 2-3 episodes is really daunting, and he does it beautifully. I especially love that he often chooses to underact, so that a universe of meaning can be conveyed in the raise of an eyebrow, a slight smile, the hint of a tear, etc. Gorgeous finale. Was it bittersweet? Yes. But I felt everything that led up to it was built on bedrock. Loki's character arc is so satisfying because it's so complete. The key moment for me was when Loki was back in the tower here (almost perfectly at this episode's midpoint), and he's "on pause" from Groundhog-day-fighting Sylvie to talk to HWR. And HWR is quiet and almost kind, yet still slightly off-balance, and he looks at him and says the thing that I think changes everything for Loki: "Every moment of peace you've ever experienced was yours because I was here. Alone. At the end of time. Keeping watch." Loki pauses, then says: "I understand." HWR then says "You want to break the loom. What do you think would happen to your friends? I make the tough choices, that's why I get the big chair." HWR then seems sincere and tells him he's offering him mercy. Loki turns his back, and this is where I think he realizes what he will have to do. The great thing here for me was that I instantly assumed where the episode was pointing all along -- that Loki would have to kill Sylvie. So the best part in retrospect is that Loki was never, ever willing to do that! Ever. He goes through centuries of suffering, he is told there are no options. But he has genuinely changed so much that nope, nothing is going to make him kill Sylvie, whom he loves (whether romantically or otherwise, he loves her). Loki has spent centuries with this little group of brave misfits at this point -- far longer than he spent with anyone else in such close quarters, except Thor, Frigga, and Odin. He meant every word. He loves these people. But it makes revisiting HWR's words is so painful! Given that Loki, when pressed earlier to tell the truth, had simply admitted to two wishes in his life -- "I want to save my friends! And I don't want to be alone" -- this makes the final five minutes incredibly moving and sort of gloriously tragic. Loki has a throne, the one thing he thought he always wanted, and not only did he not want it now, but it has damned him to an eternity of sacrifice and solitude. As was the revelation that the new Loom was now the Sacred Tree (Yggdrasil) from Norse mythology, making Loki not just the god of time but the god of stories he was always intended to be! Just so damn smart. And I loved that Yggdrasil is now the new symbol of the TVA! It's so much richer and shows the two working in tandem, a more peaceful and organic universe growing the way it wants to grow. Loki is alone. But he has saved his friends, he can watch over them, and he has finally found his glorious purpose. I try to make it a tiny bit less tragic by assuming that he can bring people to visit him at times, where/if it won't mess with the timeline. And he can -- I would think -- always bamf over a reflection of himself to them to hang out sometimes? This seems like it might be in the rules, with Mobius, Sylvie, etc. A small few who already know everything? Anyway, brilliant finale. Kudos to all. PS -- I want Thor to find out. I want Thor to be proud of his brother and to know that he was right, that Loki did have good in him. PPS -- I do wish the show had ever addressed the fact that Loki was visibly sickened/enchanted by the Mind Stone via Thanos in his first appearance in "Avengers" -- he is made up to look visibly ill there (shadowed, reddened eyes, pasty sick visage, just as Hawkeye was after 'possession'), and Marvel did confirm later that the Mind Stone had altered Loki and exacerbated his rage and vanity. So his actions in Avengers -- while absolutely villainous -- do need to have an asterisk attached (for me).

@txhorns79 I was being too simplistic. I don't disagree with your POV, I just find it understandable that Margo reacted from a larger, more humanitarian place and found it hard to (for instance) willingly and knowingly withhold information from a friendly fellow scientist -- someone she had liked and respected for years -- about flaws that would absolutely result in loss of life. I honestly don't know if that's a test I could pass myself -- knowing that the other country's next shuttle would most likely explode upon launch, and saying nothing, and we're not even in a state of war or imminent conflict? Yeah -- I'd give them a hint and try to keep it contained -- which is probably why I'm not in the military or politics. I don't like black and white answers to questions that are ten thousand shades of grey. (My Dad IS a retired Navy officer and he would be horrified at my answer here. Oh, well!)