Ottis

No, Dany is worried anyone might want her job. It's the genetic madness. Another sign of her imbalance. Tyrion was dropping anvils.

There are a lot of elevators on this show. When your heroes have to take an elevator to the bad guys, that's less than suspenseful. "The epicenter of everything." Ugh. How can Luke know that no innocents will enter the building? Making that a condition is pointless, aside to have his character say something in character. Luke's big idea in the elevator was to hide for a minute? Deep. And Jessica didn't like it because.... she had to talk? These big fight scenes are silly. It's like the 60s Batman. Can we get to more intimate, meaningful fighting? Matt and Elektra's fight was better. So Danny can now keep the Iron Fist lit up for 10 minutes? Jessica suddenly is a team player and doesn't want to leave Matt? Elektra's accent is bizarre. Sometimes English, sometimes Hispanic. The way the team came together was pretty well done. Everything about the plot and bad guys was not. The threat from the bad guys was vague and honestly, if they had won, what would have been the difference? Aside from "NY will fall?" What does that even mean? Sigourney Weaver was wasted and wasn't interesting nor threatening. I miss the moral interplay of The Kingpen vs. DD, and two different ways to make Hell's Kitchen better. Give us some of that instead of ninjas and moustache twirling.

This show has crossed over into disappointing. Danny is either whining or losing - he's always stupid. Loved ones are living full time in a police station with no apparent issues. The horrible, terrible threat to the city is... a black out? im enjoying Jessica's meta take on the silliness of the plot. This show would have been better served to have a more normal enemy and less mysticism. I just hope the next plot isn't centered around the good guys being branded bad guys and spending half the show hiding from cops. That would be an incredible waste. By the way, the solution of taking down one building to stop a global organization makes no sense. You can't keep saying how terrible the hand is, and then say well, one action and we're all safe. The only other part I liked was how each character is finally owning that this is their lives. Let's get on with it already.

It's cute watching the team interact, but this is a dull show so far. The bad guys are abstractly bad. Any threat to loved ones is off screen. I don't feel any sense of danger. We never saw why Sigourney Weaver was bad ass. I so miss the Kingpin.

Why does Dutch suddenly look a lot more like Aneela? New hair and all. Hard to take Aneela seriously as a villain. She doesn't know much, and is more nutty than evil. The first female then male pick up attempts in the bar were amusing. How many dangerous subgroups are there in the galaxy? All the planet scenes felt like Defiance.

This is a pleasant enough show, but it's not quite there for me. I think it's because it is such a closed world (no pun intended). We have our Star Crossed group, which is together a lot. And the aliens above, who are together a lot. And in between, there is little meaningful interaction with the world, anyone else in town who does or doesn't believe them. It's all very insulated and there isn't continuity beyond the key characters with each other. And even so, I'm not sure why the aliens are abducting humans, and why they tell each human they are special as part of it, and what the bigger plan is and why there seem to be different perspectives from the various aliens toward humans. The aliens seem to be The Office in space. I knew what the company in the office did, and understood its environment. Agent Foster is in fact a great addition. I don't like the very quick connection from her to an alien flashback, though. I like her disbelieving snark better, as she gets to know the people around her and slowly show signs of empathy. I don't hate Chelsea and Father Doug, in fact, I wish the show would try to say more about the issue of a priest knowing aliens exist (what does that mean for religion?) or a priest in love, but I don't know what their story has to do with anything. I'll keep watching because it seems harmless and there is some decent character building happening.

I don't know why you think I'm not simmered (unsimmered? simmerless?). I didn't mean anything except what I said ... with this show, there is no way to know what means anything, because meaning is defined by whatever DL says it is. Any logic is fruitless outside of his defined parameters, which is why I don't care much for this season. You may well be right in your speculation. Who am I to say?

The most I can say is that, in the past couple of episodes, this show has started to make semblance of sense. TP:TR reminds me of the old video game Myst., which was popular among some, and whichI hated. Myst's puzzles had no logic. They were there because someone wanted them there, and you had to figure out the puzzle, but there wasn't a meaning behind what you had to do to solve it. That randomness irked the hell out of me. That's how TP:TR feels most of the time. Every so often there is a breakthrough that links two things in a way that seems plausible. The rest of the time, there is no reason that anything looks, acts or behaves like it does. I need some kind of functional logic beyond it looks cool. Nope, I was sure it was Josie and only Josie. I agree, though like 95 percent of the characters on this show, no one remarked on anything in particular. They just looked at her, and at each other, and then at the vortex. For what seemed like a long time. I don't need characters to say the obvious ("A-huh - look, no eyes!") but some sort of recognition, like 'What the hell?" or "Who is that, what's wrong with her?" or something would make more sense to me. Anything could mean anything on this show. We won't know what it means until DL tells us, because there is no way to know beyond a few basic details that have now become obvious through consistent repetition.

I struggle with this show. I like the setting, and the potential. But I don't like many (any?) of the characters. Are we supposed to laugh when Joe gets high, or Spencer feels the need to test his sperm? Feel badly when Spence chugs more pills and doesn't take care of himself? Care at all when any of the current players act like idiots? Who is there to sympathize with? They are all creating their own issues, and deserve whatever happens to them. The only story line I find interesting is Charles', because I haven't figured out Siefert and Berg, yet. Charles is trying to walk a fine line, which is part of working in an organization sometimes, and so far he isn't being an idiot. ESPN's Playmakers did this so much better, with stories like the older RB who was "over the hill" and trying to maintain his career and facing drug temptations. Ricky showed a flash of this, but it was an aside from Amber, not a main story line.

You were hung up on the same two points I was. I don't think the dragon even has to roast any walkers. Go to the back of the walker army, grab a few and take off, avoiding conflict. It's recon, not a battle. YMMV, I found it extremely annoying that Sam, the guy with the brains, didn't notice. Now we have to wait who knows how long for someone to put it together. Ugh. I think she very much is turning to the dark side. She has already been shown as impetuous and emotional. Now that she is settling into her ruler mode, there is less of that but more of the certainty that she is always right. Her bloodline contains madness. I think it is her downfall later, in favor of Jon, whose bloodline was more genetically varied. All that said, I'm really digging this season. So many parts coming together.

These threads are more interesting and informative than the show itself. Thank you for that. I constantly fall asleep while watching these episodes, even as early as 6 p.m. It bothers me because I loved the original TPs, and really want to love this one. Every so often there is a spark of plot connection and I perk up, only to be lulled to sleep while watching scenes like the brothers having breakfast. Everything. Is. So. Slow.

I don't get the love for this show. It wasn't particularly strange, in the world of sci-fi. It fell into the trope of characters not talking to each other, and the resulting, unnecessary misunderstandings. Worst of all, it focused far too much on the kids, and kid drama, and not nearly enough on what the hell is actually going on with the govt program and the ramifications of what those sorts of powers might do. Many questions were left unanswered, not the least of which was why Will lived and others died. And did they pass an Alien-style egg at one point? I kept waiting for something interesting and aside from the sheriff actually being a good cop, there wasn't much. It was like sci-fi for masses.

I know I wrote the post you quoted, and I still feel that way.... however, in a recent episode, after this one. Dougie's boss said Dougie has spells or relapses of some kind. At least they tried to explain.

I kept wondering when something was going to happen, and if something was coming out of (or going into) the electrical socket. if there was emotion there, I missed it. Not unusual. That was the first scene where I fell asleep. I rewatched it, and I clearly don't understand this show because it seemed like filler. That one I got. I just don't know why we watched it. Agree there. I assume because we saw more of the TPs location.

To that scene, here's the thing: I was watching with a visiting buddy, and we were squinting at that scene and saying, "Are they repairing him? Are they consuming him? What are they doing? Ray, why aren't you running?Will Evil Dale get up now? Nope, he disappeared. So he is gone? Does that mean Good Dale is back in Dougie?" When you are so unable to determine what exactly is happening, it takes away from any emotion, at least for us. And that's my struggle with David Lynch. You can debate whether what he shows is brilliant or just indulgent, but it isn't very clear, and if you don't know what is happening, the impact is minimized. There may be brilliant story telling going on. It's hard for me to tell.

I am clearly emotionally dead, because Twin Peaks doesn't bother me at all. In the slightest. There is no momentum. Just when a scene starts to feel like it may be creepy (i.e., Ray driving alone on the barely lit road ahead of him after leaving EvilCoop), we leave the scene and go to a drawn out shot of something like leaves blowing, or people wandering around. When charred man enters the radio station, the people he encounters just stop and stare at him as he slowly comes closer and squishes their heads, as I'm thinking, "Why don't you react?" Every other scene you are left to think, 'WTF?"" instead of be bothered on any level. Bug-in-the-mouth has been done 100 times, from Wrath of Khan to name your example. BTW, when the "boy" and "girl" were walking together back to her house in a B&W palatte, anyone get a Michael Jackson "Thriller" video vibe? I sure did. There is scary imagery for sure. The way it is paced, though, removes pretty much any sense of tension for me. The one thing that felt emotional was when the "silent film woman" pulled the orb close and we saw it was Laura Palmer, the music kicked in and we realized that she was the "good" who would be sacrificed to stem the advance of evil and Bob. That was touching.

Which I got, but the way Lynch presented it was so ... unnecessary. There are a million other ways to deliver that story. What we saw was just... excessive. The funny thing is, a friend who dug it and watched before me raved about how good it was. With no knowledge of what was shown, I replied it would probably be like Altered States and William Hurt devolving and crawling down the hallway. Low and behold ...

Took a few days to think about the final ep, and decided I hated it. It was a cop out, and made me feel like I wasted my time this season. The evil of Varga was never fully realized. The courage of Gloria, the same. There was the usual collateral damage that made me sad ... poor state trooper. Ray Wise and his role had no closure. Neither did the bowling alley. Nikki shooting the cop made no sense. It's not that I'm uncomfortable with "make your own endings." I like them, generally, and even came around on The Sopranos. But this ep was a huge letdown and I don't see redemption unless the next season picks up the same threads. Boo.

Not enjoying Mr. Comic Relief. Kept wondering when Virtual Sarah would be tied into the time loop. Mr Assassin didn't seem so smart, trying to run through the energy screen. I do like the feel of this show. It took a while, but now it reminds me of Farscape but darker. Kryden/Crichton? Android Liberation Front... ALF?! Interesting peaks at the future. Mirror Android!

Self important and pretentious? You should try Twin Peaks this season. Varga is fascinating. A slovenly Boss. I'm really enjoying the season now. This may have been my favorite episode.

But he AND Kim's finances may be bad. Kim clearly sees a need to take on more work to get them through Jimmy's ban. And that is driving her actions, and consequences. From Jimmy's POV, the moment he saw Irene get hurt was the *good part* for Irene. because that meant Jimmy could bring the whole con to a close, help Irene get her money before she dies and get her back with her friends (presumably). No reason to hesitate at that point, not for her, and not for him. Howard actually seems pretty competent to me. Both for the reason you cite, and the way he has handled Chuck through his "illness." Slipping Jimmy is all about the scam, and only partly because of the results. He *likes* manipulating the system. Whether he is happy afterward is secondary to pulling it off. Sometimes justice intersects with his cons, but that's more incidental than part of the plan.. Chuck was right about Jimmy in this sense ... this is who he is. Not necessarily. Hamlin could sincerely believe that, based on the law and their own experience, the seniors deserve more, and that they will get more, if they hold out. The fact that Hamlin may not be considering the seniors' ages in that equation is a side note to the "big law firms don't care about people" trope. Ultimately, no one has paid a huge price YET for Jimmy's machinations, Chuck's ego, their court battle, Howard's strategy to get Chuck out, etc. I suspect that's the cost we will see later in the series, and I really, really hope Kim is OK.

Exactly, and he won't save himself. We already know he won't, because we know about Breaking Bad. So what are the ramifications for Kim in BCS? I think that just as Jimmy is Slipping Jimmy, Kim is also, in her life, The Rescuer. She takes on burdens of others to help them, almost like an older sister who watched her younger sibling. She likes to do a good job, and she believes in hard work leading to success. They are each being who they are. I just hope Kim survives her intersection with Jimmy.

Kim took on the new client for the same reason she does everything... to help Jimmy. She knows he is struggling. She also knows he won't admit it. So she is doing all she can to help him, and them, get through this year of his ban. She didn't want to hire anyone... less money for she and Jimmy. And she thinks she can handle all this. That's who Kim is. She will pay a price, and the question is, will she see Jimmy as the reason and leave, or will she drown because of him?

Exactly. That brief reference, 25 years ago, was that they would be back in 25 years. And now they are. And we have no idea why. We don't even know who is fighting, or what, aside from evil Cooper doesn't want to go back. And the one armed man wants good Cooper to live. Everyone else doesn't realize what Cooper or Dougie actually are or why they are different. And so, watching them all bumble around, week after week, is getting old.

The *only* thing I got out of that was that there was an emphasis on electrical wires around the scene of the hit and run. That, and the people were so weird, just standing and watching afterward. I actually fell asleep during this one. When did Laura Dern appear? I didn't recognize her?