Danielg342

Cabrera (played by Brigette Kali Canales) is only a recurring character. Canales isn't a member of the main cast like Annie Illonzeh (Devin Gamble) or David Lim (Victor Tan) are. So it's not as unexpected that Cabrera misses a few episodes, unlike Gamble and Tan who, as main characters, should be in every one.

I agree with your points, @possibilities, and I'd like to add that of the two big tragedies the show has given us- Rebecca in S1 and Cara in S2- they have both been women, so killing a third woman off is not a good look (and not just because it feeds that long running cliche of how Hollywood treats female deaths). I just think that an Audrey tragedy could actually work if that's the narrative choice, simply based on how they've built it. It doesn't mean I would actually want them to do it- just because you can doesn't mean you should. Besides, now that I think of it, Walter's impending tragedy might be the more interesting story. Seeing the Leones go through those final moments of joy before the inevitable end could make for some nice stories, and Audrey could help them get through it. ...and help them write a new chapter once it's all said and done. I suppose the wildcards in the Audrey story as "Bodiella" and Leven Rambin herself. On the former, it will all go down to whether or not the writers are still convinced "Bodiella" is the viable endgame. I'm not and it looks like the writers may be realizing this too, but you never know with Hollywood. The part about Rambin is less certain. I'm going to guess the show may hold off on announcing if she'll join the main cast until this season wraps up, but I think Audrey's future depends on whether or not Rambin wants to come back. She may want to leverage her Fire Country fame into a TV series or a movie of her own, and I'd say Rambin has earned that. So I guess we'll see. Maybe all I'm doing is steeling myself for Rambin's potential exit because her future is unknown and anticipating the disappointment may soften the blow. On to another topic. The past two episodes have dealt with the theme of "coming out" in a roundabout and interesting kind of way. In the last episode, it was all about Eve proclaiming about how much love she had for the fantasy genre and how much it was a part of her and how people need to accept that it's a part of her identity. The speech gave me "coming out of the closet" vibes, which were further cemented by the speech allowing Eve to win Francine's heart. In this episode, Eve helps someone else come out of the closet to his own father and, though we missed the crucial moment where Cole's son declares his orientation, we at least got to see the son's relief at his dad's acceptance. As well as his dad get further into it by giving him dating tips. I find it interesting because Eve's sexuality has hardly been touched upon on this show, a decision I agree with because the show is treating Eve and her lesbianism as completely normal (as the show should). Eve's characterization bucks Hollywood's trend to make a character's queerness the central part of the identity of a queer character, which is something that is long overdue in Hollywood. Furthermore, we've seen Eve go through struggles and pains and rejections and none of that has anything to do with her lesbianism, as we might expect. So I have to appreciate the writers showing a great amount of restraint in that area. Having said that, I have wondered how they might incorporate Eve's sexuality into the storyline, so by doing it where Eve's love of fantasy is an analogue to "coming out" and then by having Eve help someone else come out is a clever and well-played way to broach the subject without compromising the integrity of how the series has gone. In this way, Eve's normality is preserved and the show still gets to broach a very important subject. I have to commend the show on how well they've treated addressing that subject.

This was almost a complete sausage fest...no Powell, no Gamble, and the only woman who had lines in this episode was one henchman's girlfriend. Was this script one the 1970s version of the show wouldn't use? Still, Miko's storyline did enough to keep my attention, even if it kind of plodded and didn't really do much- if anything- a lot of the time. There was also a lot of plot-convenient stuff that happened like the henchman taking Miko's phone. Great way to ensure he stays on the case despite the tomfoolery of the powers that be above him. Regardless, Miko's relationship with his faux brother was actually pretty interesting and, though it's a longshot, I would love to hear from the faux-frère in a future episode that he's gotten his life back together and he and Miko are still friends. The only other part of the episode is the seeming end of the line for Officer Doberstein ("Doubs") on this show. Seems cheesy, and all done to give Tan some manpain and a lesson that could have been done in a different way. I also have to question the writing here too, because Doubs himself was pushing himself harder than the other recruits, so it seems rich that Doubs would blame Tan for pushing the recruits so hard. I'm also not sure how the accident had anything to do with how hard Tan pushed the recruits- it seemed like a complete freak accident and perhaps an improperly trained recruit standing too close to the door. It's not like Doubs took a cortisone shot and his injury manifested itself through that risky behaviour. It's also not like Tan ordered that shot to be taken. If so, maybe then I might blame Tan for what happened to Doubs. Otherwise, it was just a really freak accident that was overplayed for drama. Still, I'll at least give the show this much in that we actually had a coherent story this week, even if it was still a weak one. Will the women return next week? We'll see.

There's a part of me that feels like Audrey is being set up for a tragedy. She foreshadowed it herself by bringing up the episode title (with some additional foreshadowing with all the things about Riley in this episode). I have mixed feelings about it. On one hand, I love Audrey as a character. I think she fits far better with Bode than Gabriella does. Her presence is almost seamless with the rest of the cast and, if I didn't know any better, I would have thought Leven Rambin was a main cast member already. ...but... Unlike the previous attempt where they teased Audrey's death, this time she's a much more developed character and would be completely someone we'd miss if she was gone. In other words, her character would not be a waste if the show actually did pull the trigger on her. Now, I'm not sure I want Audrey to bite the dust. I would prefer a storyline where Audrey becomes more a part of the Leone family just like Jake and Eve have done. I think Audrey has more than proven her worth that she belongs on this show, and she should stay. ...but I can't deny the tragedy storyline may actually work this time. We'll see where it goes. Other things... I almost confused Rafael with Diego in this episode, because the actor who played Diego is named Rafael. Rafael and Bode had a nice bond, though. I liked learning a part of Eve's backstory in that her situation where she came out of the closet to her parents went smoothly. I'm sure there are a few naysayers who will say "too smoothly" but I don't think it's too smooth at all and I appreciate the narrative choice. Don't know why they couldn't send the kid to the hospital to see his dad. It's not like he wouldn't be supervised at the hospital. I also have to question the wisdom of teaching a kid that it's OK to deal with anger by punching something. Another nocturnal rescue...though this time it would actually make sense. Lastly, I liked that Cole didn't just immediately accept his kid coming out as gay, Cole totally jumped right in and offered advice on how his kid could win the affection of his love interest. That's next-level acceptance right there. The only thing I would have done differently is that I would have actually shown the kid tell his dad "I'm gay" and we see Cole's easy acceptance play out in real time, instead of starting the scene with Cole's acceptance. The scene would have been more powerful if we saw the kid go from tension to an eased mind right away. Overall, it was a great effort. Maybe not as great as episodes before but it's a sign that this show has finally hit its groove.

Deep Cover

I'm the One Who Just Goes Away

What can I say? Maybe they have figured it out. Sure, tonight was rather absurd...but, instead of trying to pass off a scenario filled with silliness into a brooding, serious, DRAMATIC! episode, the writers leaned into all this campiness, dialed it up to 12 (maybe even 13) and produced something as magical as the greatest fantasies ever told. It also helped that Katie Findlay and Jules Latimer embraced their inner Galadriel and were simultaneously elegant, graceful and completely competent and badass. They may have started as beautiful, innocent elves engaged in a magical fantasy, but when things got real and they had to get their hands dirty, they more than did and it was a joy to watch. Sealed with a great, magical kiss at the end to boot. I also thought, much like last week, this was very much an episode where the characters behaved naturally and organically. This time, there seemed to be some actual layers to it, especially when it came to Vince. Leave it to Billy Burke to really bring out the nuances in the grizzled old veteran role, showing how the snark originated deep inside the soul of a vulnerable, troubled man. One who couldn't bear the thought of his father- whom he both feared and revered- is just as vulnerable as he is and isn't as indestructible as he appeared. Which is the same realization that Vince himself has gone through several times in this series, but, arguably, none have been more poignant than this one. Sure, Vince had his stubbornness and seemed to get nasty with both Bode and Jake, but none of that felt forced and you got the sense that Vince eventually came around to what his sons- the de jure and de facto one- had seen all along. It was also a nice touch to see Jake be brought in to hear the news about Walter, cementing the fact that while he may not be blood, he's still very much a part of the Leone family. Still, despite the serious subplot, what made this episode stand out was that it didn't take itself too seriously and realized that dramas can still be- and need to be- fun experiences every now and then. I mean, for all the ridiculous things Bode has done in this series, have you ever thought you'd ever get to see him say, "I slayed a dragon". Yet, here we are. Lastly, I hold out hope- however faint it may be- that maybe this show realizes "Bodiella" just isn't working and "Bodrey" is a far better choice. The sparks were just flying all over the place between Leven Rambin and Max Thieriot and they just ooze so much chemistry that I hope- beyond hope- that their union is permanent. I still think it's a faint hope, because Hollywood always Hollywood's...but at least for this one, magical moment, I at least have some belief that, maybe, just maybe, this show will buck a few trends and benefit in the long haul for it.

So the show promotes Gamble to the main cast only to start a storyline where she'll potentially miss time because of an investigation that will only resolve once we know the show's fate for S9. Well...I guess it makes sense. I still feel Annie Illonzeh is getting the short end of the stick here. The show has crafted a storyline that leaves the character and the actress little to actually do...she's just a spectator in her own story. I get it...the show wanted her and her family to be some kind of albatross, but I think making them a detriment was the wrong move. They should have been allies. Maybe reluctant ones, but they should have been allies. The narrative potential would have been far more substantial with Devin Gamble having her family as quasi criminal informants. It could have been a nice redemption storyline for not just Gamble but also her family as well. Plus, more importantly, it would have given Gamble something tangible to do. Of course, it's not like the show is any good when it actually does give its female characters something to do, because, in those cases, the women acted in the wrong. Zoe Powell's instincts may have led 20-Squad to the child's abductor, but she also got them into legal trouble and she was horrible in her fight against the owner of the farm, where only luck saved her. I could further complain that the show glossed over the fact that Powell entering the one perp's house without a warrant is a serious violation and should have benched Powell for the episode, but that kind of mistake is not unique to the program. Neither was Powell's situation unique to the other women who did things in the episode. The Deputy Chief was oozing villain vibes and was clearly painted as a vindictive, opportunistic bureaucrat who was merely couching protocol to hide the fact she's merely engaging in a personal vendetta against Hicks. Then there was Annie...who played all her beats well but later regretted playing any of them and sounded like that usual submissive housewife she usually comes across when she deals with Deacon, who seemed so incensed that Annie would dare do her own job in this situation. (Oh, and remind me how Annie taking a case Deacon is working on is somehow not a conflict of interest and a violation of procedure and protocol? For an episode that was so much about procedure and protocol, that's a massive oversight, and all for what? A stupid "moment" at the end for Deacon and Annie?) Lastly...the child as the centre of the case. I won't spare a lot of ink (pixels?) ranting about how horrible Hollywood is with child cases, because Hollywood writers and producers are always too chicken to do anything with child abduction cases except to have quick resolutions with the child rescued and unharmed in the end. Yeah...I get it...there are probably too many people in the audience who would be too unsettled with any kind of story that puts a child in harm's way, so Hollywood almost has to write its child abduction stories the way they do. Still, it wouldn't hurt Hollywood to mix up the story every now and then, including embracing the dark side of these stories when they're appropriate. Like in this episode. It was already a pretty heavy episode with a bit of a dour tone cast upon it with Gamble's investigation hanging over it's head. We also had a pretty big subplot with Tan struggling to come to grips with a case of a missing child he couldn't solve. So why not throw a curve in this episode? There are a few reasons why this would have worked. One, this show is too "sunny", where the good guys can do no wrong and the villains never get away with their actions. While in early episodes it was great to establish this tone, we're far enough along in the series that its tone won't get compromised by having different kinds of episodes every now and then. Two, having the team screw up would add more dimensions and more stakes to the Deputy Chief's upcoming storyline about evaluating the team. If the show is going to commit to a "team faces adversity" storyline, then really lean into it, don't make it a footnote with a one-dimensional villain. Three, as much as I felt Powell was weirdly too emotionally invested in this little girl's case, if the team failed to save the girl, then it would have tied in much better with Tan's own grief about his unsolved case. Powell- and we, the audience- would have a better sense of what Tan is going through when we see a similar situation play out ourselves, instead of it being some kind of abstract concept. Further to this point, ever since Powell has been introduced they've tried to make her some kind of maverick and they flirt with giving her trouble because of it...but they never really make her feel the consequences of her actions. If the team couldn't save the girl because Powell broke protocol by invading the perp's house, then Powell's flaw really does become one. No Miko in this episode, so the casting "musical chairs" continues. Though I really don't think he missed much of an episode tonight.

Jay-Z and Sean ‘Diddy’ Combs’ Rape Lawsuit Dismissed by Jane Doe’s Attorney (Yahoo! via Variety)

From The Futon Critic:

From The Futon Critic:

I'm not sure why I didn't realize that Devin Gamble wasn't in the episode...I guess I'm not yet used to her being a main cast member even though she's been elevated to that position for quite some time. Look, I understand that it's pretty common across TV series these days to have main cast members skip episodes. That still doesn't make it any less annoying. I get attached to these characters and some may only watch the show for certain characters, so it's no fun when they don't appear. It's even more infuriating when, as typically happens, you don't find out that your favourite character isn't in the episode until it actually airs. Most of the time the show is good enough to acknowledge the absence, but tonight there was no mention that Tan and Gamble were not in the episode. For fans of those characters (I'm sure they have them), they're probably not happy they had to waste their time though an episode where their favourites are not present. Had they known beforehand, they could have made other plans and skipped out on an episode they wouldn't like.

I'm not sure...I don't believe I ever have. I don't keep a record of it so I won't say "this is the first time Fire Country has earned an A" but I don't recall ever giving it such a high grade. I kind of wrestled with whether or not this episode deserved it...I'm not sure I'd put this among "TV's greatest episodes ever". However, when I determined "this is the kind of episode that FC should be making", I figured it deserved the high grade. I couldn't call it a "standard bearer episode" and not grade it as such.

I have to say that this episode held my attention more than the show usually does. Plus I thoroughly enjoyed the subplot of Miko and Nicole (Deacon's sister in law) acting like a bunch of teenage lovers running around trying to hide things from everyone, even though everyone already knew what they were doing. Gotta love Jay Harrington's picture-perfect portrayal of Deacon in the role of the "knowing and understanding" father figure within this storyline, especially with Deacon saving Miko's behind by recovering Miko's badge from his house. I also thought seeing the frustration of Hondo trying to fix his cousin's life only to see it metaphorically blow up in his face to be interesting. The show doesn't usually allow Hondo to fail, so this was an interesting call- and I might say, about time too. Another positive with this episode involved the prostitute and her portrayal by Megan Leathers. As much as I thoroughly dislike Hollywood's one-dimensional portrayal of sex work, Leathers did a great job humanizing her struggle and at least the prostitute's story humanized the prostitute greatly. Still, this was a case that plodded and meandered, being yet another episode where there seemed to be two or three different episodes in one. So we got something that was not very well developed or explained enough and the narratives never really got past surface level activity, which is a recurring problem with this show. Also a recurring problem? The absences of supposed members of the main cast. Tan was nowhere, and the show didn't even acknowledge that at all. I'll never understand why the show likes to make every main character that's not named Hondo into essentially recurring characters but at least make some mention about why a regular isn't there instead of ignoring it completely.

This is more like it. The kind of show this show should be but never seems to ever get there. You know...the kind of show where the characters drive the plot. The characters organically behave how they should. No one's forcing square pegs into round holes. This episode...finally...let the characters do the work and do their own version of heavy lifting. Let me tell you...when they do that, the results are beautiful. Sure, this episode isn't without its faults. The baby subplot seemed to be just kind of "there" without any real dramatic tension. Natalie Farrow did her best sell job to depict a broken mother but we never really got to know why she abandoned the baby in the first place. Then there were a few eye rolling moments from Vince and Manny that seemed to give them more needless trouble and created some awkward tension... ...but... Can you really say either of them acted out of character? Plus Jeff Fahey's sell job of going through Walter's pain at the end of the episode really put things in perspective. This episode could have been a real train wreck under the wrong hands and the wrong guidance, but, for once, the show got the formula right and produced something that showed what it's truly capable of whenever they get things right. They just need to learn how to repeat this kind of success again.

From The Futon Critic:

From The Futon Critic:

I always felt like Justin Baldoni is going well over and above what a more reasonable person would do who just wants to defend themselves. Issue a statement denying the allegations? Fine. Lawyer up and say "I'll have my day in court"? OK. Start a website that's clearly meant to sway the "court of public opinion"? Um... Launch a smear campaign in an attempt to completely ruin the reputation of your accuser? What? Seriously? Something tells me Baldoni has something to hide. Otherwise, why these lengths? Unfortunately, as far as I understand, the trial is set for March 2026...so it may be a while still before we get the real truth. :(

I must have missed that part, because I thought Sharon, Vince et all were just going to bury themselves in the ground. Sometimes the dialogue is just too fast on this show (and the show's not engaging enough to keep me paying attention at all times). Still, there's no reason why Bode and Audrey never thought about using them.

One thing I'll say about this is that Hollywood has an unwritten rule about never covering the faces of the actors and actresses who are the "stars of the show". This is because Hollywood directors and actors feel an uncovered face makes it easier for the audience to connect with the characters, plus it's easier to portray the emotional nuances of a performance with the face uncovered. Of course, this policy can reach absurd levels, like unmasked forensic lab specialists or surgeons, or in this case. In this case, it's particularly bad because the policy directly affected the plot, when it shouldn't have. See, usually I can just handwave the absence of masks when the characters should be wearing them because, at least, the show never makes it an issue. Yeah, it's a pretty big groaner that Bode, Jake, Vince, Sharon, Eve, Manny, et all aren't wearing masks, goggles and lots of other protective gear- because doing so in real life means high exposure to smoke inhalation, among other things- but, aside from their faces getting absolutely drenched in ash and soot, you never hear of any negative effects to the characters for their maskless choices. This episode violated that rule and violated the principle of the "suspension of disbelief" with the ridiculous scene of Bode and Audrey in the swimming pool. Because...if Bode and Audrey had masks (even improvised ones), they would not have needed to go into the pool at all. They could have ran into the house, found the tractor and beat an escape, all while still having functional radios. Or...Bode and Audrey could have used their fire tents and wrapped themselves up in it while they wait out the fire and any potential rescue. Yeah...the fire tents...you know, those shiny tarps that we saw way back in the first ever episode of this show? Tarps specifically designed for situations like the one Bode and Audrey were in. ...and, for that matter, the situation that Vince and Sharon later found themselves in. So while I can understand why the policy is in place, the writers failed spectacularly in forgetting that the policy should simply be a matter of the suspension of disbelief, not as something the characters are actually doing.

Was Commander Hicks referencing Criminal Minds, specifically "In Plain Sight" (CM S01.E04)? That was when Spencer Reid told Hondo Derek Morgan, "we're really looking for a needle in a bunch of needles (because) a needle would stick out in a haystack". Meta jokes aside, we had a middling return from the winter finale, where, once again, we had the ingredients for a good episode but we were left with a concoction that is more befuddling than satisfying. To be fair, there were some great moments, like seeing Emerson Brooks (Doubs) again, the moment at the end with Powell and Neesy, and Trey Williams' story (and Hondo eventually becoming a father figure for him), plus the old guy at the end coming through for Hondo. There also were times when the tension rang true and the pacing was great. ...but... Like a lot of episodes of late, the writers seem to just jam too much into one episode and hope it works. Maybe the show's one-too-many brushes with cancellation is catching up to the writers, because they're getting too afraid of not being able to tell the stories they want to tell, which is why they jam too many of them into one episode. As much as I like Neesy and Doubs, those stories could have been episodes of their own, as could a broader episode be made about SWAT Academy. I'm not really sure the Tan-Deacon drama is a great narrative choice, but if they were going to do something with that story, then do something with it instead of just tying it off with a few lines. ...and no, Tan and Deacon don't have to be at each other's throats...but seeing Tan navigate the Academy, Doubs' training and seeing Deacon help Tan out (because Deacon probably would in Tan's first go-around with the Academy) could have been a great story to follow. I grant we still may get that story, but it's important that we give it it's proper due and not just give it a few lines per episode. This show may still have some legs left in it, but to utilize them it needs to start having a better direction- and not run around all over the place aimlessly like they have been doing.

"Are we digging our own graves?" Is that the show's characters talking, or is it the writers talking about the show? I can't quite figure it out. Maybe it was the slow pacing. Maybe it was the fact the story went in many different directions all at once. Maybe it was all the bad CGI that was used to recreate the Chezem Valley fire. Or maybe it was Gabriella's Emmy-baiting scene in a cringeworthy performance. I don't know. I mean, I will say this episode wasn't completely a trainwreck, because there was some nice touching moments between father and daughter in Eve and her dad, the brief moment between Vince and Bode and the long overdue moment between Manny and Gabby. ...but...this episode was a real slog. Kind of like a lot of Fire Country episodes of late. Now, a word about Gabby. I did some thinking...though it's easy to blame the actress, the problem isn't really with Stephanie Arcilla. No, Arcilla is simply doing what she is told, and she's selling the heck of what she is doing. The problem is how she's being directed. See, either the writers or the directors- or both- are telling her that to perform her character properly, she needs to act like a whiny child...and Arcilla is doing that. In fact, she's going over and beyond...I mean, she's certainly noticeable, isn't she? The only thing I might say is that she's not seasoned enough as an actress to learn that there are times when you need to dial it down and not always go all out, but she'll learn that with experience. Of no doubt is that she certainly has the ability to be a great performer...the problem is the direction she's being told to project her performances. It's like Jake being the drill sergeant earlier this season. Jordan Calloway sold the performance extremely well and absolutely delivered on what the script called for him to do. Except that the script should never have gotten him to do that in the first place, because it was the wrong writing choice...but, that's not on Calloway, who can only portray the character that he's given. Why this rant? It goes back to a long recurring theme with this show in that the writers seem too content to force the characters into the narratives the writers want instead of taking what the actors and the stories give them and build from there. I'm not sure what the show would have looked like if they stuck to that principle but I sure know it would look a lot better than the mess they're left with now.

From The Futon Critic

From The Futon Critic

I could go on a rant and say "we don't have feminism in the West. We have a patriarchal, performative version of 'feminism' that pays lip service to women all while simply being a tool for powerful men to keep their power and to continually hold back women and lesser men", but I'm not sure that's appropriate for this thread. Honestly, I watch the video and think- after I cut out the obvious emotional elements- that maybe I'm some kind of an outlier. I'm not sure the "general consensus" is that Blake Lively is wrong and Justin Baldoni is right. Because I think it sure is the opposite. Look. Lively is no Hollywood neophyte, and if there's anyone who could definitely give her pointers about building and maintaining a positive image it's her husband, Ryan Reynolds. So Lively's not going to be the type to bring forth some frivolous lawsuit on some flimsy premise- there has to be very much a kernel of truth in what she is saying. Now, of course, I'll reserve full judgement until the case is finally resolved, which may not be for years yet, given how tangled a mess this lawsuit is shaping up to be. That said, I'd have to wholeheartedly disagree with this video creator's assertion that no one will believe Lively even if a court of law rules in her favour...because I will, for whatever that is worth.