queenanne
-
Posts
2.6k -
Joined
Content Type
Blogs
Gallery
Downloads
Discussion
Posts posted by queenanne
-
-
On the "Better Call Saul" Insider podcast, Vince Gilligan and Patrick Fabian (Howard Hamlin) said there was a whole lot of discussion about the cake when shooting that scene. For example, Fabian insisted Hamlin would never just take the cake then throw it in the trash.
TPTB pay exquisite attention to every detail of what we see on screen.
Awesome... did they come down on the side of why Howard made the cakey decision he did? Was the "not thrown in trash" outcome deemed "how nice white collar aristocrats would never act"?
This is something that puzzles me. I realize that HHM needs Charles McGill very badly. And I can see Howard "handling' Jimmy at Chuck's request--once, maybe. But doing it this time is so extreme--he has to act like an idiot (in the sense of "what in God's name does HH have against James McGill?") and like a monster too. I suppose Chuck told Howard that if he didn't do this, he'd leave the firm .... but considering his health, is that even a possibility for Chuck just now? Are these two guys just playing an elaborate game of chicken?
It mystifies me. And at this point in the series, maybe it's supposed to. Does anyone have an idea about this?
But, DO they need him? I too was wondering this... Why does Chuck get that kind of loyalty from Hamlin? I mean, why in particular does Howard actively care? Is it because they want to coax Chuck back? Because Chuck had promised them he’d hand them Jimmy’s case? How much of Chuck’s current suffering is Chuck, and how much of him is trying to hide from/avoid telling his brother the truth about anything? If he’d go to these extents, doesn’t that mean he IS suffering? Or adores Jimmy? Because whatever else we see, we can see that Chuck has torpedoed his own life, quite clearly. But weighing this; are we supposed to take the nursing home’s counsel’s reaction as gospel? That maybe only Howard knows Chuck’s “real situation”, and the rest of HHM doesn’t know to care? Because even then, it’s hard to imagine how this “soulless law firm” is simultaneously supposed to be longing for and wanting its (mentally ill) founder back at all costs. Hasn’t he made them the laughingstock?
-
1
-
-
Don't get me wrong, I think VG deserves heaps of praise... but I do think Peter Gould has been an equal partner in BCS. Schnauz did write/direct this episode. PG is writing/directing the finale. VG co wrote the pilot with PG and directed it... to date that's been the his only writing/directing credit in the series, while PG wrote two episodes and co-wrote one. Of course in the writers room VG obviously has his hands in the creative process throughout the series... My main point (which I could have made better initially) is that PG should get noticed more, not that VG is getting too much notice.
I have a feeling, no slight on any of the men, but this may be what the pros call "A Joss Whedon scenario". Which is to say, if you ask a Buffy writer (I think this particular one was Jane Espenson), she says more times than you care to count, any time writers met fans enthusing about how much they loved said episode, the following exchange ensued:
"Oh, what did you like best?"
"the line about [blah-de-blah], it was just so FUNNY!"
"Oh thank you. Joss wrote that; I didn't."
[Repeat approximately 4x per episode/line combination.]
Just to say that in showrunners running tight ships, it would not be uncommon for them to rewrite and have final pass on everything. It may "all" be VG.
This is exactly the way I feel about it... I'll bet clients would rather have an attorney who is as hard-working and professionally savvy as Jimmy, especially after he's had the chance to prove himself in the courtroom and build his reputation, than one who only sees me for the number of dollar signs I represent to his bottom line (which is the way I see Howard, and probably Chuck as well). I doubt that most clients ask where an attorney got their degree, and if he worked for HHM, they would just assume he had gotten it at a good school.
I'm afraid that's not strictly true, in this world, the attorneys live and die by their website profiles. Well, not literally, but nowadays, the overwhelming trend is, a web presence for lawyers online. They used to hide their identities behind a firm so people couldn't cold-call them, but nowadays they even have the actual lawyers' actual pictures attached to their individual pages. Said individual pages almost always go with a CV. Firms go with a CV for the main executives, etc. for press releases. If firms still have brochures, every single one of them lists lawyers' education. The University of American Samoa will be attached to Jimmy's name countless times. It can be argued as to whether or not anyone actually reads the bios; but I used to read liner notes, so I'm definitely the type of person who, bored in a waiting room, would read the attorneys' brochure like it was a Playbill. Particularly astute people even used to call my firm and declare that the named partner on the masthead was not the human being named "Smith" on the masthead (they were correct; it was his son), just based on the listed retirement age of the partner emeritus on the masthead.
To me, him taking the cake shows that he's still an insensitive douche. If you just crush a guy's hopes and dreams with a fake smile plastered over your face (even if you're doing it on behalf of his cowardly brother), you don't then swipe the guy's cake too. I still think Hamlin's a dick, just maybe not as big of one as he seemed before.
See now I thought of it more like... props. Something to do with his hands. (No, wait, that seems a little unlikely and generous an interpretation for Hamlin... he's not particularly uncertain, lol.) OK, more like, "wanted to be seen as hail fellow well met, just one of the guys", which is a harmless vanity. I guess I just don't attribute a lot psychologically to the acceptance of cake, even in the Villigan world, though maybe that's a dumb one on me.
-
1
-
-
Wow, you guys are on fire, Multi-Quote was just confusing me so I fear I had to abandon it. Some high points:
I don't think we'd even temporarily have been entertaining the thought that Norma was Lolita, if we didn't have the psychosexualized mess that is Head!Norma and Movie!Norma. Nor do I necessarily think that anyone who was thinking 13-year-old Norma was a seductress, was attributing this to Norma being in her right mind and understanding seduction. However, once Caleb said that Norma stopped him because she learned incest was wrong, I think we can trust him to accurately be representing what happened.
Starting to worry a little bit that a trained criminologist like Romero is apparently so ill equipped to recognize a psychotic break. I know he was "getting" suspicious, but they'll really have to handle the reveal carefully, to avoid its playing too plot-hole in the interim. Maybe "have Norman get closer to Alex as a person, to the point where familiarity will dull his senses or cast a halo effect encouraging Alex to look further away."
I think, I don't know why, maybe it was the loving shot of Norma's abused bumper, but my first thought about the flash drive nonsense was, "Norma thinks Annika somehow knows to provide information that will stop the bypass from happening." (In fact, did Norman specifically mention the bypass to Annika as part of "Mom's woes"?) At worst it's probably the bad guy's blackmail material on the town movers and shakers, which could have the same salubrious effect.
Did anyone else catch that promising line Bob (?) had about how Romero was outside the thick of things "lately"? Thereby implying a time where he might have been one of the sex patrons or similar? I thought I did and it strikes me as so promising, because one of the things I was thinking lately was, the writers are going to have to start making some firm decisions about Romero's character, at least to the point of narrowing down where he falls on the white hat/black hat spectrum, instead of vaguing about the issue. (There may be more. I feel there's more... Will post again if I remember.)
-
2
-
-
I knew Hamlin didn't hate on Jimmy. I just knew it. Patrick Fabian never played that. He took the cake, after all.
That said, I did wrongly peg Chuck of being sincerely glad for Jimmy but maybe that's because Michael McKean is that great an actor in the opposite direction. ;)
-
4
-
-
No surprised, Boon's insane. Totally scared the crap out of the hipster waiter and his girlfriend (and, yes: I totally recognized him as Gareth from The Walking Dead, which I found highly amusing.) Jonathan Tucker still has the crazy-eyes thing going for him, but he's not grabbing me as much as Ty did. Kind of wish Garrett Dillahunt's availability had been more open, if that was the reason they had to kill him like they did.
Oh, I'm pretty sure that's the only reason; I was rolling my eyes at the scene (though it has convinced me that Andrew J. West totally needs a lead role somewhere; his reaction really invested me in that throwaway character), because otherwise there's no reason to throw that level of luscious detail about a brand new adversary into the story, where you know the show is winding to a close. Considering I'm pretty sure this was planned as the last season, I don't care if the actor who plays Boon is the nicest person in the land, having such a scene about a character in the last quarter of the final season is self-indulgent nonsense, and/or too lazy on the part of the writing team to replace what also seems like it must've been a transplanted Dillahunt (or Herriman!) scene. The Boon stuff in the diner was "spinoff-introduction-character" level of drawn-out, for zero good discernible reason.
I’m fine with Ava getting this level of preeminence; it’s just that it’s not for a very good story. I mean, the end of S1 is Boyd, Ava, and Raylan all holed up together shooting at a batch of adversaries, no? She’s Boyd’s Lady Macbeth. I feel like the (IMO) horrible last fifth season and the clear MacGuffin nature of Ava-in-prison lamitude (seriously, does the journalist take suggestions for the Yost's Posts? I'd like to see him explain this plotline and what he thinks Vasquez actually has over Ava) may be presenting an unfavorable coloring towards her overall series-arc contributions.
-
1
-
-
Hum, in my mind, I think the series ends on someone verbally mentioning the events of the movie.
To which movie events they would be alluding, I cannot say, and I suppose it's also dependent a lot on how old Freddie Highmore is and looks at the time the statements are made.
Since the movie has "The Sheriff" figure, I do think it's possible Bates Motel-era-ending Romero is a bitterly regretful survivor who knows of and looks back upon the death of Norma and how poor Norman just ain't quite right anymore; but then again, they tricksied it up by introducing the new potential sheriff, so the Sheriff doesn't have to have any particular story resonance if they shake it up. Plus, I kind of tend to think for "Mother" not to be discovered, there has to be a situation where none of the townspeople want to go near the motel anymore; but that also could happen simply if we have a situation where Norman drives people predisposed to be kind to him away, and I guess does not require a 100% knock-down, all-comity-ending argument between Romero and Norman.
-
1
-
-
One of the things I didn't understand is why Kim was so worried about the accountants flagging $400 worth of copies from Chuck's billing code. I could understand them questioning it if it was her own code, but even though Chuck is on sabbatical or whatever they're calling it, he's still a named partner and I assume that would give him more leeway for something like that. Also, that amount of money doesn't seem like all that much for a big law firm to spend that it would get noticed.
In my experience, firms make you credit copies to client and matter billing suites more than individual people, and/but the mega-copiers can indeed be used as printers with their own drivers, for whatever that's worth (I am hooked up to one such copier at work for mega-printing from my computer - part of making them "Resource Management Systems"). For example, I would expect, if they're talking copies/printouts through the office's monster Canon, to be billed "Chuck McGill, Office General", or "Chuck McGill, Whatever Infamous Case HHM Has That Eats Resources", and not just "Chuck McGill". The systems I know, the latter wouldn't be worth anything, unless the firm is used to sending attorneys bills for personal reimbursement and payback.
Assuming the way I know is the way they're working it, which I don't recall Kim mentioning, if things billed to Chuck just go into General, then discovery would depend upon how often HHM's accountant/office manager/whomever is in charge of counting paper clips, takes a look at the General billing categories (could be monthly, could be annually). If they were to be billed to Budgeters v. Resource-Eaters, then whenever the lead attorney wanted to generate bills to be sent to Client Resource-Eaters, is when Chuck's name would pop up and be discovered.
-
2
-
-
I think Sarah's a front runner even despite the burger brouhaha, otherwise I too would have worried about her elimination in a "Gotcha!!!" I mean she made kitchen sink pasta (?), that everyone loved. Tall, pretty, but not afraid to look goofy instead of "thinks wonders who she is" snotty, that's at least got high TV-Q.
-
6
-
-
I also agree that head!Norma is not much at all like real!Norma in terms of how she looks or acts or treats Norman.
I don't even think that Norman's version of head!Norma is similar to how real!Norma treats (or used to treat) Dylan, though. I actually think that the way that Norma acts around Dylan is usually like she's a teenager or even a kid, and like she assumes he's supposed to take care of her or is responsible for her somehow (rather than the other way around). Like when she sneered at him that she hated him, when he first came into town. Or when she was goofing off at the gun range. And she often seems so innocent and vulnerable around him -- whenever some creepy guy comes around to the motel, it's clearly Dylan's job to deal with him, Norma shouldn't do it and Dylan doesn't generally let her do it. I mean, she acts maternal to him at times, too -- like when he was passed out and she tucked him in at that motel room, or when she was proud of him for his office at the drug HQ but warned him not to let the marijuana oils get onto his skin or whatever she was babbling about. But in general, I think that she acts more like Dylan's her ex or her "baby daddy" or even her big brother/uncle/father, than she acts like he's her son.
(I think that's also why Caleb is able to push Dylan's buttons by taking care of him, and ostensibly "protecting" him (from Chick, from the shitty wood he would have used on the house) -- in other words, by acting like a parent to him. Norma doesn't really treat him like that, even when things are good between them. When things are good between them, imo she treats him basically the same as she treats Romero, and when things are bad between them, she acts like he's some ex she can't shake).
Whereas head!Norma is cold and creepy and strange, but she's also pretty maternal toward Norman and is always trying to take care of him or look out for him and take responsibility for him -- in her cold, creepy, strange way :P
Oh gosh, I can't believe I'd forgotten about how eerily similar Max T. and Mike Vogel are and were shot to look from time to time – I think when I was going back to Head!Norma being “like that” towards Dylan, I was thinking primarily of those early moments where Dylan had first come to town, and he and Norma were throwing positively TV-daring amounts of animosity at each other – seriously, sometimes they were so mean to each other I’d reach the end of scenes and find I was holding my breath, which is pretty heady an acting choice for non-HBO on their parts.
But I do think you’re right and that’s also present in these scenarios – Norma can act almost as inappropriately towards Dylan as she does towards Norman, and then we couple it with Deputy Shelby, so it’s really inappropriate when you concentrate on it; and in fact, it’s even possible the breathless daring amounts of animosity were designed to distract us from the fact that Deputy Shelby’s very existence seems to be indicating that both he and, by extension Dylan, are in fact “Norma’s type”. Romero distracts and kind of dilutes this, because clearly to some extent Norma doesn’t have “a type”, and she having had a relationship with Shelby was probably distracting us from any “Normero” overtones running concurrently; but if it's not meant to be so intentional, that's a real and active casting choice also. Mike Vogel looks even more like a potential bio-dad for Dylan than his actual bio-dad!
In short, I now think that's more "Caleb grooming Norma" effects. Unfortunate essential portions of Norma clearly associate "sex" with "Caleb", since their physical relationship was going on during important mental formative years for her, it'd have to; and brings us to the heady cocktail of psychological effects we have going in present day Norma. (And man, now I'm even more squicked out by Caleb.)
-
2
-
-
The whole thing with Norman is that he literally splits into being his mother when he kills in the future. It was Norman as "mommy" that killed the teacher. Right now he's talking with Norma inside his own head. Eventually, he's just going to be himself and his mother having both sides of the conversation at the same time. The incident with his teacher was his first full personality split.
Yeah, On second watch, I’m not seeing it as cut-and-dried as “clearly Norman couldn’t have done anything wrong in these situations”. because we’ve seen him fugue out, and whatever they show us after the fact, Norman’s not always “with us”. And when Norman screams at Emma, as he runs away from her, “you’re wrong, it’s HER (who’s wrong)”; I thought it was strongly possible that when he said HER, he secretly meant “the existence of Head-Norma, speaking to and through me, is wrong”, rather than “actual Norma, and how she handles things with me”. I admit I’m not 100% up on what we call[ed] “psychotic breaks”, but what Norman is describing to Emma… I grew up with a controlling suspicious mother, every time “why is this [bedroom] door locked [*rattle, rattle*]?”, etc., she’d have chosen my clothes in college if I had let her (and I mean, “what I put on in the morning”, not “go shopping with me”), and I’ve never had a psychotic break. “Reticent”, I can see in both me and Norman. “OCD”, I can see in me. Psychosis? Split personality? Though I know to some extent Hitchcock-era information has trammeled a modern-informed interpretation for us, I’m not getting that connection Norman is trying – with all his might - to blame on Norma.
“I stayed in this world for you, Mother!” What does he mean by “this world”… “White Pine Bay”, or “what we think of mentally, as ‘the real world’ ”? Even if we didn’t have that writerly “tell”, the person whose word we have for the fact that he did not black out, is… Norman. Even Norman admits it. “I can’t remember if I did. It’s all starting to blur in my head.” Well, Norman, 2 minutes earlier, you had just stoutly asseverated to your mother, that you had “gone over and over it and remembered everything”. Which is it? “Annika is alive and thus, was clearly not killed by my hand”, doesn’t say anything good or bad about your powers of recall. it just says “Annika isn’t dead.”
And maybe more interesting, when it’s Head-Norma present, I don’t see her talking like Tangible-Norma ever talks to Norman in the first place. If anything, it’s closer to the way Norma talks to Dylan when she’s neither enraged nor delighted with him. If I am convinced of anything in connection with this show involving "perspective" at this point; it’s that I am almost 100% that Norma didn’t change clothes to stand in the bathroom, psychoanalyze Norman and take off his belt, then leave the room, change, and go rescue drowning-Norman in a different outfit.
Wow, long of me, but one more thing, loved Romero's "WOMEN" eye-rolls at Norman during Norma's interruptions, as a method of bonding with him. Smart sheriff.
-
4
-
-
Honestly, seeing her outfit when she showed up, plus her having the flash drive, I actually did wonder if she was actually an undercover cop investigating the club. I mean her name sounded a little made up to me but I didn't think much of it because really, how many high end escorts use their real name? But I do wonder if there's a larger plot there with her and again, if there was something more Norman knows but he just, for whatever reason, can't remember.
Well, if we're basing speculation on costuming, I think it's possible she was racketing around with Dylan and Uncle-Dad as part of the drug trade. Or lumberjacking. ;) (Seriously, maybe the Pot People are going to intersect with the Arcanum Club.)
-
S05.E15: Try
in S05
At the construction site, what were Abe and the men doing: Making the perimeter of ASZ larger? Does that mean there are gaps in the fence while they do that? Or were they just re-enforcing the existing fence?
(Seriously. I WATCH the show. I just can't hear it.)
Heh, I have closed captioning on, because the steam heat HISSES in the winter so loud it's shocked the grocery delivery man, and the air conditioner rattles in the summer. It doesn't always help.
i don't believe someone else could have done it. Only the other person wearing a constable uniform was appropriate and that person is Michonne. The fact they made a point of having her wear it when she had been wearing different clothes all throughout the episode told me all I needed to know about why Rick was dealt with in that way. Bad-ass is a hoped for bit of bycatch, but it's not what they were specifically fishing for in that scene.
I agree, who else should do it but the person in cop uniform? It may even, dare I say, result in a through line where Deanna puts Michonne over Rick.
I doubt they even had any idea many fans would be disgusted, because TPTB don't see Gabriel as a character in the first place.
Is that comics or similar-based reference; or surmise? Just wondering, because I'm none too clear in my mind what specific purpose he serves as plot device either. ;)
-
1
-
-
Am I wrong in thinking that Norman would only pretend that his mother was alive with out of town people who were staying at the motel? It's been awhile since I've seen Psycho but I was under the impression that Norman would acknowledge that his mother was in fact dead on the occasions where he was forced to interact with long time residents of the town who know what the deal is. That's why the guy who is explaining what happened back in the day to Mrs Bates and her new husband doesn't seem to have any idea that Norman has been living in a fantasy world where his mother is still alive. Am I totally misremembering this?
The reason I ask is because I can totally envision a season where Norma is present but only in Norman's mind and how he'd play it one way in front of people who know the truth (the truth that Norma's dead not that Norman killed her) and the outsiders who are just coming by to stay at the motel.
Oh, that's a great question, but it seems like that might be risky because the Bates Motel isn't exactly crammed for amenities; in fact, I'm not even sure I've seen a vending machine (?). In which case any outsiders would be hauling ass into town for all their meals, etc., and too many chances for them to slip up, or the townspeople. "So, what do you think of that old battle-axe, Norma?" It could be sustained for a season or year though, I agree, if fraught with peril of discovery for Norman, I'm just too easily assuming that we'll get to see glimpses of whatever we're told is the town's current state in "Psycho". (Just checked Wikipedia and FWIW, the local sheriff, surname not given, is the one to apprise the family of Janet Leigh's character that Norma has been dead for 10 years by that time.) I've always just assumed the sheriff is farther away than he in fact might be and that the town is deader than it perhaps is, also.
-
1
-
-
What I find really interesting is how difficult it is for a talented actor to do well in a badly written, and presumably, badly directed work. You're right, all of these actors are outstanding on this show, especially Vera and Freddie. I wasn't really familiar with much of their work beforehand. I think Vera was in a Bond movie, and a friend of mine said he's seen her in some kinds of sexy (soft-core?) movies. Remember Freddie doing a great job in Charlie and the Chocolate Factory, you could see the talent he had even then. But Nestor? Thought he was horrible in Ringers, just as I did with Sarah Michelle Gellar. I found that show to be horribly disappointing, because I was a big fan of SMG in Buffy. And I agree, she should have won a few Emmys, especially in the special episodes - the musical, Hush, her mother's death and funeral. Same with Tracey Spiradakos, absolutely hated her in Revolution and blamed her for why the show was so terrible in the first place. It's a good thing I'm not a casting agent, just can't see past the previous misses. I so look forward to this show, and I'm hoping they'll cast more actors that redeem themselves from hideous shows.
While personally I liked everything about Ringer except for Kristoffer Polaha, I wanted to mention that casting agents don't make the decision themselves in a vacuum. I learned listening to a Paley-type panel on Once Upon a Time, that not only do the showrunners get approval, but the network executives too. In fact, I believe the latter group's opinions can trump everyone else. It's possible even the NBC president (the one in charge now I think even?), greenlit Tracey Spiridakos, who may have been too mature and worldly-wise an individual to portray that Revolution teenager, but is a natural as a twentysomething sorority girl type. Sometimes it's a mass casting delusion that takes hold. :)
-
2
-
-
It was bogus, any class I've ever been in someone would've whispered "That's Teach's seat." Or Norma would've figured out by the placement of the whiteboard, that someone had to be by to manipulate it.
Though, it was everybody's first day of the semester and class, right? So really, there would be no such thing as "Teach's seat" for Norma to know she's trespassed upon. It's kind of amusing though, that a psych professor at a community college would insist on a non-preferential, non-hierarchical circular seating arrangement.
-
3
-
-
Yeah, I don't read them (or, thus, read or comment in the extant comics thread we have), so don't do it on account of me.
-
3
-
-
Now that you mention it, I don't think any of those three can survive. NOT a spoiler but just speculation that IF the series ends with Norman killing Norma and becoming Mother, then the other three would already have to be out of the picture or they would have picked up on Norma being dead.
I should think in order to get us to the point of the movies, the whole town would have to be dead, at least tumbleweed-dead if not murder-dead. (I've done a lot of thinking about this, heh.) It's gonna be a challenge either way, but yeah, we need some situation where basically no non-guests think about or go near Norma(n).
-
1
-
-
Not that I think they should turn this show into the comedic legal version of "Alias" and make everyone related, but I am starting to think and wonder about the role of "the other Hamlin". Howard's father? Sibling? Wife? While the show's not about Howard, maybe he has more reason to relate to Jimmy than he thinks.
I can also see and not-see, a scenario where Jimmy could have been taken on at HHM. On one hand, the "University of American Samoa" would've looked like hell in the firm literature. OTOH, it's simultaneously "the type of human-interest press that money can't buy", the contrasting Story of Two Brothers.
-
2
-
-
Good, I'd much rather watch Vince's story than one he puts out trying to chase viewers.
Wordy McWord and Hallelujah Chorus!!
(Assuming the host did indeed mean "avoiding fanservice". And if the host didn't, I might co-opt that interpretation on their behalf.) More shows have had their integrity ruined by "writing to the fans", rather than "telling the story we need to tell", than I want to count up on my fingers right now.
-
6
-
-
S05.E15: Try
in S05
Seriously, why aren't conversations being had?
That's the definite fault of the writer (though maybe Kirkman stuck her with that dynamic). It's everyone's least-favorite dynamic; screenwriter convenience. where all it would take to divert a disaster, is: for two people to be talking to each other.
-
12
-
-
S05.E15: Try
in S05
I really think that it Rick's mind it isn't about rejecting people he knows and Jessie having been the dream girl of his life. It's about escaping the shit that he had no chance to get away from...and feeling good to find a chance that doesn't remind him of it.
That works, except now I feel sorry for Alexandra Breckinridge having to embody Archetype of All Womanhood. :) 'Cuz I don't even root for Richonne, I'm not against it either, just the farther we got away from the setup, the more irate I started being on her behalf. "Yeah, why not Michonne?!"
-
S05.E15: Try
in S05
Not sure how Rick telling her that he would sit by and let any other battered woman continue to get beat adds reassurance to her that he would intervene on her behalf. He already offered to help her. Needing to know that he would only do it for her and not for some other poor woman who is being battered makes Jessie look horrible.
The problem with this story for me is that it rarely seems to be about a desperate, terrified woman suffering from abuse. It's about a generic dream woman Rick has to have, with a "connection" that must be there in order to justify Rick's obsession.
The idea that a woman is so terrified of being uprooted from her abusive home (which many abused wives go through, I realize) until she knows that he doesn't care about helping any abuse victim but her turns domestic violence into a popularity contest. And the scenario of two men literally fighting over her as she cried in the corner did the same.
The show is treating domestic violence as a prom date. I think it's deplorable. And while I don't hate Jessie, I think having her only go with Rick if he said he didn't care about helping anyone else made her look awful.
Aha!
OK, NOW i think I get it.
Jessie asked that question of Rick not because it was important to her to be the prettiest princess in the room; but rather, more because she feared that allying herself with this stranger, would make for a frying-pan-into-fire syndrome. She doesn't know Rick. She doesn't know if his quick-to-anger status makes him no better bet than Pete, the violent man she's already got.
That said, I think it would be a hard row to hoe for anyone to like any woman we "just met", practically speaking, as a Ricktator love interest; because considering how long Rick's been single and how long he's refused to consider any other woman or anything amatory, I think we'd have to see "her" as magic, even if there was nobody hoping for Richonne.
-
3
-
-
S05.E15: Try
in S05
I think we might be being "had", in retrospect. Rick knocked Carl (his actual flesh and blood) down and Michonne had to stove his head in in the commission of defending his damsel, that doesn't strike me as a show telling me that said character is viewed as making correct decisions.
-
2
-
-
S05.E15: Try
in S05
So, Rick wouldn't have "saved" a different woman who was what, less hot than Jessie? I hope that's not what they were trying to have Rick convey.
I'm fanwanking that as "Rick's lack of game". He knew he had 2 choices for responses, and thought it was the lesser of 2 evils to choose the "What? No! Of course I'm not some violent knee-jerker! It's all YOU, baby!"
Why did Deanne take the note but leave the casserole on the porch?
And why did Carol just leave it on the porch anyway?
Deanne wants a civilized society and that's what people do in a civilized society - take meals to the family in mourning.
Agreed, I'm expecting some dangerous future reactions from Deanna partly because she knows that part of the social compact, results in "you accept the food offering".
-
5
-
S14.E05: 14 Chefs Compete
in Hell's Kitchen
· Edited by queenanne
Don't forget, that was an exemplar of Milly's crying pity party "I do not haz a money to experiment with these exotic foods". I’m sorry, Milly, but that’s BS… isn’t it? I confess I haven’t paid attention to your chyron because you strike me as comparable in skills to many of the chefs we are told worked fine dining, but O RLLY? You have never heard of a freakin’ enchilada? You can buy ‘em for $4.25 in my neighborhood. (Perhaps slight exaggeration but KWIM?) I feel pretty sure that “even in Philly", "cheap Mexican food” exists as a category, and is something with which you could eagerly experiment. It’s not like he got stuck with the damn croquette (and even then he might have Southern relations).
(ETA to add: I just slo-mo'ed, and Monique unquestionably lifted a clean spoon out of that pan for her "tasting". I didn't even spot an edge of green, which I think in retrospect might have been the point of going aerial for the camera shot.)