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  1. Sandman

    S06.E09: Collision Course (Part II)

    Exactly! Whiny AND entitled is not a good look on anyone. And I just can't find the "Bobo" thing funny or endearing. Dude, he has no kind of relationship with you! It'd be creepy if he did know you.
  2. Sandman

    S06.E09: Collision Course (Part II)

    I thought maybe Izel had hitched a ride in May, but it's probably Davis. Could Snowflake murder Deke next, please? The writers have deeply misjudged the appeal of this character (inasmuch as it appears they expect him to have any).
  3. Sandman

    Another World

    That depends on which Jamie. I think that of all the major characters, other than Rachel, Jamie Frame might have been the most changeable with the actor who played him, in career and in relationships, familial and romantic, that were featured as important to the character, as well as in core personality. There were, what, five or six different adult versions of Jamie? A few of them I don't remember. I remember liking Stephen Yates's Jamie a lot. He had rich relationships with Rachel, Ada, and their side of the family but also with the Frames, including his half-sister Sally (he was a publisher? editor? at this point, working for Cory) and the Frame cousins. I remember Laurence Lau (I think his Jamie was a doctor) as really dull. (How did Lau ever get so popular? AMC's Jenny and Greg were a thing, I guess, but don't ask me why.)
  4. Sandman

    S06.E06: Inescapable

    That's just it: to me it feels like they're recycling old ideas (Phil's Special Specialness, FitzSimmons' apparently inexhaustible capacity for suffering), not throwing out new ones. But I can grant that this is a mileage issue.
  5. Sandman

    S06.E06: Inescapable

    I love to watch them work, especially working off of each other, but I really thought this episode was overkill. (Please don't hate me.) I don't disagree that the two of them can handle whatever hot mess the script throws at them. But I miss the days when Fitz and Simmons were, you know, functional adults. Not co-dependent whackjobs with complementary dysfunctions. (Way to infantilize the brilliant woman, writers!) And Of course Leopold and Nightmare Music Box Simmons were hot for each other! Of course they were. This show has some weird ideas about mental health, y'all. I still say Nazi Leopold was the biggest mistake this show ever made. (The Framework was a stupid idea, clumsily executed, and the entire S.H.I.E.L.D. IN SPACE season last year was a sick joke.) I have only just started catching up on this season, and I'm burning through episodes quickly, because, fundamentally, I just don't care anymore -- but Henstridge and De Caestecker are almost enough to make me care. Almost.
  6. Sandman

    S01.E11: A Seat at the Table

    But, but … Max is … Max. Who could ever step into or supplant the Max-ness that is Max? Next you'll be telling me something crazy, like, I dunno -- that -- that puppy-dog eyes and Sad Max Face aren't invincible professional qualifications in themselves? Pff.
  7. That is, until the writers need it to be an indoor concourse again. (ETA: Yeah, what DaphneCat said.) (Is it Horton Square? Or is that the official name of Murder Park?)
  8. That probably counts as a family resemblance.
  9. Maybe Gering lobbies for them? Heaven knows no one else would.
  10. That wall-eyed "Ah, fuuuuuuuuuuuuuuuuuuck" face she made when Eli walked into the club was the most I've ever -- and I mean ev. er. -- been entertained by Julie. But, wait, there's more! Julie displays genuine self-awareness and gives a true, clearly heartfelt apology?! It's a regular Fourth of July miracle! Wait -- is that a thing? Happy Fourth, American friends.
  11. I'm sure there's a mask for that.
  12. Or here's a radical thought: what if we just retired DID as a trope altogether? (Also Evil Twins, but I don't want to get ahead of myself.)
  13. No argument here at all. I hope I didn't imply that mental health, and the growing awareness of mental health concerns, deserve anything less than serious consideration. I certainly didn't mean to. Perhaps I'm looking for responsible writing about mental health in the wrong genre.
  14. Eve has a right to her pain; she doesn't have the right to believe (a) that she has suffered more than anyone else in the history of Salem; or (b) that pain gives her an excuse to manipulate a damaged young woman and lash out and hurt anyone else she thinks is in her way, or insufficiently mindful of her suffering, or whatever bee is buzzing around inside her bonnet this week. The bigger trouble is, I think, that this show is so willing to have every conflict devolve into a clash of good versus evil, or at the least, innocence versus madness. How many times is the show going to rely on someone "going insane"? Non-Nicole, Abigail, BOllie, Claire -- the Crazy Train is jam-packed with commuters, and it's always rush hour around here! Worse, it feels like these writers genuinely believe that someone (especially a young woman) can actually be driven insane, whether by grief, loneliness, rejection, or despair; and that madness sets one outside the moral framework that applies to other human beings and their choices. I don't think that's how mental illness works. The show seems to favour a dichotomy straight out of Victorian morality tales. Kidnap Kabin stands in for the nearest train tracks to tie the damsel to. (Or maybe it's just a throwback to the "opera" part of soap opera -- can't have a tragic heroine without a juicy mad scene? Soprano trills optional.)
  15. Sadly, I think this is perfectly accurate.