Category Archives: Television

The Good Place: Off to a good-but-not-great start

I wasn’t at all sold on The Good Place based upon the previews, but it looked just weird and whimsical enough that I felt like I had to check it out anyway. I’m glad I did, because The Good Place is genuinely good, with the potential to be great if it continues to play upon its strengths and gives up on a couple of it’s more irritating quirks and doesn’t avoid delving into some of its darker themes.

Kristen Bell stars as Eleanor Shellstrop, an asshole who dies (tragicomically, of course) and is mistakenly sent to The Good Place because she shares a name with a woman who works as a lawyer rescuing inmates from death row. Hijinks ensue as Eleanor is introduced to—and promptly confesses the clerical error to—her soulmate, Chidi (William Jackson Harper), a professor of ethics who is now faced with a major ethical dilemma. Ted Danson is Michael, the neurotic architect of the theoretically-perfectly-designed afterlife town in which they find themselves residing, and Jameela Jamil and Manny Jacinto are Tahani and Jianyu, the next-door neighbors. D’Arcy Carden rounds out the main cast as Janet, a sort of magical Google whose perfect discretion seems to have her slated to be Eleanor’s sometime-accomplice as Eleanor tries to ensure that she gets to stay in The Good Place. It’s a decent cast, and Danson and Bell both do a good job of performing without overshadowing the relative newcomers they share scenes with.

The pilot episode is largely dedicated to exposition, starting with Eleanor’s death and launching right into a tour of the neighborhood, the introduction of her soulmate, and a hilariously informative orientation video that details some of the point system by which souls are judged. It’s a lot to take in, and it does at times feel a little info-dumpy, but it’s a worthwhile use of time that gets a lot of the important exposition out of the way right up front, hopefully keeping it from getting in the way of storytelling later on. It’s also very, very funny, with the exception of the running joke about Eleanor not being able to curse, which wasn’t even very funny the first time.

In addition to giving us the outlines of the show’s high concept, the pilot also introduces its big idea, which is a simple question: What does it mean to be Good? It’s obvious from the start that the show intends for us to understand goodness as something far more complex and nuanced than any numerical score can really calculate, but it remains to be seen if they’ll be able to keep examining and reexamining such a simple idea in interesting ways week after week. Eleanor’s road to redemption as she works to earn her place in paradise promises to be a rocky one, with plenty of laughs along the way, but I’m not entirely certain it merits a television series.

Secondary ideas like the concept of “soulmates” have been introduced as well, and the exploration of that idea could be fascinating. Bell and Harper have an easy, if somewhat sexless, chemistry, and it’s obvious that Eleanor stimulates Chidi on an intellectual level; I loved the scene where he is gleefully planning out a curriculum for Eleanor’s ethical education. Even more interesting is the relationship between Tahani and Jianyu, both of whom seem to be completely miserable in their assigned partnership. They’re obviously mismatched, and Tahani in particular has a sort of subdued desperation when it comes to her interactions with her soulmate that is at odds with her otherwise garrulous personality. I’d love to see that looked at in more depth, in no small part because it would rescue Tahani from being little more than a caricature of clueless philanthropic posturing.

Honestly, my biggest concern with this show is that I don’t know if the half-hour sitcom format is going to give these characters and themes the time they need to grow in the depth they’ll need to keep being interesting. There’s not a whole lot going on here, which is fine—I like a show that knows what it wants to be and sticks to it—but is twenty-ish minutes going to be enough for it to be successful? The jokes are funny, but barely enough for a half hour. However, the themes have enough potential that they could easily drive an hour-long dramedy.

Also of concern is the sheer derivativeness of every aspect of the show so far. Charitably, I could call it a mash up of a lot of beloved tropes and aesthetics. Uncharitably, I’d say it relies far too much on its similarities to other shows in order to build good will with the audience. There are shades of Dead Like Me, Pushing Daisies, and every other death-related show or movie of the last fifteen years. The kitsch of the setting is fun, but it doesn’t do enough so far to set itself apart visually from either common conceptions of heaven or bucolic television small towns like Star’s Hollow. It’s fine, if you like that sort of thing (and I do), but it’s certainly not winning any awards for originality.

Still, I’m cautiously optimistic about this show’s prospects. I don’t think we’ve got a hit on our hands, but I do think it’s going to be a few hours of fun that probably won’t make its audience think too hard (although perhaps it ought to). There are some amazing comedic moments in these first two episodes, and the capable cast seems to be having fun, which is infectious and endearing. So far, The Good Place is likeable enough for me to want to watch more, even if it doesn’t have me terribly excited.

Miscellaneous Thoughts:

  • That orientation video begs for frame-by-frame analysis.
  • I really hope the show continues to let Tahani’s rather desperate unhappiness peek out from time to time.
  • I feel like The Good Place is obviously a dystopia, and I hope that this is proven out over the next few episodes. The sort of enforced cheer of the place’s residents needs to be looked at.
  • Ted Danson kicking that dog into the sun was genuinely surprising and probably the biggest laugh of the first two episodes for me.
  • I like that Chidi is blunt with Eleanor about her terribleness, but I do worry a little that this sort of cheerily calling out of racism understates the issue. I’d like to hear what POC think about the way Eleanor’s racist behavior was handled, so if you have an opinion or have seen an opinion, let me know.

Lucifer: Everything really is coming up Lucifer in the season two opener

ep01Spoilers ahoy.

So, it looks like Lucifer has made the somewhat dubious decision to practically reboot the series in its sophomore season. Sure, a lot of things are still the same, but after a full season of working through all that Palmetto nonsense and building up to the revelation of what Chloe actually witnessed, I rather expected that the effects of all those events would be more deeply felt going into this season. Instead, that whole story seems to be being dropped in favor of exploring some of the show’s more promising elements.

Instead of picking up with dealing with the ramifications of the season one finale, “Everything’s Coming Up Lucifer” opens with Lucifer and Amenadiel well into their search for their mother and then segues straight into a completely ordinary case of the week. Even Dan’s suspension is quickly explained away as the department wanting to sweep things under the rug and move on—as clear a case of lampshading as I’ve seen in a good while. The funny thing is, I think it works. The Palmetto storyline was always as dull as it was fraught, and it was a millstone around the show’s neck all last season when there were obviously more interesting things they could have been exploring. As moderately irritating as it is when a show does something as nonsensical as just absurdly wrapping up a major storyline without actually dealing with it, this season premiere more than makes up for that in pretty much every other area by focusing on what made the first season good and showing a real (and smart) responsiveness to fan criticism.

Starting the season off with Lucifer and Amenadiel together was a wise choice, and Tom Ellis and D.B. Woodside continue to have a comfortable, believable chemistry that really helps to sell their dysfunctional family dynamic. While they’re working together in the first minutes of the episode, it soon becomes clear that their relationship is still troubled. Lucifer continues to harbor resentment towards his brother for taking sides in the fight between their parents, and Amenadiel is (probably sensibly) concerned about Lucifer’s attempts to reveal his divinity to Chloe. I always feel as if the relationship between Lucifer and Chloe is meant to be the central one of the show, but Lucifer’s relationship with his brother continues to be far more compelling, and I was happy to see it given a correspondingly larger share of screen time this week.

Chloe doesn’t have a whole lot to do this week, but that may be for the best to avoid overstuffing the episode. I’m having a hard time caring much about Chloe’s relationship with the newly-demoted Dan, and it seems Chloe is as well. She spends the episode keeping her distance from her estranged husband as she works the case of the week. More importantly, she’s also grappling with trying to figure out what to think about Lucifer. She has a sample of his blood from when he was shot, and she starts the episode threatening to have it tested so she can find out what he is. When Amenadiel offers a more ordinary explanation for Lucifer’s seemingly supernatural capabilities, Chloe doesn’t buy it, but the end of the hour sees her nonetheless throwing away the blood sample untested. Chloe’s skepticism and how she understands Lucifer was never properly explored last season, and I would love to see some real movement on that front soon, but I’m not sure if this uncharacteristic decision of Chloe’s to ignore the evidence that is available to her bodes well for that hope.

Lucifer is still in therapy, but his sessions with Dr. Linda have changed in tone. This episode finds Linda wondering if their sessions are doing any good at all, as Lucifer seems incapable of taking any responsibility for, well, anything. It’s not certain yet if Linda will ultimately carry through on her threat to break up with Lucifer, but it’s obvious that Lucifer needs to commit himself to the therapy process with a bit more seriousness if he wants to continue. In the meantime, we find out that Linda has been harboring the confused Maze for the last few days, and their friendship seems to be flourishing, though we don’t get to actually see much of it this week. This general redefinition of Linda’s role in the show can only be a positive development at this point. Her sexual relationship with Lucifer last season was too unethical and one-note to work, and it was never quite clear exactly what her place was in the broader narrative. Establishing her as a friend to Maze—who certainly could use one—and creating a more normative patient/therapist relationship with Lucifer fixes some of last season’s issues and builds a much better foundation for the character going forward. It also, along with the arrival of a new character and potential friend for Chloe, Ella, addresses one of my own biggest issues with the first season of the show—its lack of female friendships.

All in all, “Everything’s Coming Up Lucifer” is a solid season opener that shows a real commitment on the part of the show’s writers to improving the show based on common criticisms of it and by focusing on the things that were praised in season one. It’s a fresh start and shows a new confidence in the show’s success that I don’t think existed in the first season, which was inconsistently written and seemed uncertain what it wanted to be. Where this episode falters in delivering on what ought to have been the natural consequences of the season one finale, it excels at offering a new vision of a stronger show that refuses to be weighed down by past missteps.

Miscellaneous Thoughts:

  • I missed Trixie this week.
  • Best line of the episode: “My name is Lucifer Morningstar, and I LOVE DRUGS.”
  • Maze’s character development might be the most interesting thing happening on the show. I hope there is some substantial time dedicated to exploring it this season.
  • Uh oh. Amenadiel is also having some issues with his angelic powers.
  • I never get enough of Tom Ellis playing the piano and singing, but this rendition of “All Along the Watchtower” was a little overproduced.
  • That said, OF COURSE it’s “All Along the Watchtower.”
  • Ending the episode with the arrival of Lucifer’s mom (Tricia Helfer) was expected, but also perfectly executed.

The SF Bluestocking 2016 Fall Watchlist

After a summer of not watching much at all–though I did finally check out Stranger Things–I feel like September has really just crept up on me. I realized yesterday that I’d been unaware of the premiere date for Son of Zorn, one of the few new shows that I’m even moderately interested in this year, and that’s when I sat down to work out what I’m going to be watching this fall. Sadly, some of my favorite shows (notably The Expanse and iZombie) won’t be back until 2017, and the same goes for the new shows (American GodsPowerlessStar Trek: Discovery) that I’m most excited to see. So, this fall definitely is a season of slim pickings. Still there are a few things I’ll be following.

Son of Zorn
September 11 on Fox

I don’t have super high hopes for this show (in fact, I’m somewhat confused about how this one got greenlit in the first place), but it’s got several people involved in it who I really like. The pilot was watchable and moderately amusing, but it was dedicated almost entirely to basic character introductions and setting up its frankly silly premise. Tim Meadows pulls his weight, but Artemis Pebdani is the real highlight of the pilot as Zorn’s new boss, Linda. The rest of the cast is fine, and I really love Jason Sudeikis, but I’m just not sure this show is going to work. I’m here for it, though, at least for a few more episodes. I expect this one to either sink or swim quickly.

Lucifer Season 2
September 19 on Fox

Lucifer is one of my favorite problematic faves, and I’m very much looking forward to its second season. Adding Tricia Helfer to the cast can’t hurt, and D.B. Woodside and Lesley-Ann Brandt killed it last season. My biggest hope for it is that it gets some better, or at least more consistent writing instead of simply relying on Tom Ellis’s considerable (possibly infinite) charisma to save the show from mediocrity. Also, more Trixie, please.

The Good Place
September 19 on NBC

I like Kristen Bell, and the show claims to be from the same creator as Brooklyn 99 and Parks and Recreation, two of my favorite comedies in recent years. However, the trailer for this one isn’t great, and it seems like it could be taking its concept to a place that is a little more cartoonish than I normally find funny. Still, I’ll check it out for an episode or two at least.

The Exorcist
September 23 on Fox

I’m not that into horror, as a general rule, because I don’t like things that are actually scary, but I’ll watch this for Geena Davis.

MacGyver
September 23 on CBS

MacGyver is the most profoundly stupid-looking and completely inexplicable reboot of the year, and there is no universe in which I don’t check out at least a couple of episodes of this train wreck.

Luke Cage
September 30 on Netflix

Full disclosure: I still haven’t watched the last couple episodes of the first season of Daredevil, but I absolutely loved Jessica Jones, so I’m not sure when I’ll get around to watching Luke Cage. I’m not sure that I’ll like it, since I’m not really that into super heroes, and I was turned off of this show a little by an early trailer (the SDCC one maybe?) in which not a single female character was even visible. However, it’s on my list.

Ash vs. Evil Dead Season 2
October 2 on Starz

The greatest virtue of season one of Ash vs. Evil Dead may have been that it was only a half hour show, so it never overstayed its welcome. It certainly made some missteps, most notably in the treatment of its female characters, but it was nevertheless a fun watch, enough that I’ll be tuning in for a second season, anyway. I’m sure it’ll be worth watching just for the artfully spraying gore, if that’s a thing you like watching (and I do).

Westworld
October 2 on HBO

So, Westworld, is apparently a television adaptation of a 1973 film by the same title that I’ve never seen, but that some people are outraged is being rebooted because that’s how these things go. It’s HBO, so I expect it to have high production values and good writing, but I also expect it to have problematic elements and a similar tone deafness to certain issues that characterizes other HBO shows. That said, it looks good, and I’m always happy to see more serious sci-fi being made even if I do wish we could get more original content–or at least shows based on material written in this century.

Conviction
October 3 on ABC

I’m not sure the world needs another hard-living anti-hero lawyer show, but if it really must be done I guess casting Haley Atwell is a good direction to go.

Supergirl Season 2
October 10 on CW

I really liked the first season of Supergirl, but it’s a show that was bogged down time and again by poor writing. Sadly, I don’t expect this to improve with its move from CBS to the CW and the correspondingly smaller budget that comes with that. Calista Flockhart has already been downgraded to guest star, which is disappointing as Cat Grant’s relationship with Supergirl/Kara was for me one of the best parts of the show. We’ll see, though. Maybe the smaller budgets will bring a new back-to-basics mentality to the writers’ room, and we’ll see some more coherent storytelling. Melissa Benoist is an amazing Supergirl, and it would be nice to see her get the type of writing she deserves.

The Rocky Horror Picture Show: Let’s Do the Time Warp Again
October 20 on Fox

I am unabashedly excited for this.

Crazy Ex-Girlfriend Season 2
October 21 on CW

I almost never watched this show because I hated the title so much. I still hate the title, but the show itself is amazing, and I cannot wait for season two.

Gilmore Girls: A Year in the Life
November 25 on Netflix

I mean, obviously.

All the SDCC Trailers I Care About, Part Three: Television

Most years, SDCC adds a ton of new shows to my watchlist, but this year was mostly recaps of some shows I already watch (like iZombie), recaps and trailers for shows that I don’t watch (The Walking DeadGothamAgents of Shield, etc.), and just a handful of trailers for actual new shows that look good. As with the super hero stuff and movies, these trailers also have a woeful lack of women, with not a single new woman-led show being promoted, which likely accounts for my general apathy towards most of this year’s offerings. Still, there are a couple of shows coming up that I’m looking forward to, even if none of them are quite what I really want to see.

American Gods

American Gods looks amazing, you guys. Ricky Whittle is perfectly cast as Shadow, and the rest of the supporting cast is also excellent. I’m a little disappointed/concerned that there’s been no casting news for Sam Black Crow, who figures much larger in the narrative than Bilquis or Easter or the Djinn–all of whom have already been cast–but I’m hoping they’re just saving her as a surprise for when the show finally airs next year.

Star Trek: Discovery

It’s not much, but I’m glad we got something Trek-related. I’m super stoked about this show, and I can’t wait to see the new crew and have some idea of the plot. I’ve always love DS9 best of the shows, though, so I’m slightly skeptical of this being another ship series. Those always struggled with getting preachy and feeling very after-school-special-y or just with being too episodic without a strong overarching story. That said, it’s not 1995, and I have a lot of hope that this new show is going to reflect the best of some of the newer trends in TV storytelling.

Dirk Gently’s Holistic Detective Agency

Dirk Gently’s Holistic Detective Agency is among the Douglas Adams books that I haven’t ever gotten around to reading, though I am vaguely familiar with the concept of it, so this show wasn’t even on my radar before SDCC, to be honest. In a largely lackluster year for new shows, this one stands out as a quirky adaptation of a work by one of the great humorists of the genre, and it looks hugely entertaining if you enjoy madcap adventures (which I do).

The Exorcist

On the one hand, I’m not sure why anyone thought The Exorcist needed to be revisited. On the other hand, Geena Davis.

The Rocky Horror Picture Show

I am unabashedly excited for this, just like I have been about most of the recent spate of TV productions of musicals. Laverne Cox looks amazing, and Tim Curry is the Criminologist. The inclusion of the audience participation stuff seems iffy, but I like that they’re taking some chances on incorporating some different things into the production so I’ll reserve judgement on it. I’m not expecting great things from this Rocky Horror, but I think it’s going to be fun to watch once.

Lucifer Season Two

There’s not a ton of new footage here, but it’s enough to keep me interested. Season one of Lucifer was inconsistent, to say the least, but I ended up really enjoying the show overall. Tom Ellis often carries the show with just his considerable charisma and excellent good looks, but it’s enough to keep me coming back.

Sherlock Series Four

I generally prefer Elementary to Sherlock, but I’ll watch three or four more episodes of this.

The Expanse Season Two

There are no words for how thrilled I am by The Expanse. It’s the best sci-fi show since Battlestar Galactica in my opinion, and I have every reason to expect season two is going to continue the excellence that characterized the first season of the show. Now I just need them to give us a firm air date for the series so I know how long I have left to get around to reading the second book, Caliban’s War.

(Part One HERE)

(Part Two HERE)

All the SDCC Trailers I Care About, Part One: Super Heroes

As always, there are many (so many) trailers from this year’s San Diego Comic Con, and I have things to say about most of them, so I’ll be splitting this into a couple of posts to have room for commentary. First up, superhero stuff!

Marvel and Netflix released three trailers at SDCC, for upcoming shows Luke Cage and Iron Fist and a miniseries called The Defenders that will feature, Jessica Jones, Daredevil, Luke Cage and Iron Fist. I was hoping for a season two trailer for Jessica Jones, and I would even have settled for an announcement of another woman-led series, but neither of those things happened. Instead, we just got this trio of mostly-sausage fests.

Of the three, Luke Cage has been the one that I’m most excited about since I already liked Mike Colter in the role on Jessica Jones. However, a trailer with literally not a single woman in sight and the repetition of a pretty gross lyric from an Ol’ Dirty Bastard song doesn’t really inspire me to tune in. I’m sure it will be fine, but I’m starting to think it’s not going to be for me.

Finn Jones seems to have kept his disheveled Loras Tyrell look in this first look at Iron Fist. However, I’m more irritated that the first footage we get to see of the show starts with the heavily implied fridging of Danny Rand’s mom. I mean, alright, that’s one way to start a story, but it’s unoriginal as shit.

This teaser for The Defenders doesn’t actual show any footage and basically just serves to introduce the concept of the show and its planned 2017 release date. I’m guessing late 2017.

Marvel and FX have teamed up for a new super hero television show, Legion, which is about the eponymous mutant and his struggles with mental health.

I guess he’s Charles Xavier’s son or something, but I don’t know that much about X-Men and am not convinced this concept isn’t going to turn out to be extremely problematic. It’s also hard to tell what tone this show is going for. It seems like it’s trying to be funny, but it all looks so grim and monochromatic and seriousness that I couldn’t tell if it was supposed to be humorous. Maybe a couple more trailers as we get closer to the show’s early 2017 air date will convince me to turn in, but right now I’m only mildly curious about it.

Marvel also shared a new trailer for their Doctor Strange movie, which hits theaters on November 4 of this year.

Listen. Doctor Strange looks slick, and make-up and costuming and whatever that scruff is growing on Benedict Cumberbatch’s face have him looking the part, and I love the magic effects–that folding city looks rad–but I just can’t get on board with this film. It’s blatant Orientalism (something I think we’re going to see in Iron Fist as well) is just downright unpleasant to watch, even for just a couple of minutes. I don’t think I want to subject myself to two straight hours of it, even if Chiwetel Ejiofor is in it. Also, can we talk about how awful Tilda Swinton looks? That’s practically straight up yellowface, and I’m very disappointed in her.

DC and Warner Brothers didn’t have nearly so many properties to share this year, but to their credit the ones they did share were much less problematic-seeming than what Marvel had to offer. Both DC trailers, for Wonder Woman and Justice League actually have me cautiously optimistic that I may someday see a DC movie in a theater again.

I do have some mixed feelings about this Justice League trailer, but it looks a good deal less grim than some other Zack Snyder flicks, and I actually laughed a couple of times during this footage. I have thought since I heard the news that Ezra Miller was well-cast as the Flash, and I’m thrilled to see more of Jason Momoa’s Aquaman. However, I get the feeling that Wonder Woman is being demoted to sidekick status, and it’s disappointing to see that she’s the only woman in the movie (at least so far). Justice League looks marginally more fun than Snyder’s other fare, but still not great.

So, I know I’m still salty about the skeevy poster for Wonder Woman, but I just do not get the hype for this movie. Like, sure, I will probably go see it in order to support women-led films or whatever, and it looks pretty good, but there’s no way this movie is going to really deserve all the “This is the superhero movie we’ve been waiting for!” love that I see it getting in feminist-friendly corners of geekdom. The film does appear to have some incredible artistic action sequences that I’m looking forward to seeing on a big screen, though I saw at least one obvious crotch shot of Wonder Woman in the trailer that is kind of disheartening. In any case, I’m sure Wonder Woman will be okay; it may even turn out to be really good, but at this point in my life, after many years of disappointments, I’m keeping my expectations low. I’d rather be pleasantly surprised than let down once again. Also, this is the only woman-led super hero project with a trailer at this year’s con, so that’s depressing.

(Part 2 covers non-super-hero movies plus Suicide Squad HERE)

Game of Thrones Recap/Review: Season 6, Episode 10 “The Winds of Winter”

“The Winds of Winter” was fucking wild, you guys. Not good, mind you, and (like the vast majority of season six) mostly nonsensical if you think about it even a little bit, but still a wild ride from start to finish. I rather liked last week’s episode because—taken in isolation, at least—it was actually a good hour of television. This episode, however is a complete mess of weird pacing, unintentional hilarity, bizarre self-importance, and complete disrespect for the source material—we’re talking just absolutely ridiculous adaptational decisions here, folks. Add in some blatant fan service, loads of Benioff and Weiss’s peculiarly misogynistic brand of “feminism,” and an absurd amount of teleportation, and things only get worse. Unhyperbolically, it’s seriously some of the worst garbage I’ve ever seen masquerading as prestige television, and it’s absolutely clear that the show’s writers do not give a fuck anymore about the source material, audience expectations, or anything else but wrapping up this monstrosity they’ve wrought for the last six years as soon as possible.

In short, it’s Game of Thrones at its best and worst, and I loved watching it. Still, most of my reaction is just ¯\_(ツ)_/¯.

Spoilers under the cut, as always. Continue reading Game of Thrones Recap/Review: Season 6, Episode 10 “The Winds of Winter”

Game of Thrones Season 6 Predictions, Revisited

With the season finale of Game of Thrones airing tomorrow, I felt it was time to revisit my predictions for the season and see how close my pre-season six thoughts lined up to the reality of what the show delivered. I wouldn’t say I’ve been overwhelmingly right about the season, but of my seventeen numbered predictions, eleven were all or mostly correct. Which is depressing, because my predictions for the season were not very optimistic. Thank goodness I didn’t do this for every episode, I guess? I probably would have had an even higher success rate, but I don’t even want to think about how much more depressing that would have been.

In any case, let’s go through these one by one. Spoilers for the whole season so far, obviously. Continue reading Game of Thrones Season 6 Predictions, Revisited

Game of Thrones Recap/Review: Season 6, Episode 9 “The Battle of the Bastards”

This is the first episode of season six that I’ve found more enjoyable than not, and there’s really quite a lot to like about “Battle of the Bastards” from an artistic standpoint. With only two settings to worry about this week, it’s a relatively well-constructed episode, and it seems obvious where all the show’s budget went this year—the battle scenes are truly spectacular. The titular conflict in particular is well done in its grim, dark, ugly bloodbath fashion, while in Meereen we finally get some dragon action. Unfortunately, once you really think about what’s underneath the spectacle, there’s still a remarkable amount of stuff going on that doesn’t make sense, a lot of obvious contrivance, and a heavy helping of the same contempt for the show’s source material and audience that has characterized the show since at least season four. And that’s not even touching on the patronizing disrespect with which the show still treats its female characters, even as so-called critics continue to fawn over how “different” the show is this year.

In short, “Battle of the Bastards” is an episode that looks good and was enjoyable to watch with a bottle of wine in hand, but it doesn’t stand up to scrutiny as a real quality episode of television.

As always, spoilers under the cut. Continue reading Game of Thrones Recap/Review: Season 6, Episode 9 “The Battle of the Bastards”

Game of Thrones Recap/Review: Season 6, Episode 8 “No One”

So, this is a late recap/review. I usually write these up the day after each episode airs, but we ended up watching this one while camping in Huntsville, Alabama (in order to take care of final arrangements for my partner’s mother, who passed away last week) and I simply haven’t really had the time to dedicate to it before now. It hasn’t helped that “No One” is a downright boring hour of television in which not much makes sense and even less manages to be important or exciting. Most of it doesn’t even manage to be offensively bad; it’s just plain dull. Presumably this is supposed to be setup for the last couple episodes of the season, especially the stuff in King’s Landing and Meereen, but it feels much more like filler and in an already glacially paced season. At this point, I feel like every critical reviewer is one broken record of complaints about the slow pace of this season, but let’s be serious. Very little has actually happened in any of the show’s storylines, and “No One” does nothing to change that in any positive fashion.

Spoilers below the cut, obv. Continue reading Game of Thrones Recap/Review: Season 6, Episode 8 “No One”

Game of Thrones Recap/Review: Season 6, Episode 7 “The Broken Man”

I can’t decide if this is the best episode so far this season or the worst. On the one hand, “The Broken Man” is relatively well-constructed and most of its storylines are halfway coherent, which is a nice change. On the other hand, it’s incredibly boring (very little actually happens, and there’s no action to speak of) and contains some pretty horrendously offensive messaging in multiple storylines. This week, in the interest of clarity (and, with any luck, brevity) because there were so many short scenes as the show shifted between characters and locations, I’m going to just cover each storyline separately. I think this is going to be the new normal for these recaps, too, as the shift, in the first few episodes this season, towards longer sequences instead of lots of moving around in short choppy segments doesn’t seem to have stuck, in spite of the fact that it helped significantly with the show being able to convey passage of time and in general made for a more pleasant and less disjointed viewing experience.

In any case, spoilers, obviously, under the cut. Continue reading Game of Thrones Recap/Review: Season 6, Episode 7 “The Broken Man”