AngieBee1

I definitely lost sympathy for Pádraic along the way. I understood his broken heart over this loss of friendship, but when someone asks you to keep away, you keep away. If Colm were a female and Pádraic acted the same way as he did with Colm, I doubt people would feel sympathy for him in that situation. He was being completely selfish. It wasn't just costing him, it was obvious that Colm was hurt by the hurt he was causing Pádraic but he had to do what he felt right for him. The same with Siobhan leaving. You can't always live your life for others. You deserve your happiness. And truly good people accept that and let go with grace and love and just appreciate the relationship they had instead of clinging on so tightly that they end up making the other person miserable. My friend went to a test screening earlier in the year and then rewatched when it was released. He said what was exorcised in the final version was that in the cut he saw there was dialogue between Siobhan and Colm about how after their parents died Colm became a father figure to Pádraic. So he lost Colm on two fronts. As the awards season rolls on I have seen many films and while the actress category has a ton of stupendous potential nominees, for me, Colin is really the standout in the Best Actor realm. No male actor has really done it for me this year the way Colin has.

If that kind of high dining experience is cult-ish and Chef Slowick is upheld like a god, it made sense to me that his staff would willing die alongside him. They were zealots. I think he ultimately late Margot go because she was neither like the other diners, nor was she blindly fawning of him like his staff. He was right that she didn't belong there but she didn't belong with them (diners) or "us" (he and his staff). She still criticized his food, lacked pretention by wanting a simple cheeseburger (without a fancy cheese, thank you) and for a moment, while he prepared it, it allowed him to feel that same joy he had in the old pictures she saw of him. She gave him a gift of reliving those days and he returned the favour by sparing her life.

I think maybe if I were a teen I romanticize the film more and think, "Poor Tom and Patrick - denied a chance to live a life together due to the era." But as an adult I'm considerably less sympathetic as Tom did not have to use Marion in order to not be caught out for being gay. I loved how the film peeled back the layers of the relationship: showing it from Tom's eyes, from Marion's eyes, the reveal that Marion knew much longer than the audiences suspected. I really enjoyed it and thought it was a beautiful film. However, I don't like how Tom and Patrick did not truly (in my eyes) make amends to Marion for their duplicity. Marion finding out and staying was her choice. That decision squarely lies with her. But she opens her home to Patrick because of her remorse for reporting him to the police, yet Tom never seems to show regret for lying to her about cheating on her and using her as a smokescreen. Patrick never gets a chance to show if he has any regrets or remorse for gleefully bringing Tom with him to Italy (the one place Marion dreamed of going) and remaining in their lives to act as a friend to Marion all the while sleeping with Tom. It truly rankles that she is the only who regret the hurt she caused, whereas the men are only focused on their hurt from not being with each other.

I am in the seemingly minority who doesn't believe Louis was being purposely holding back or that his memory is being muddled by Armand. Unless one has perfect recall we're all prone to be unreliable narrators. When we hear something or see something we're not taking a snapshot of the event - it is filtered through how we're hearing and how we perceive the situation to be. Or our feelings on the matter changes leading us to be more generous or more negative, depending on the situation. Now thrown in 100 years of distance and over-rationalizing and the truth becomes warped ("Was it raining, Louis?") or you shape a more palatable truth in your head. It's easier for Louis' mind to reconstruct Lestat's murder by his hands yet omitting the fact -until pressed - that he wouldn't allow Claudia to burn him. He needs to believe that he was killing Lestat for the both of them, but when it came down to it, by not allowing Claudia to truly finish Lestat off, he betrayed her. Every step of the way Louis was helping Lestat have a fighting chance, but he didn't want to face that that's what he was doing. You slit his throat? Great. But in doing so you released all the poisoned blood so he can eventually heal. You tossed him out with the trash instead of just leaving his body in the house to that people could possibly come and set fire to the house with his body within or some other tactic of torture. Nice. But by binning Lestat to be taken to the junkyard you provided him with a rodent buffet. Louis is hiding from himself still. I think that's why he wanted Daniel to delete the 1973 audio files and he burned the cassettes for good measure. He didn't want to be confronted with his feelings from the past because in the proceeding 49 years he has reflected and played on these events so much that a new truth has emerged. Other than the great big lie about Rashid the valet, I think has just been in denial and has played on his memories so much that they have been molded into a new truth. My favourite Louis reshaped truth is him telling Daniel that Lestat's version of "Come to Me" was inferior, but not inferior enough for him to not keep it all of these years. He loved the idea of Lestat making a song for him that he shattered Antoinette's version and had Lestat re-record it with is own vocals.

Liked it, didn't love it and that's because tonally it was uneven; understandably so because Coogler had to do rewrites after Boseman's passing. Loved the action stuff and all the Talocan and Namor stuff was sensational. The film was an extremely fitting tribute to Boseman and the character and does keep in line with everything we have been shown and told about how death isn't the end. Love Okeye. Danai Gurira is wonderful. My one major complaint - too little Michaela Coel.

I didn't expect to get emotional about the finale, but I did. It ended perfectly in just the way it only could. And fantastic choice to end with Darius because Lakeith imbues so much openness, tenderness and ebullience that he has always made me want to go along for the ride. And like the ending of INCEPTION, to me, there's no grand mystery. It's real. He's awake. No thicc Judge Judy. -A true sign of a great guest actor is one who does the most with brief amount of screentime. I cared so much for Chi (Darius' brother) in so little time. -Loved the scene between Darius and Cree Summer's character. Bonus for actually getting see Cree this time as she voiced one of the children cartoon character in the B.A.N cereal ad. -I would never hang in public with someone like London because I don't want to go to jail, but get us behind closed doors for a few laughs and it would be great. -I laughed so loud at the cop quizzing her on how many seasons of HOMEBOYS FROM OUTER SPACE there were. -Demarcus looking like the Louis Farrakhan but of sushi killed me. He made a lot of good points, but good sir - eat your own fugu and then let the people make their decision. Obviously this takes place before we get to see BLACK PANTHER 2 starring Larenz Tate and Whoopi Goldberg (though I did see the actual Black Panther 2 -WAKANDA FOREVER tonight) because Demarcus wouldn't have to reach all the way back to QUEEN & SLIM to make a reference about Black people coming out and supporting Black owned businesses. The fact that the concession shelves were still up, as was the frame of the Blockbuster sign was too funny. I loved this cast. I loved this show.

10s across the board! Zero notes from me. The party band playing an instrumental of "Come To Me" just makes me envision drama queen Lestat making them rehearse it ad nasuem to ensure they do justice to his work.

The show came out swinging right from the gate. Great first two episodes. I love the leader Dick is and how they now feel like a true family. Maybe I'm jinxing it (heh), but if this is just a calm before the storm I will savor it as long as I can. My favorite Superboy run is when Kon returns from the dead and moves to Smallville to try to figure out who he is outside of being a Titan and try to figure out as much as he can about Lex outside of what everyone says/feels about him. In the comics (and they incorporated a bit of it in the animated Young Justice) where Superman wanted nothing to do with Conner and in that absence Lex is the one who felt an ownership over him considered him his son. So I love the show touched on that. It seems a big waste to eradict Titus Welliver so quickly, maybe there will be flashbacks featuring him. Pleasantly surprised to see a version of Bernard in this universe. There is already some handwringing over the age difference but there are fans who were doing the same handwringing over Conner and Blackfire's relationship.

Paper Boi is just like me. I could be in the middle of a dead sleep but if you call me I act like I am wide awake, just as bright as if it's the middle of the day. I could be bawling but that phone rings, I am clear-voiced - nothing is wrong, nothing has happened, I am good. You would never know. I don't give anything away. I'm a listener, I am a supportive friend, but I'm just not a share-r. The one I kept thinking of while watching this is Rick Ross. Rick has posted videos about keeping up his estate. I don't believe he uses it as a farm but he tills his own land. When he found out how much it would cost to professionally maintain his land he bought a tractor to do it himself. When he was quoted 1k a piece to cut down trees, he bought a heavy-duty chainsaw to do it himself. Waka Flocka Flame has a farm. He and his wife were trying to get a reality show off the ground about them leaving the city for farm life but I don't think it sold. Feral hogs are just ruthless. I have family in a tiny rural part of Texas and they talk about the calamity feral hogs brings, the deer who act like they own the roads and now are so gold to prance into your yards. The story of the woman being killed by feral hogs is true. Fatal attacks are rare, though, but they will attack. The music this season has been great. Sade, Mystikal, The Dungeon Family. They played a song featuring Quavo from Migos (RIP Takoff). The opening scene with Al firing the gun reminded me of the S1 episode where Migos were in the RV in the woods selling to Darius and Paper Boi. Paper Boi has come a long way. Al has found out that in fact, backhoes truly ain't loyal. I think Al is trying to find his balance. He wants a peaceful life and for some reason he thinks that peace also includes not being readily available to his circle, but I think with this conversation with Earn he's going to realize that there is value in being present and available.

It's the Dubai and New Orleans skyline.

Louis is stuck STUCK. He was languishing in the house when Claudia was way; unable to escape his worry and pain because she was out there in the wind, but he gets her back, loses Lestat and he's still morose because he misses Lestat. He could be doing so much with his life (just as Claudia did by traveling) but he is bound in his own inescapable purgatory. - Louis and Lestat are the couple from hell. All this time Lestat's trying to woo Louis back he's shaking up with Antoinette and Louis - who is still fundamentally, profoundly unhappy with Lestat is still asking him to murder Antoinette. It's also still funny to me that Lestat raged at Louis that he heard his hurt dancing when he was with Jonah and what he and Antoinette had was different because there were no feelings involved and turns out he ends up with her for years and turns her. Lestat really is the best kind of worst person. - Which is crazier : Lestat having his side piece sing on the track trying to woo back his ex or Louis destroying the record and having Lestat re-record it? -While Lestat is the best kind of worst, I do enjoy it when he plays dirty. He wasn't going to Claudia escape and leave him yet again with a mournful Louis. Hell naw, he needed her around to keep Louis company while he was off with Antoinette.

I know there are people who think ATLANTA is overpraised but when they pull out episodes like this it's no question why. It's brilliant. Using backdrop of the origins of THE GOOFY MOVIE to front its own nod to THE SPOOK WHO SAT BY THE DOOR with Tom Washington's stumble into power at Disney and giving it the animated film an all-too-vivid and realistic documentary treatment speaking on its "blackness" paralleled to one man's identity struggles. Too good. Loved all the little great details like in Tom's flipbook the building he goes to after graduating is specifically the animation building on the Disney lot and the Disney font over everything, including footage of the L.A. riots. NY Times's Jenna Wortham adding legitimacy to the piece playing herself. The imagery of the heydays with Tom partying with Kadeem Hardison and Adina Howard! Is this why Goofy hats were featured so heavily in "New Jazz" last season? Everybody loving on The Goofy movie.

With Martha being sidelined right now I just don't buy them offing Bet. I love Mary and Roger Hammond. About time another Pennyworth get their leg over.

He said that he was growing his hair out while filming so they had to have a weave while it grew. They should have used a better quality of hair. I am sure doing a color match was hell on the hair they used hence the stringiness.

Rashid was completely blissed out while Louis fed on him. And he's so considerate with the pineapples and honey - just good lover etiquette.

A lot of people on Twitter are sad pandas about this episode and feel as if it serves as the character assassination of Lestat. I disagree. Especially with how many are saying that the writers don't know the characters yet was praising them prior to this episode. I think it is just further shining a light on his relationship with Louis. Two people who aren't happy together but refuse to part. People use Jacob Anderson's quote about Louis and Lestat being endgame and judge this episode against it questioning however could it be that that's true. But there are so many people who choose to remain in imperfect (understatement of the century) for reasons that only makes sense to them.

In S2 in that episode where Van and Earn goes to the German festival, she tries to pin Earn down and commit to her whereas he wanted them to continue as is. Now here it is all this time later and he's the one who is wanting more. I am hoping that Van hasn't been keeping Earn as her #1 all this time and waiting for him to come around. I really don't want her to go to Los Angeles with him. He spoke of his wants for their relationship, but what about hers? It was interesting to me that he mentions he's been thinking about this since Europe. I am guessing him seeing her wilding out made him realize he was in danger of losing her. I think he likes the idea of an omnipresent, responsible Van who is there when he needs her which is not the same as being in love. I give it to Earn though - once he got that needless "I wouldn't be alone for long" out the way, he talked a good talk. But my hope is that while Van was touched in the moment, upon rumination she realizes that she doesn't need a commitment from Earn; that they have transcended that. Plus, with Lottie not wanting him in their tent and wanting her grandparents there, I think she's not as accustomed to Earn being around (and surely got used to Van being gone during her stint in Europe), so it greatly annoyed me when Earn talked about only coming to Atlanta a few times a year to visit. It was as if he was giving her an ultimatum - come with him or he'll be more or less out her life. Which, really is the status quo considering at the start of the series he had just returned to town.

Now airing on Sky. Elliot is back and under the thumb of a shadowy organization whilst the Dumanis adjust to their new power and the Wallaces fight to reclaim their place.

I loved it. The theater I was in was very receptive to it. I am a DC Comics fan and was prepared to grade it on a curve, but I genuinely loved it. Great casting.

They established in the first episode that the first interview was conducted in 1973.

Each week I think, "This is a my favourite episode." Then a new episode airs and I think, "No, okay, this is the one." Here it is again - my new favourite episode. Fantastic choice to have the episode from Claudia's POV as she is truly the only one who could tell her story. Bailey Bass is a fantastic Claudia. I also love that her impulsive nature isn't just because she's a vampire or a child - she's had a terrible childhood and has now, due to becoming a vampire, has found her power. She's a perfect blend of her vamp!Dads. Them treating NOSFERATU like a comedy was peak comedy. Louis was so desperate for a Band-Aid Baby that he didn't think about the realities of what an immortal life would look for a child. Just as he keeps throwing in Lestat's face that Lestat took his life from him, he took Claudia's (while saving it). Maybe he thinks it's a different scenario because unlike Uncle Les(tat) he was going to take emotional care of Claudia and be a better sire than Lestat has been to him. Be that as it may - as she laments - she is trapped in this child's body, frozen in amber losing out on so much of life. I can't quite fault Grace for being frosty with Louis considering his absence from her life and his increasing unhinged nature around the family, but acting like she and Levi should get the house because Louis is rich and doesn't need it is pure entitlement. And if you're asking the retain the roof over your family's heads, maybe don't sneer (and dripping with such disdain) about your brother's "white daddy". You need more grace, Grace when you're coming with hat in hand. The mystery of Rashid deepens.

I thought Some Guy Named Doug would turn out to be in cahoots with the killer; glad he's an actual good guy with trash beats. -I'm assuming Timothee Chalamet exists in "Atlanta"s universe. If so, he would have been a potential victim of the Crank Dat Killer as there's a video of he and his friends doing it. -Paper Boi was guilty by association because that wasn't even a great Crank Dat. If you look at the YouTube sidebar when they're watching Al's Crank That Jimmy Neutron video, one of the suggested videos is "Montague" from the episode B.A.N. - Loved the twist at the end. Paper Boi was really living that life. It was established in S1 that he had been shot before, now he has a former friend gunning for him. What was he getting up to? -I'm glad they got Soulja Boy to cameo. That was cute. -I lol-ed at the shoot out. Everyone thinks a good person with a gun can help out and maybe it could, but it could also turn into the Gunfight at the OK Corral as we saw. -Shoeman wanted to see Darius and Earn French kiss for those shoes, me, too, Shoeman. Me,too. I know some guys who will more than kiss each other to get a guaranteed drop from the SNKRS app.

Work Ethic!

Lestat and Louis have now been together for seven years and honestly, they should split six years and six months earlier - they are terrible for each other. Terrible for each other, but it's so fantastic to watch them messily navigate their vampire romance. Lestat likes to act like he's above most human foibles but jealousy and possessiveness still has him in its grip. Meanwhile, Louis keeps saying he has no family/will never have a family - thus compartmentalizing his relationship with Lestat into some other space that I don't even think he knows how to quantify - but was hurt when Lestat was catting around with Antoinette and didn't try to kill her. I guess being a product of his times Louis - despite his telling Jonah he has someone - he doesn't treat what he has with Lestat as a relationship - it's just a more open version of his boyhood bayou fumblings he had with Jonah. He's not treating it like they're a couple no different than a heterosexual couple because if he did he wouldn't keep hitting Louis with the "you're going to always be alone". Daniel calling out the differences in Louis' recollections in '73 versus '22 is interesting. Did Louis view Lestat harshly in '73 because he had just recently had a falling out and was reacting out of that and now, with 49 years under the bridge, he's able to view things with rose-coloured glasses? Or is this new recollection a way to paint himself as a vict someone was seduced and manipulated thus making him a victim.

We get another Teddy Perkins -esque episode this season with -instead of a Michael Jackson stand-in - we have a Tyler Perry stand-in with Kirkwood Chocolate and Chocolate Studios (a Willy Wonka stand-in, too). Whereas THE BOONDOCKS went after Tyler Perry for his presumed sexuality, ATLANTA attacked on all fronts - from the lack of quality control, the churning through of projects and the questionable depictions, terrible scripts and the equally terrible wigs, the show actually went easier on him than I thought they would. I think they actually went harder on consumers of Tyler Perry's projects than man himself. I feel they used Issa Rae's red-carpet remark on the Emmys red carpet about "rooting for everybody Black" as a bad-faith interpretation by framing it that Black people will root for anyone Black despite the quality of the work. Which isn't true and the writers know it's true considering Glover has lamented that while ATLANTA was off-air there were Black people saying DAVE was the better show yet people call him a sell-out. So is it okay for Black people to blindly support Black creatives if it's their product only? There's a whiff of elitism when it comes to people knocking Tyler Perry's work. I am no way a Tyler Perry fan but I really respect that he is a self-made man. Before he even did a feature film he was a millionaire because his plays and recordings of those plays were hits. He is certainly serving an audience. It's the same way comics looked down on the Blue Collar Comedy Tour but those tours were a success because Ron White, Bill Engvall, Jeff Foxworthy and Larry the Cable Guy's comedy spoke to a specific crowd. To act like those acts and type of comedy is less than, just because it doesn't rise to the presumed better (higher brow) level of comedy than others is a slap to the face of the audiences who enjoy the comedy. Not everything is for everyone and that's okay. If people want to watch morality plays (even if the morality presented is questionable), there's nothing wrong with that. Now the true issue is that Perry churns out the work and that scene of Kirkwood on the piano that churns out scripts is the play on the infinite monkey theorem. There's no quality but it doesn't matter because Kirkwood knows people will buy what he is selling. He has become a god of his own kingdom so it doesn't matter how his drive affects other people (fix it in post when post is overwhelmed? Not my problem. A mother wants her daughter back? Sorry, I just shoehorned her into several projects). But, again, to give credit where credit is due: while the entertainment industry was still trying to find a path back to work during Covid, they turned to Perry because he successfully went back into production on two shows with Covid bubbles and mandatory testing. I think the elitism issue was mirrored onto Van where Kirkwood showed her how her life was following the many tropes in his work. Van sometimes comes across as someone who is above-it-all, so that was her takedown moment of, "You may be different from these other people in a lot of ways, but you are not better. -Loved seeing Lottie. It's been a long time coming. -The soundstages being named after Tommy "Tiny" Lister, John Witherspoon and Mario Van Peebles was really funny, but also gratifying because there's a reason the term "Black Famous" exists. Maybe Tiny and John doesn't deserve a filmstage named after them but Mario does. And it's this -even jokingly - tip of the hat to their careers is why those Black awards Van seemingly pooh-poohed are important. There are very talented, very marginalized Black performers who are ignored by other awards bodies. Hell, even the Asian Excellence Awards honoured Rob Schneider because during a time he was a hitmaker even if his films weren't respected. -I don't know what is funnier: Kirkwood sipping grits, offering Van "a grit" or being able to shake off a grits attack. Al Green wishes he learned how to do that. -Shamik was so handsome! Why did they ruin it with him trying to get a leg over with Van in the boiler room? Also, his hotness to me was funny because people think Tyler Perry is gay because he casts all of these very hot men of questionable acting abilities. -Kirkwood saying that Lottie will make enough money to last until she's 20 (or something to that effect) was hilarious. And typical of Tyler Perry productions. The only person getting paid is Perry.