Reishe

I just watched the preview for next week, and realized I don't want to see the finale. I want Glenn to tell the Fab Four that they rocked the competition and it was impossible to elevate one of them over the others, they each get a job offer and a pony.

Interesting. I interpreted it as disappointment that the mad dash was to get Cig and George, and Adam and Logan felt like the last kid picked in kickball. It wasn't so much a matter of whom they wanted, but who wanted them. Or... didn't want them. Adam and Logan are very aware that they have a poor track record this season, so they know they're not the team everyone wants to pair up with. I kind of feel sorry for Logan. He seems like a nice enough guy, but I think he knows he's competing against people who have a little more of the quick-thinking, inspired nature that is important for this kind of challenge week after week. (Apologies for the longish edit; I just kept thinking about this after posting.)

Oh my gosh, I didn't know this.

I wonder if cutthroat behavior would survive in this business. It seems as though the big movies and franchises have a designer who oversees the overall look of all of the designs, and then a team to carry out the applications on a daily basis (and who would, I hope, also have some input to offer on individual designs). We've seen the people Ve has brought on her teams after competition, and it has been the grounded people like Laura, who get the job done and don't appear to make waves. If you work for an effect company like Optic Nerve, where the team (I assume) is pretty constant, then I would think the best way to keep the work coming in would be to pitch in and make the finished product as good as possible. There would still be individual drive to be noticed enough to get to lead projects, but a good manager would let people know their talents are noticed without making it an outright competition.

Respectfully, I remember the episode where the guys had a great time trying out beauty makeup on each other. I think that showed a nice openness to the idea. Now granted, I think there ought to be a giant hook that reaches out and removes a contestant for saying "I don't know anything about beauty makeup" on this show, because it is a given that beauty makeup should be part of the skill set necessary to succeed on this show, along with time management and adaptivity. But the guys seemed open to it. That said, I have a massive platonic crush on George this season. I desperately want him to be my best friend. He just seems to be enjoying himself so much. Same with Emily. They are an awesome combination of enthusiasm plus down-to-earth practicality that gets things done.

The nudity bothers me, but it's supposed to bother me. It makes me feel protective of the hosts, and highly aware of their vulnerability. Their handlers don't view them as people, they view them as machines, or programs. Leaving the hosts naked is a conscious choice in storytelling and clearly not an exercise in "We're f---ing HBO, so here's some boobs."

Just finished rewatching on Netflix. I get it; the team has bills to pay and has split up and moved on to new projects. But that doesn't make me less heartbroken. One season wasn't enough.

Wondering if anyone else was gobsmacked at Donna's comment at the end: "In here [her heart], I'm black."

This is frustrating beyond words. Limitless is literally the only new show of the 2015-16 season that I kept watching, and yet the networks are going to develop new scripts for new crap and let this one die. I know that it isn't high art, but I absolutely love these characters and I want to keep them in my tv world.

While I wouldn't put it past the writers to make Mark Happy's mystery hubs, it would make sense that Mark knew every little detail about Happy, b/c he had made it his obsession to study Toby and everything that was important to him, and Happy was important to Toby. And handwaving that Mark, like any other geek/genius in TVLand, can access any information on earth if he has an internet connection.

Totally. We were shouting at the tv "Dude! You had this plot already!" Yes, it's great that a the non-geniuses on the team aren't treated like adorable pets. Cabe and the New Guy (he'll always be Jason Street to me) are level-headed, excellent at reading people, and quick to either help or get out of the way so that another team member can get the job done. Dropped from that height, I don't know that he would have prevented it from shattering even if he did catch it--it would have only shortened the keytar's drop by six feet, and that's if he wasn't seriously injured by the impact. The "I'm already married" thing is so overdone. I know Happy is emotionally gun-shy, but if she's gotten as close to Toby as they're implying, she would have told Toby about whatever the deal is with Mystery!Husband, be it he's in a coma, or missing, or whatever other TVLand reason there is she isn't with him but not divorced. It would have been hard for her, but I really believe she would have felt obligated to come clean with Toby before getting involved.

Just a quick comment: I've read Toobin's book a couple of times, but sadly donated it on my last big move, so I don't have it now to refresh my memory. But if I recall correctly, the police who interacted with OJ leading up to this incident, as well as their initial demeanor until taking him into custody, had pretty much acted like gushing fanboys; to them, he was a sports idol, a tv/movie celebrity, and I think that was the dominant filter through which they viewed him. I don't see much motive to frame him (OJ specifically) on their part.

This is a minor point, but it's come up a couple of times in this discussion. Brian is a consultant, not an agent, so he is falsely representing himself as a law enforcement officer. Also, I don't know the letter of the law, but I'm pretty sure that law enforcement agencies (be it FBI, police...) require their personnel to be assigned to work. There's probably a provision for wrong-place-right-time stepping in to help if they happen upon a crime in progress (or a murder victim after the fact), but Brian is demonstrably looking for ways to freelance, and I'm pretty sure that is illegal. And while Brian is free on his own time, what he is doing is bad for the FBI. 1) He seems to be on NZT during his moonlighting, which would probably be well more than 12 hours after taking his sanctioned NZT pill (raising red flags that he's got a supply), and 2) he's a consultant taking a top-secret enhancement drug, and calling attention to himself all over the city endangers the secret. That said, I agree with much of the rest of what's being said, particularly the amateur way the family intervention was handled. There are 100 different ways to have staged it so that Mike/Ike overheard the intervention without the family stupidly confronting Brian in front of his handlers. Surveillance bug, cell phone contrivance... ...And if Brian is so smart, how hard would it have been to come up with: "Mom, yes, I've benefited from experimental cognitive enhancement therapy, but it takes its toll on the body, and I need these miracle enzyme pills to prevent side effects"?

It was definitely new, TPTB just haven't put up a thread yet. But we have one now! I found it pretty annoying, even adjusted for Scorpion expectations. The Bad: *Toby and Walter's out-of-nowhere squabbling and the sitcom-y way it was handled, from start to finish, complete with Toby realizing the problem, confessing it to Walter and thus wrapping it up with a neat little bow. Added demerits for the "injury" which forced them to do that three-legged walk and then disappeared in the next scene. *The constant captain-obvious narration of each danger: "if we don't get them out of there in 3 and a half minutes, the car will explode and they'll die!" "If we don't shut off the gas, it will blow up the city!" "We have to figure out a way to get them out of that car!" Ugh. *When the rescuee in the car kept asking Sly if he trusted Ralph's plan to rescue them. "I trust him." How about saying "I work for a Homeland Security specialty squad, I understand the plan, we are working together and yes, it's the right thing to do."? *First Gene Simmons, now Penn Jillette; I think the showrunners are deliberately lining up guest stars I dislike, but I don't understand why. No offense intended to those who are fans. The Good: *I liked Walter sharing that he's aware of his relationship limitations, and that he recognizes the value in relationships and is trying. First time I haven't been angry with him in a while, but then again, he didn't disparage anyone (except for the squabble with Toby, and that was garden-variety roommate sniping) or spout dismissive judgments about emotions, or feelings, or whatever. *Gallo was awesome, as always. *Toby and Happy. I know not everyone wants them together, and I respect that, but I adore Toby and I want him to be happy.

As I recall, the original conceit was that Harvey's firm (whatever the name was back then) only hired Harvard grads, it was their "thing." Which, if you thought about it in real life, sounds like a weakness to me. Yes, it's prestigious, but if you draw all of your people from the same school, the same professors, the same connections... you get a lack of diversity in a way of thinking. If I were choosing a law firm, I'd want a little variety in perspectives to make sure I was getting the best evaluation of my situation. In NY, according to Slate.com, you need at least one year of law school, which may be combined with law office study (a specific type of apprenticeship, with a mentor and structured studies) for a total of four years, to qualify to take the bar exam. As has been discussed here before, it would have made the most sense in real life to take Mike on as a researcher or really any type of in-house consultant, just don't let him represent a client before a judge. But the show set it up that Harvey and Mike committed a crime the second they first represented Mike as a lawyer, and everyone who discovered/was told the truth became an accomplice the second they knew.

The high point of this episode for me: seeing that Sylvester kept a bandaid "wedding band" on his ring finger (although the tree-hugger within wished that he would have replaced it with a metal ring, for the environment's sake). The low point: enduring another plot about daddy issues. I'm not fond of the trope in general; I think it's overused on tv. And while the underlying theme of Scorpion is "we're different, we have problems dealing with people," so parent-child relationship problems are possibly more likely, I'm annoyed at the writers for returning to this same well for yet another member of our little team. The whole speed-dating thing was a hot mess. First of all: all of the women in the young dating pool were attractive and seemed normal and approachable; while the women in the "sunset" pool were frumpy and stereotypically eccentric. This is annoying from a show that also gives us a very attractive and very in-charge and on-point Peri Gilpin. I know they're just playing it for base comedy, but the entertainment industry has generations of mature-woman-bashing to recover from, let's not backslide, please? Second: Walter is a "genius." Even if he doesn't grasp the human "why"s of interacting with people, Walter should be able to learn to navigate the most common situations, at least imitating what a "normal" person would say and do. Anyone who cares about him could have produced a basic flow chart with basic cues and responses. Sigh. And Paige isn't helping him with vague recommendations to lie, if necessary. All they really have to tell him is that he should filter, and not vocalize every thought that comes into his head.

We need some sort of disclaimer code for the Scorpion forums--something that's shorthand for "Yes, I watch this show for numerous fluffy reasons, and I really do know better than to expect the laws of science/human nature/any kind of logic to apply, but I still wanted to remark on the absurdity of ..." Maybe IKSR, for "I know, Scorpion, Right?" Or "Bob." Anyway, I was thinking about the whole theme of rescuing. Our team is sent in to rescue someone, things end up going pear-shaped and they end up in mortal danger. But then their handlers get on the phone and demand an extraction team to rescue the rescuers, without batting an eye over the potential danger to that team. And apparently there is never any danger to that team, because it's all a handwave and a helicopter ride and they're home, having a warm-fuzzy team moment. So this episode, where Paige and Peri were acting all self-righteous about sending a rescue squad, it kinda bugged. The "storm" outside was all over the map--sometimes life-threatening hurricane-force winds, sometimes light sprinkling of snow--but it was supposed to be blinding and scary. That's dangerous, no matter what kind of aircraft you're flying. And at some point you stop sending people into dangerous situations because the odds of success are so low and the risks of endangering the rescuers are so high. If they wanted to handwave, I would have much preferred a magical end to the storm so they could be lifted out without that particular drama.

Apparently I'm micro-aggressive , 'cause I grew up in the Midwest and we all said "you guys" to mean "y'all." I still do. I am tired of other characters reminding Paige and Walter how much they mean to each other. But then again, I wish Paige would run away from Walter as fast as humanly possible, b/c the writers can't make up their minds if he's supposed to be Sheldon, or Data, or an alien inhabiting a human's body in a '60s space drama.

This was by far my favorite finale, allowing the makeup crews to act like actual film makeup crews, and putting makeup to the test of film. To those who are underwhelmed by the production quality of the mini-films: this is really just an extended screen test. It's not like they have the time or budget to write full scenes, do multiple takes, or add polished post-production, and I don't think anyone expected cinematic excellence. They served to show the makeups on film in actual film lighting, and in a story context. I thought everyone's characters (Ben's girl character aside) looked much better in context than they did in-studio, Veiny Girl in particular. My favorite part, however, was the Final Three holding hands in front of the judges. I'm a sucker for bonding and solidarity among the contestants. I do agree with everyone else that they are trying to cram too many seasons in a year; the contestant pool just isn't that deep. That's probably the suits making the decision to squeeze as many golden eggs as possible out of this goose while it's extremely popular and while the judges and the Westmores are still willing and available to participate, knowing it will have to end at some point.

Oh my gosh, he's the Cousin Oliver! And already in Season 2.

I don't object to someone physically walking away from their project for a minute or two; taking a few minutes away from your work can help you look at it with fresh perspective and keep you from getting entrenched in the wrong direction. We've never seen Nora storm off or pout, she just takes a minute to step back. I know I do it when I'm working on a writing project that doesn't feel like it's flowing properly. Also, we only see what the editors show us. Since Nora mostly seems cool-headed and ready to pivot when something goes wrong, they're probably showing us her frustrations to balance it. Who knows how many other artists also take a cigarette break or whatever when they need to recharge for a minute.

According to IMDB Robert Patrick is in his mid-50s, Alana De La Garza is 39. If the showrunners did want her as a love interest for Cabe, shame on them for perpetuating the trope of the older guy and the very attractive much younger woman. I know that such age differences do end up together occasionally in real life, but it's frustrating that tv is generally so terrified to show women over 40 as love interests or strong characters. I'm puzzled by the stuntcasting of Gene Simmons. While I'm grateful he was on and off the screen quickly, it seemed utterly pointless to bring him in instead of casting an unknown to play a douchey actor.

As much as I dearly love my Deadwood world, I'm not too eager to see them on the big screen. My love of Deadwood springs from the little moments--between Joanie and Charlie, Jane and the Doc, Sol and Seth. A movie loses 15 minutes to exposition intended for audience members who never saw the series, sets events in motion, and then wraps it all up and sends all of its characters on their way to their next adventure. To me, that would feel like staging a big family reunion at an airport between flights.

Even my 14-year-old, who watches FaceOff with me, has learned to shout out "Mold!Drama! And.... drink!"* *For the record: she appreciates the concept of a drinking game, but we don't actually bother. No alcohol near my teen.

I just felt really, really uncomfortable for the couples when the judges took their closer looks and critiqued the work. Wouldn't you just hate to hear from the experts that your "wedding" look was sub-par? Ouch. Personally, I hate the whole Tim Burton "whimsy/macabre" aesthetic, so this didn't do anything for me. While I appreciated the top look, the only one I truly liked was the woodland couple, and even that had some flaws. I'm pretty conflicted about Missy. I dislike the look she has adopted, and her voice--she always sounds on the verge of a breakdown! But she was helpful to her fellow contestants with their molds, and I respect that she said "I'm not going to break down right now over this setback, there isn't time." Soooo.. huh. Also--I wish it were possible for any citizen to become a registered officiant, in order to officiate at weddings in a secular capacity. Administratively, it would be like registering to be a notary public. That would be preferable to people becoming fake online ministers just for the occasion.