Thank you, True Blood, for finally limping off the air after seven seasons, and thank you for doing it in quite possibly the worst way possible. Seriously, what is this? Does this show enjoy making its audience lower expectations so far that we can see the pile of shit that is the Dexter finale staring accusingly at us? Are the writers deliberately trolling the entire fan base, or are they legitimately horrible writers? I pick the latter. I have multiple seasons of evidence, after all.
“A man said to the universe, ‘Sir, I exist'”.
“However,” the universe replied, “that fact has not created in me a sense of obligation.”
“The Garveys at Their Best” makes its point known from the irony inherent in the title. Prior to the Sudden Departure, the Garveys were already a broken family, a group of people apparently fine from the outside but straining when you looked closer, and what resulted from October 14th was an extension off of what already existed. That, fittingly, is why people throughout this episode seem to sense that something terrible is about to happen.
Society giving me a thumbs-up ^^
Thanks, everyone. You know who you are. It’s been a blast this past year, from the very first review–Orange Is the New Black Season 1–to the last, and I’ve certainly grown as a writer and as a thinker over these last 365 days and 425 posts. The fact that I have more posts than days in a year is a reflection of me having too much time on my hands, and the amount of spam comments I’ve had filtered out–a lot–ensures that the Internet is working perfectly.
Finales are supposed to provide endings. Court cases are supposed to go one way or the other. When we leave, we’re supposed to start a new life and close off our old one. However, life simply doesn’t work like that; it’s a constant barrage of revolving doors, of perceived endings and desired outcomes backfiring on you. It’s not to say that you should have a cynical worldview, but rather that you shouldn’t be surprised when an outlined resolution of yours ends up holding no weight. This is what happens to the characters in “Unhinged”, the season’s moving finale about the difficulty of moving forward.
“Sometimes I think it wouldn’t be so bad for it to be over.”
Fausto Galvan is the most important player in the show right now, but he’s the one most removed from the action; he’s still in that speedboat warehouse, suddenly overcome with a desire to see Norway and seemingly at his most vulnerable. Perhaps that’s a comment on the endless cycle of violence here and what happens when you cease participation for a while: you’re left with yourself and your past to mull over, and that cycle never relinquishes its grasp on your psyche. The violence is what keeps him going because it’s what he knows.
The final two episodes of season 4 of Friday Night Lights work in tandem to tell the stories of people who fall, people who feel the walls closing in around them and the world out to get them, people who go through a hell of a lot, but are able to find something to hold onto at the end of it all.
While you’re in front of the camera, you tend to want to put on a show, but the brilliance of Nathan Fielder is his ability to turn that ‘show’ into a genuine look at human nature, one that’s awkward without being intrusive and funny without being mean. At certain points, the situations go a bit too far–that one girl tonight is on the verge of tears–but at the end of it all, he always pulls back and allows things to progress on their own. That’s where the comedy comes from.
Episode 4: “The Wrath of Con”
Well, this episode is fun. The last two cases were good, but nothing special; here, we see Veronica’s resourcefulness and creativity and intelligence at its highest level as she outsmarts everyone she comes across. It’s an episode about disguises, literal and figurative, and the former comes into play with the case: Keith the DEA agent, Wallace the math genius, Veronica the schoolgirl (Kristen Bell, you are killing me here). They make a great team.
“Purpose.”
It’s becoming clearer and clearer how influential the Guilty Remnant is, how it’s able to pull in those–Meg, Jill–who have every reason to be pissed off at its members. We see that the GR doesn’t necessarily go out and bring these people in; rather, they find their own ways, their paths winding through meaningless and depression and loss before they converge at the same front door.
EPISODE 2: “Credit Where Credit’s Due”
Ha ha ha, Paris Hilton, you waste of space. You make that one Neptune High extra in the background look like Amy Adams.
Anyway, the episode in general is certainly a step down from the pilot, as most second episodes are. However, it’s an episode that begins to delve into the class structure in Neptune: you have 09ers like Troy, Weevil’s guys, and ‘undesirables’, and the show seems intent on playing with your expectations as it explores these characters. We continue with Weevil, for example, in the way the pilot handled him: he fits a stereotype when you look at him from the outside–which is what most people in that society do when they slap the label on him–but when you know him as Veronica does, you see that he values honor and respect.
Polar Bears Watch TV 