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SourK

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  1. LMFAO. They get Cheryl's mom out of the wall and ask her why she was tormenting Cheryl, and the reason is "I saw you living with your brother's corpse, and I wanted that life for me!!" And then they leave her in the gross sex bunker because it's worse than death. I also enjoyed that twist, and how the explanation was more mundane and depressing than whatever conspiracy Jughead was imagining. Also, I know it's not cool to take advantage of a teenager and buy their intellectual property rights, free Taylor Swift, etc, but I feel like $5000 wasn't a bad price for a book two generations ago. My bigger concern is that I'm 99% sure Jughead didn't bother reading the contract before he signed it, and there's going to be some weird clause that comes back to bite him later. Obviously, I don't think Jughead is dead, but I admit that this is the first flash-forward that's throwing me off, because it seems like such a weird detail for the four of them to be alone and somehow pretending that Betty killed Jughead. I don't get how it all fits together. The only thing I can think is that maybe Betty went Dark!Betty (ugh) to defend Jughead from whoever actually tried to kill him and she doesn't remember, so she and everyone else mistakenly believes that she attacked Jughead... but it still doesn't add up. I'm completely sure that I'll hate whatever the solution to this mystery is, but it is indeed very mysterious. (Also I was legitimately scared of her when she smashed that mirror and went to bed like it was no big deal). Oh, yeah -- I was also legitimately scared of Evelyn when she said "Tangerine" three times in the visitor's room. This was a spooky episode. At first, I was going to complain that Alice should have known she was getting a call from prison, because the phone system announces it when people call out. But then I was like, "They probably get calls from prison because of serial killer dad, so maybe they don't really think about it anymore." What I find more remarkable about Shankshaw is that prisoners feel free to confess their newest crimes in the visiting area. And that they always do it immediately, as soon as someone asks. If only all interrogations took place in that room...
  2. Aw, it's not a genre show without Gina Torres. I'm always so stoked when she shows up. I kind of wished that they had leaned into the absurd fourth-wall-breaking nature of the psychotherapy sessions more but, depending how this murder mystery turns out, I guess I'll suspend judgement. I think that might be absurd and fourth-wall-breaking enough. I'm learning that KJ Apa is one of those actors who gives it his all no matter what kind of show he's on or what kind of material he's getting, and I respect that. I hope I get to see him in lots of other stuff after this. I thought for sure she was the video stalker and posing as a therapist was her way of taking the next step closer and invading people's lives. 1) You're a better person than me. 2) The Veronica thing bothered me a little, because the therapist's advice was "Go to Harvard but also alienate your dad so he won't pay for you to go to Harvard." I know it's not as sexy and scandalous as an Oedipus complex, but there are real, material reasons why teenagers don't want to get disowned by their parents and not having money to pay for stuff is one of them. In Veronica's case, yes, she's locked into this struggle with her dad where she flatly refuses advice to walk away and instead leans into making her entire life about him (and his recently important rum business that we've never heard about before this season). But also you're asking someone who grew up expecting to be rich to suddenly choose being poor. That isn't such an easy thing. Maybe because that's what she did to Toni when the doll was first introduced? I thought it was a nice detail that Cheryl knew what gaslighting was right away as well as the movie it comes from, and that they didn't re-explain it to the audience. That whole plot point seemed insane. And also pointless when there are so many other things for them to argue about.
  3. LMFAO "If Hiram can be the mayor and a kingpin, why can't I be the sheriff and a Serpent?" Also LMFAO at Alice having dinner with FP, Hermione, and Hiram and "joking" that they're all terrible parents while they smile awkwardly. That's some fan service, right there. I can't deal with the Cheryl plotline, though. I'm okay with her being bananas and playing a super macabre prank on someone, but I'd like it to be a prank that's actually smart. All she did was give her relatives everything they need to blow up her life. Also not loving the thing where a teenage girl accuses her teacher of statutory rape and the message is that we shouldn't believe her.
  4. My favourite part was when Jughead's teacher saw the monster from Bird Box and violently flung himself out the window. My second favourite part was being told (reminded?) that Betty's fake, evil brothers are boning, because of course they are. My least favourite part was that Toni's still in this relationship, even when there's a corpse in the house and she has to help her girlfriend imprison a haunted doll instead of going to school. I guess she doesn't have anywhere else to go? I'm 100% against trying to declare women crazy so you can steal their stuff, but I also feel like maybe Cheryl does need a psychiatrist. Word. I also don't see who it helps to expose whatever plagiarism happened. Like, it's premature to be that confrontational when all you have is a story written under a pen name and no other details about something that happened decades ago (and when your argument is "the tone is really similar" WTF) -- but also, if the school's funding is built on this, Jughead's grandfather isn't in the picture anymore, and this other dude did write 4/5 books himself, the point of exposing him now is... what? Who benefits from it? I find it hard to buy into this as a moral truth-telling crusade when we don't even know what happened.
  5. I loved that that random kid was trying to explain to him that six months is a short amount of time and he can't just count on someone who doesn't have a longer plan than that. His choices for a role model right now are: "kind but dumb," "mean but stable," and "Mad Dog doesn't get any lines." I love how Charles tried to comfort her by saying, "I have the genes too, and I'm not a bad person," and her takeaway message was, "Charles is a serial killer, too." I don't love that this show is trying to tell people that your genes can give you "dark urges" that drive you to crime. That's kind of... not how genes work and not how crime works. I like to think Jughead gave him stage directions like, "Just pretend you don't care, and then everyone will buy it." Or he could have said "I am the bat man," or something, 'cause he hits stuff with his bat. But, seriously, I thought it was funny that FP told him to reach out to the community and make friends, and his response was to threaten everyone. Yeah, I think it's a Tiffany Trump joke but, knowing this show, I'm not sure.
  6. YMMV. I'm not trying to stump for the Obviously Evil principal, who will probably turn out to be a crime lord or something, but I do think that a principal whose attitude is "you eff with me, I eff with you" can earn respect from certain types of students. And I don't honestly think that's the wrong approach in every case, especially when the alternatives on offer are "I call the police" or "I expel you so you can't graduate." Blithely wrecking someone's life is a lot worse to me than wrecking their car, and I've seen a lot of administrators who seem creepily eager to do the first thing.
  7. I think the thing I'd like most is for Riverdale to choose a tone and stick with it. Even within individual episodes. Even within individual scenes. Like, the scene were Veronica hears the news broadcast telling her the trucker is a serial killer -- was that supposed to be funny or scary? The radio broadcast seemed satirical, like I was supposed to laugh at it, but then his facial expression was really threatening and she dropped all her dishes and ran away like she was seriously afraid, so... This is a good point. In the universe Riverdale takes place in, Archie could turn his house into a foster home or something. At this point, there's a pattern where Archie's soltion to everything is violence, and the show isn't really acknowledging that that could be a problem. I actually thought at first that she was volunteering her friend to make costumes for the kids, because some of them probably can't afford to buy costumes and stuff. But, of course, this was just the latest game of dress-up with her boyfriend. I think it's kind of an icky dynamic but I guess at this point it's in character for them -- she likes bossing people and he likes being bossed, so she manages the aesthetics of whatever he's trying to do. I think it could be funny if Betty just keeps getting new brothers named Charles and they all turn out to be creeps. The corpse thing might be the moment the show jumped the shark for me. It goes back to what I said about tone -- if the whole show were purely satire or consistently taking place in a hyper-reality where weird shit like this always happened, I'd be okay with it. But I'm being asked to accept that they've just been hanging out with a dead body for the past few weeks at the same time as I'm being asked to accept that Reggie has an actual, real world issue with his abusive dad. It feels strange. I 100% believe he's being set up to be evil somehow because that's what happens to every new character on this show, but I think it would be interesting if he were just some tough love principal who got sent to Riverdale because he's good at relating to troubled youth, and this was a case of him sincerely trying to connect with Reggie by holding him accountable for his actions in a super hardcore way that doesn't jeopardize his ability to graduate or go to college. I'm not saying I think smashing someone's car windows is okay -- just wouldn't it be an interesting curveball for this show if the principal didn't turn out to be evil? (Knowing he's 100% going to turn out evil).
  8. My favourite part was when Betty stole a beret to complete her disguise. Even though she and her mom are famous enemies of the cult and everyone would have recognized them anyway -- it was a good look. Also, I guess Jason and Cheryl were part of triplets and maybe that explains some stuff? Unsure whether triplet three is dead in the basement or alive somewhere, because I'm not super paying attention. My least favourite part is that everyone keeps doing wacky things that don't make sense. Like, I'd be down for the wacky things if they had some kind of internal logic, but, here, people are making choices that seem unrelated to whatever they just learned. Archie doesn't want to go beat up the arcade guys, then his mom tells him she'll pay for him to go to college, then he does beat up the arcade guys WHAT. In the scene with Polly, they acted like she was a suicide bomber, then they acted like she was strapped to a bomb she didn't want to be attached to -- pick one. Also, Charles said the Governor was sending mercenaries in. WTF. I'm not American, but I feel like that's not normal.
  9. I think it would be really funny if the asshole principal turned out to be the voice of reason, and they all just kept shaking their fists in his face anyway.
  10. LMFAO. Veronica holds a press conference in her secret, illegal bar and starts by making everybody watch her sing show tunes. I've missed this. Also, I love how the search party looking for Jughead was making as much noise as possible and not giving him any opportunity to respond when they yelled his name. There's something beautiful about watching the whole town just tromp through the woods while their enthusiasm to get involved stops them from accomplishing their goal. Yeah... I feel like this show might not understand how abuse works. Unless Reggie's dad suddenly escalates in a future episode... but the vibe I got is that we're supposed to think that hitting his car with a bat solved the problem. I don't get why so many TV shows seem to believe that writing one story/essay/poem/song will suddenly open all the important doors. I think this is an interesting path for Jughead, but there was part of me that found it annoying that he barely even did anything and suddenly he has headhunters beating down his door to give him opportunities. I'm glad his school is probably evil.
  11. TKTK During that long, long moment, I thought "Then, she got an idea. An awful idea. The Grinch got a wonderful, awful idea!" I don't particularly like this thing where June's a dark, gritty antihero or whatever, but, more importantly, I don't understand the logic of this decision. They just had to keep her from talking to anyone for a few more days. And June told JANINE their plan. Which is just as bad as letting Ms. Lawrence know, plus the part where she can't monitor Janine. I agree with previous posters who said it seems like the Americans are honoring their agreement with Serena, which is the smart thing to do, and the ethical thing to do. Also, because there were stills last week that made it seem like Luke was there for the arrest, and then we didn't see him, I think it's possible we're missing a scene where someone got Luke to agree to this arrangement so that they could get Fred. But it's an interesting point -- I'm not sure Luke could be compelled to bring the baby there against his will. I think it's possible to argue that one of the levers Gilead has to control the Handmaids is that it's holding their children hostage. That's something that's been used against June more than once, and the reason she ultimately didn't leave last season. So, you could say that, if the Handmaids knew their kids were safe, they might be more willing to resist, and also that they might not be willing to leave while their kids are still hostages. Based on the angry, sad way they were looking at each other, they'd be good candidates for marriage on this show, but I think the laws of Gilead say that June can't be anyone's wife because she's a sinner or whatever. However, I think it's a good point that, with his wife dead. Lawrence has a lot less reason to leave the country, even if he still goes through with the plan to send the kids. He might end up staying behind with some kind of other agenda. I didn't think of that, but if Lawrence purposely helped her OD, that would explain a lot about the way he was looking at June, and the dialogue where they both said they should have looked in on her -- we know June's lying; maybe he is, too. I'm not sure he'd do that to his wife, though. We keep getting told that he really, really loves her. That's also what I thought, but there was that one line of dialogue where Serena was worried that Fred would be extradited to somewhere where he could be executed, which suggests to me that he might not be in US custody. I think they said something last episode about him being tried by the international criminal court, or a war crimes tribunal or something, and I have no idea how that works.
  12. You guys, it's tradition that every season of The 100 ends with a total blood bath where everything goes wrong and half of the characters die and the thing everyone was fighting over gets destroyed. This year the power of love defeats two of the villains and everyone lives. I hate it. Also, this thread is the first place I learned that Clarke and Bellamy are married in real life. Does anyone else remember that one season of Angel where Angel's baby went through a portal and came back as a teenager and stole his girlfriend? That reminds me, when he listed them, he said that if things failed at Alpha site, they'd go to "beta then gamma then delta." Why did gamma get promoted over delta? That's the mystery I want solved.
  13. I feel zero tension about anything that happens to June because I know she can't get hurt anymore, but I more or less liked this episode anyway. And, as others have said, I LOVED the music. Aside from the Kate Bush song, my favourite part was the score in the scene where Fred and Serena are lying in their separate beds. It was creepy and surreal and kind of sad and captured the mood really well, given the betrayal going on. I also thought it was really funny that Lawrence got trapped in his own depressing version of Collateral, where he had to drive June around and wait in the car while she killed people. Somebody made a comment this episode -- maybe Lawrence -- that June always stays calm no matter what happens and I was like, "No. She makes the same expression no matter what happens, but then she goes berserk." I think they missed an opportunity to have her take him out in a premeditated way because she knew he was going to tell on them. Or to rearrange the situation so that she and Lawrence killed him together and became partners in crime more than they already are. Instead, they framed it more like self-defense, and had her use an improbable, improvised weapon that she grabs in the moment, and it didn't quite work for me. Same. Serena is one of my favourite characters, and not because I think she's a good person. I just think she's in an interesting position, because she's both a victim and a perpetrator, which makes things a lot more complicated. To me, that reads as "Let's force them into a standoff and make them kill us" which is what people do when they don't want to be arrested.
  14. Not understanding WTF's happening as I watch the show really hurts my enjoyment of the show. I was confused about Murphy and Emori's deal (thanks for explaining; I loved their outfits, too), but also why the colony people recognized Gabriel on sight when no one knew he changed bodies, and how Abby's injection would change her bone marrow right away. Speaking of Abby -- I guess she made seven magic prime-making injections since she gave Russell six and used one on herself, but then he decided she should be a host anyway (why?!)... which means there's one left over? I love how, all season long, everyone's been like, "Remember Monty (not Harper). Be more like Monty. Honour his sacrifice and live the way he'd want us all to live!" and meanwhile no one's seen his kid since this started and they don't even remember he exists. That's why he's dead, yo.
  15. That scene stood out to me, too, mostly because I knew it would bug the forums. 🙂 In all seriousness, it feels like a little bit of lazy directing when that happens -- basically, the show is anticipating that the other actors are going to approach Elizabeth Moss in the scene, so she's already looking up when they do, and nobody thinks about the world building and relationships. That said, part of me likes the idea that, the longer this particular group of people keeps interacting with each other (June, the Waterfords, Aunt Lydia), the more familiar they get, and the more the boundaries around their interactions get blurred. For example, I kind of like that moment where they see the doctors in the hall, and June goes, "Aunt Lydia?" as if, for a moment, she actually expected Lydia to have her interests in mind and protect her -- much like I liked how June and Serena used to get confused about whether they were friends or not. But I wish the show were dramatizing that kind of thing more deliberately rather than having the characters act random.
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