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djwiththejd · 7 months

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The Fall of the House of Usher (2023) Episode 1

A foreword, of sorts: If someone had told me in high school or even college that I would willingly sit down to watch a horror tv show, I would have laughed in their face. Who knew it would take my college professor Emma's teachings of Pym and my first foray into Critical Theory that I brought with me to law school to get to this point. I haven't even finished watching School Spirits yet so the depression has really taken me for a ride, but my boyfriend says I need a hobby, and I spent two and a half hours and 7 and a half pages of notes on just the first episode of this show, so I'm going to write about it because I miss writing.

If you're here from twitter, may the gods have mercy on your soul.

Now, let's move on to business. My recap of Episode 1 of The Fall of The House of Usher. There will be spoilers for the Poe stories as well as detailed commentary of the events within the episode, so obviously I'm going to put a SPOILER WARNING for whatever you read below. Also, since the first episode introduces the story and the characters, it will probably be long as heck and full of background that no one but me cares about because I'm a huge nerd. I don't care if you skim. Read at your own peril; stay tuned for danger.

Firstly, let's talk about the original short story and see if Wikipedia can help me write a good, short summary of the premise/plot of that story. From within the first two minutes of the show, I can tell that we are going to deviate wildly from the plot.

In the original short story, published in 1839, the tale is told by an unnamed narrator who has been called to the House of Usher at the behest of his childhood friend Roderick Usher who is ill and needs help. Roderick and his twin Madeline are the only living members of the Usher family left alive in their family mansion. One thing that high school teachers everywhere probably tried to teach their students is to pay attention to the narrator's notice of a thin crack that extends from the roof, down the house, and into the nearby lake. This may be important later, but for me right now, I view it as a double entendre. Spoiler alert, at the end of the original short story, both Roderick and Madeline die, leading to the "fall" of the House of Usher, in that the last two living descendants die and therefore end the family name, and also the literal "fall" of the house, the family mansion that they lived in.

I have to admit I watched the first two minutes, tweeted about it, then got so engrossed about halfway through the episode that I grabbed a legal pad and started the episode from the beginning.

Firstly, the opening starts with a countdown to New Year's 1980 before we see a quick image of a cawing raven and a creepy vision of Carla Gugino's smiling face. The episode is titled "A Midnight Dreary," a line from Poe's "The Raven," so at this point I'm confused because obviously this is a completely different short story, but I roll with it. Unfortunately, I didn't have the foresight last night to look ahead and see what the other episode titles were, because then I would have probably understood the plot a little better.

We cut now to a stained glass window in a church (hello Jesus symbolism, can't wait to ponder you later) and then the pastor seems to be giving a eulogy about three dead people. We cut to an older gentleman with a teen girl sitting behind him who seems to be remembering 6 different visions. Side note: I googled the eulogy, and it cobbles together various lines from Poe's poems as well as quotes that are ascribed to Poe. At this point I guess that the older man and older women in sunglasses are the twins, and wonder who the teen girls are behind each of them before seeing MARK MOTHERFUCKING HAMILL on the screen. Even in my notes I just write him down as Mark Hamill, or MH, which is a real shame because his character's name is Arthur Pym, which is the main character from the only "book" Poe ever wrote, and there's a lot of controversy around whether it was finished or not, but I spent several classes in undergrad analyzing that book in particular, so it has a very soft spot in my heart.

Roderick(?) turns back and sees a figure with a blacked out face in the rafters, but then the girl turns around, nobody is there. When she turns to him, she calls him Grampus, so I can assume this girl is his granddaughter and not his daughter. Then Roderick (?) says, "She's here." Not quite to his granddaughter, but mostly to himself. How cryptic. I'm sure we won't think about that until it jumps right into our faces. At this point, in hindsight I had assumed that the "very pale girl" behind Madeline was her granddaughter, but oh how wrong I was.

Outside the church, we see press all over, but the church itself was noticeably empty. Then, then, we cut to a cork board. This confirms Roderick and Madeline are who I thought I was, and also gives Mark Hamill the name of Arthur Pym. Then, I painstakingly went in and paused at nearly every second of the next scene to read the details on the children, their dates of death, and any bits of information I could get from the articles about cause of death (aka COD.) The death dates are clustered very closely together. I don't know quite yet if it goes from youngest to eldest, but I'm sure we shall find out.

Then, the big reveal. Well, to me at least. I saw that the Assistant U.S. Attorney was C. Auguste Dupin, and let me tell you I pumped my fist in the air and nearly woke up my sleeping boyfriend next to me. Why? You don't care but I'm going to tell you. Dupin was introduced in The Murders in the Rue Morgue (1841), my favorite Poe short story, and also the first ever piece of writing ever coined as "detective fiction." Yes, my absolute favorite genre of writing was created by Edgar Allan Poe, so as problematic as he may have been, I will always be grateful to him for this. Besides, the plot for Rue Morgue was so wild, I saw Dupin's name and had to pause and tweet about it. Specifically, I tweeted about hoping that one of the CODs would be strangulation by an escaped monkey. Mind you, like an idiot, I still haven't looked at the damn names of all of the episodes of the series. Since last night, I have been told to keep an eye out, so that's fun.

I can't believe I typed all of that up from the first like, three minutes of the show. I warned you this was going to be long.

Then, we pan out to the corkboard being a whole ass murder board. We love that. Still no clue who Pym is and why he's alive, but the random guy who walked into the office to talk to Dupin just said something about a Pym Reaper, so I got a chuckle out of that. There's emphasis here about "him" wanting to talk. Obviously, by process of elimination, this him is Roderick.

Dupin takes a taxi (oooh, vintage) to this location, and we see it is a dilapidated house. The "House" of Usher, methinks? I will say it definitely gives rise to the gothic vibe of terror and dread, but thankfully we're not going into Gothic architecture, that would have been a little too on the nose. The clothing I've seen is very modern and the death dates are all in November, so I genuinely thought it was set last year but it wasn't. Everything is apparently set to happen next month. In the future. How foreboding.

Roderick invites Dupin in and Dupin attempts to console Roderick for his losses, but Roderick seems much more focused on the drink in his hand. Henri IV Dudognon Heritage Cognac Grande Champagne. I googled it and apparently it is a real drink. I have to say, Roderick really doesn't seem to curry favor with Dupin when he suggests "a single pour is probably worth double your annual salary" but then he offers a glass to Dupin. This man is clearly going through something. By now, I can surmise it is the death of his family, but is this The House of Usher? Is this dilapidated building the same setting that we see in the original tale? Is Dupin now taking the place of the unnamed narrator of past?

Dupin still tries to apologize, but Roderick just seems...resigned to his fate. Also, Dupin asks where Mr. Pym is and we find out that Mark Hamill is playing a defense attorney. Amazing. Three years of law school and a JD later, and Mark Hamill, one of my favorite actors, is playing an attorney with the name of one of my most intriguing literary characters. All of my worlds have collided.

Roderick waives his right to an attorney and sits Dupin down across from him to talk. Dupin says Roderick got away with it, Roderick says no one really ever gets away with anything, not really. Dupin pushes back and says Madeline would beg to differ. Roderick says you can ask yourself, she's downstairs in the basement. At this point, I am convinced that Madeline is dead and buried, but this episode will not reveal that information to me. Trust me, I'm holding onto that theory because it is close in parallel to the original story, but I am soooo open at this point to being surprised because the actor for Roderick has sucked me in completely. Bruce Greenwood. I have painfully powerful facial recognition, so it delights me that I've never seen him in anything before so I can get sucked into his acting completely. Seriously, I just recently recognized the brother in Get Out from a single episode of Victorious because that one episode is my favorite. It can ruin my immersion sometimes.

Anyhow, back to the story. I'm rambling, but I have ADHD and I miss stream of consciousness writing so this is more for me than it is for you.

Roderick's phone vibrates, he says it is his granddaughter, Lenore. My eyeballs are rolling back into my head. We have a connection to The Raven, finally. She's not dead at present, so we shall see if she follows her namesake into the Great Beyond. Dupin tries to graciously allow Roderick to take that call and cites that "grandkids take priority" but Roderick calls him out!

He says "Don't lecture me about family values. You're just as shit in that department as I am."

At this point I am confused but I can't look away. Roderick says he wants to give his confession. Dupin whips out a recorder. November 20th, 2023. Roderick confirms we are in his childhood home. I am vibrating like a cat because I think my theory is correct, and I realize that based off of the death dates of his children, that much of this series will be told from this setting, in those chairs, and with flashbacks to important moments.

I was not prepared for the beginning of this story. In 1953, the house is warmer, more cheerful. R and M are just children, and Roderick speaks about "the woman who would shape every choice we would ever make." Their mother. Eliza. Aptly given the same name as Poe's mother. Personal secretary to the CEO of Fortunato Pharmaceuticals. The same company the Ushers own in modern times. Already I have questions about the lineage of the twins, but you know how it is.

"Not here. Not ever. We agreed." Very cryptic words, Mr. Longfellow. Madeline always hated him, she "always knew." Knew he was a liar? A terrible person? Or did she know he was their father?

Then we get into the religious phrases the mom uses. "Like Jesus, he loves from afar." "He's complicated, like God." I always find it very interesting but also very sad when the words a woman uses to justify a man's abuse is cloaked in a veil of religion. I won't go into detail on that, though. There just isn't time.

Jump to 1962. Nine years later, the twins look to be teenagers. Their studying is interrupted by a bell, and we cut to Eliza ringing a bell in bed. There is a plethora of crosses now hanging on the wall behind her, so that's...lovely. Both twins rush to her, and Eliza pushes a glass of water away. At first I thought it was rabies, but then Eliza seems to be suffering from pain in her pelvic region based off of how her actress was portraying her pain. Honestly, my theory is that she probably had an untreated STI which may have spread to other organs. Either way, her denial of medication or a doctor horrifies me. The screaming and the vitriol is a complete tone shift to who she was prior. But what I really find interesting is that Madeline, not Roderick, seems to be the brains of the pair. She is the one who coaches Roderick on what to say and how to say it to Longfellow, even though Roderick eventually messes up. There seems to be a double entendre in the way Madeline says "it's the least he can do." Because I have suspicions that Madeline knows he is their father, I keep autofilling this in my head. The shift in Mr. Longfellow's mood from humorous, almost mocking disbelief to anger and contemptuous pushback against the twins when Roderick tells him "she loves you" is enough for me. Even Madeline following up with "It's the least you could do. For her. For us." isn't necessary anymore for me to believe he is the father.

Longfellow's denial only seals the deal.

Cut to Eliza's...corpse. She didn't make it, but in trying to keep with her wishes, they tear apart the shed and build her a coffin and bury her in the backyard. Of course, because *spoiler alert* Madeline was accidentally buried alive, I had a hunch Eliza might climb out of her grave. I was proven right, and Eliza wakes up, tries to attack Roderick, but stops when Eliza calls her "Mommy" and grabs her arm. (Actress for teen Madeline is also fantastic, her look of horror was evocative as fuck. 10/10. No notes.) ELiza then walks out, goes into the gates of Longfellow's house and proceeds to choke him to death (with apparently superhuman strength) before finally collapsing next to his body.

What I *love* about this all is that when we cut back to the present, and Dupin asks about why Roderick is telling him all this, Roderick says it is because she's standing right behind Dupin! And you know what drives me nuts? SHE IS. SHE'S TOTALLY THERE AND HE DOESN'T TURN AROUND! Dupin does not see her and we see eliza walk out of the frame.

It is important to note that Roderick talks about the cleanup of that story to spare "his" family, the Usher family, of any embarrassment. He confirms that Longfellow was his father but doesn't claim him as family because Longfellow never claimed him, but it explains why he acknowledges all six of his children from five different mothers.Roderick wouldn't close the gates. Finally, we have confirmation, verbal confirmation from Roderick about who his father was.

Side note: Dupin has a husband, how progressive. I'm down for it. We love it when the elderly LGBTQ+ community is acknowledged.

Two weeks ago:

Then we switch to a trial against Fortunato Pharmaceuticals and the Usher "crime" family, according to Dupin's opening statement. As someone who did pretty damn well in both evidence and criminal law, I'm side-eyeing this opening statement. Let me tell you, law school ruins your ability to suspend disbelief for so many court things in television and movies. Also Fortunato? After The Cask of Amontillado? That's the short story I had to read in high school, and I enjoyed it enough. It does, however, tie in well if the company is also destroyed, locked away, hidden from society, whatever you want to call it to tie into the ending of Cask.

I will say this, Roderick fathered gorgeous children nonstop. Every one of these actors is stunning. I found it odd that the camera panned to Lenore and her mother(?) for a close up when Dupin talks about corruption ut when panned out Lenore is hidden from the view of the audience. At this point, I had not drawn any conclusions as to why that is. I kept fixating on "The Pale Girl," who we later find out is Juno, Roderick's newest wife. Let me tell you, that revelation was crazy because I thought she was Madeline's sole daughter who idolized Dita Von Teese and Dolores Umbridge in the worst hybridization of ways, but Ruth Codd's facial expressions are stunning. I'm visibly uncomfortable when I look at her, and that's fantastic. She's showing me so much with her body language, I can't stand how good she is. Anyhow, I love her. I will be following more of her.

Then, Dupin drops the bomb. The bomb. The thing that makes Madeline's face go from quiet amusement to concern. The statement that makes every Usher child react. There's an informant in the midst. And it is one of them.

Pym, in my opinion, correctly calls out the failure to disclose the identity of this informant. When counsel approaches the bench, this opening statement about the family witness is struck from the record, but it does what Dupin intends it to do. It rattles the whole family. Pym probably makes so much damn money off of these people.

Roderick calls a family dinner for everyone and their spouses. Then we cut to introductions of each family member. Frederick turns out to be the father of Lenore, and his wife's name is Morrie, I think? I had to check Wikipedia for this, but her name is Morella, she's a former actress and model, and now she makes hyper-realistic cakes. Freddie gives me Dan Levy vibes. He blames Perrie, who I assume is Prospero. Lenore calls out that the informant would "have to be pretty brave, I guess" and asks if the charges are true. At this point, there is a massive, MASSIVe red flag waving in my head. Is Lenore the informant? Or is she the red herring? It gets more juicy when she suggests that "if someone really broke the law, shouldn't they be punished?" The red flag...of justice? Morrie casually warns that breaking away from family rank would get you written out of the will, highlighting the difference in values between Lenore and the rest of the family.

Then we cut to Tamerlane and her husband, Bill T. Wilson. (Very cute reference to a short story Poe wrote called William Wilson.) She also says her money on the informant is "one of the bastards." All this does it solidify her and Freddie as the two children Roderick had "in wedlock." Bill suggests the informant is Freddie, and Tamerlane pushes back. She muses that it might be Perry, Bill suggests Juno, her "new stepmom." Tamerlane bristles at this, but also drops that Juno doesn't "know anything." If she really is so new to the family she doesn't know its secrets, then she's the most innocent one there and is also the only one who took the charges against the family seriously enough to not be able to hide it on her face. Tamerlane mentions Goldbug, a short story I have not read, and Tamerlane drops an important tidbit: She doesn't care about the world, she cares about what her dad thinks." I had to google who tf Blippi is for this conversation. Also, they do threesomes? Also, TEST MONKEYS?

Yep. We're going to have the true Rue Morgue murder. We are now introduced to Victorine. And her surgical partner/life partner. They have a successful surgery of some sort on a test monkey. Post-op the women are seen talking about struggling to get peer review because of nightshade. Whatever this nightshade powder Roderick sent over, it's working, but it is the same stuff that paralyzes South American tourists who get it blown in their face. Spooky. Victorine jokes about keeping away from Perry. That boy does not have anyone on his side for this. He's painted as young, immature, and apparently a date rapist so far. However, Victorine points the finger at Camille!

We jump to Leo, apparently on the phone with his boyfriend Julius. He convinces Julius to not come to the family dinner, but he finds out that Julius is on his way up while he's getting head from a woman. So Leo is a bisexual and he's a cheater. Love that about him. Has a black cat named Pluto.

We shift to Camille, apparently the HBIC of the family's PR. She tosses out orders to her drab little assistants hastily scribbling down notes. Her comment about Victorine is not unnoticed, but Camille puts aside her own feelings about her sister in order to push ahead of the PR disaster of the trial. When asked about Juno, Camille has a lot more frustration there for the massive age gap and lack of, idk, decorum about Juno? I'm intrigued as to what "Scraped her off the emergency room floor" means but I'm sure I will find out. Her main priority is sniffing out the informant, she also points to Perry but also claims she doesn't think he's clever enough to talk to the Feds without it ending up on Tiktok. Ouch. Give Perry a damn break. Or don't. He sounds awful. They all certainly seem awful. Like Tamerlane, Camille seems eager to please her father, emphasizing that she wants to be the one who finds the informant to deliver their head to her father.

Juno speaks! and she's Irish. I love that. Apparently she moderated an NA meeting once, so she's either a drug addict or a drug addict seriously affected her family. Tie-in to the Fortunato company? Possible motive? Possible mole? We shall wait and see. I love the comedy Roderick drops in about how the children have to love Juno because the only thing stronger than love is their fear of getting written out of the will.

Then the family doctor arrives with private news on Roderick should hear...My money is either terminal cancer or a slow poisoning. Either way, we don't know what's up before- Surprise! Prospero, aka Perrie shows up.

We see him pour Glenfiddich '96 and I find out he and I are the same age...He pitches a nightclub to Roderick and Madeline who magically shows up and Juno flicks off to Godzilla-knows-where. Apparently he had a full year to come up with a proposal for his first business venture and his idea for a super exclusive nightclub gets shut down mercilessly because the Ushers are about "changing the fucking world." Perrie walks away with his tail between his legs and Madeline checks in with Roderick before heading off to the dining room. She claims when the paperwork is passed out, she'll be able to tell. Apparently she can always tell when someone is...lying? We shall see.

Briefly, we see Carla Gugino put down a drink and say "For the road" which clearly freaks Roderick out because how did this strange woman show up in his mansion's bar?

Cut to dinner, Morrie presents a textbook and Starbucks and we have an Is It Cake momen to light applause from everyone. I can't quite tell if he's being sarcastic about him marrying Morrie, but Freddie moves on to suck up to Roerick by complimenting Juno.

Madeline passes out a new and improved NDA (thank you Pym for your tireless work, I hope you are paid handsomely for this) including details about forfeiture of inheritance, etc regarding being the informant and the consequences that ensue. Victorine's partner Alessandra tries to not sign it until her own lawyer looks it over but one look from the family makes her change her mind.

The siblings bicker before Madeline shuts it down, explains the importance of Fortunato and threatens the informant with certain death. I know it is meant to be serious but I admit I had a little giggle. Then Roderick says "Fifty million dollars." The twins have placed a bounty on the unknown informant's head, effectively pitting the family against each other.

In the present, Roderick laments that this was the last time he saw all of them together, and the last time he saw some of them alive. He claims responsibility for the deaths of all of his children. Even though Dupin claims that these bizarre deaths are all verified to not be linked, Roderick doubles down, and then finally brings up "a woman." Now things are getting juicy. Carla Gugino appears in a variety of lighting and with different hair, so that suggests we'll see here several times throughout the show.

We cut now to New Year's Eve, 1979 heading into 1980. The twins are dressed as Gatbsy and Daisy, I gag a little at the incestual implications even though I knew they were coming, and sit back and watch how the twins first meet the woman, now known as Verna. Apparently they enter a bar hoping for enough people to be around to provide them with an alibi. Whatever they came from at Fortunato Pharmaceuticals, they need witnesses. We see again that Madeline is the mastermind behind every plan. A conversation about resolutions with Verna ensues.

We pan to the present. Dupin talks about some other event that happens that night. Verna predicts their lives will take a complete change of course on that night. Roderick again tells Dupin that every piece of this story is important. We flash back to the funeral. Roderick sees the faceless woman in the back, but then the next time he looks back, he sees the mangled corpses of his six children. When he exits the church, he sees a creepy court jester, like a malevolent joker from the playing card, briefly waiting for him in the car. He starts, notices his nose is bleeding, and then suddenly falls backward. Madeline and Pym rush to him, but arthur stares ahead to *gasp* a raven, and he says "It's time. It's time. It's time." How mysterious.

The episode ends and I finally look ahead to all the episode names like I should have done before. Each episode is based off of a different Poe story, and probably relates to the cause of death for each character. I haven't read some of them, but I feel like I will before I start each next episode. Or I will let myself be surprised. We shall see. Anyhow, I have spent all morning typing this. If you've read this far, I salute you. I'm tired, but also satisfied.

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"The last thing my mother did in this life was kill a powerful man. And we carried that secret with us and we loved her all the more."

#edgar allan poe #the fall of the house of usher #house of usher #fall of the house of usher #tv series review #i have 3 degrees and a fondness of a problematic american author for this exact moment in my life #netflix #netflix series #television #tv show

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totalcharliespringsimp · 10 days

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K stop

The ending of young royals stop ok STOP

OMG 😭♥️

Ok my honest opinion warning slight spoiler alert

It was a good show but I don't think it deserves all the hype it got. In my opinion there was too much fighting between William and Simon like I wanted them to get together and yes they do in the end like William breaks free of the royal shackles and then confesses his feelings to Simon and they drive off.

But I actually wanted to see that relationship like it a good show but I feel like it wasn't amazing it was only so so. I genuinely don't get the hype and I would've rathered see a much Happier and less depressing show. I wanted Simon and William to have more happy moments in the show I hated how sad it was. We have enough sad queer shows and based on the hype it got I assumed it would be similar to Heartstopper where there's sad part but untimely was a good happy show.

Anyway I'm going to go cry in the corner because the end going to make me ball my eyes out :)

I feel like Young royals fans are going to give me a lot of shit for this but yeah this was what I thought. If you do like a little sadder darker queer shows I would definitely recommend and it wasn't a bad show it just wasn't what I wanted and expected from it.

But overall 6.5/10

Please also let me know if you'd want to see more of this kinda movie/TV show review kinda base because personally I have a hard time watching new shows and not just recycling old ones but this would give me a little motivation anyway that's all. Young royals fans please don't kill me when I sleep 🙏🏼😭

#young royals #film #review #queer #lgbtqia #gay #overhyped #please don't kill me 😭🙏🏼#for saying this!#tv show review #netflix

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noodlesha · 7 months

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Sex Education: Season 4 (2023) – Just some thoughts.

Over a span of four days, my housemates and I sat down to watch the final season of sex education; the show had started in 2019 (which feels like a lie, but we move I guess) and was loved by the masses. People really resonated with it as they showcased people dealing with all sorts of different complexities and natures and it was truly wonderful to see so many demographics being represented.

And while I know some of the criticism comes from the fact they favour representation over solid writing, I can understand that sometimes it’s just nice to be seen on a tv show with no ulterior motive and to be frank, this show has some great writing with certain characters. But like most TV shows, it didn’t mean it didn’t have its faults much like this season. But I think the best way to talk about this show is through its characters, which are the driving force of this TV show and it both benefits and fails from it.

The New Characters

When going into it, I was quite sceptical about the new characters, and coming out of it, I think I still am. I enjoyed the representation of ‘The Coven’ or whatever they were called, I think Aisha was written the best out of the three considering she had a broader storyline and I loved how they discussed accessibility for disabled people it was very refreshing. But coming out of the show, I don’t think I felt anything for these characters, and I found myself wishing they had Lily and Ola back.

O felt like a complete waste of a character – it felt like they made her very purposefully antagonistic, and yet when it came time to redeem her character it felt like a last-minute decision. I also think the way they handled her asexuality was very odd and felt quite forced at times, I remember during season one the writers seemed to be suggesting Otis was asexual but then didn’t push through to it, O just seemed like a rehash of that exact thing. There was clearly some stuff left out because O felt very antagonistic back at Otis, but Otis didn’t really do much towards their opposing sex clinics.

Adam (and Michael too)

This storyline became a favourite when the show ended and I didn’t think it would hit me as hard as it did. Adam’s character arc through the show has been very interesting to see, when looking back to last season I was never really a fan of Adam and Eric’s love story but that was the storyline that made me like Adam so I guess there was something to it. I also enjoyed that Adam didn’t go into sixth form and instead followed what his interests were, it’s quite cool to show there are different options rather than just sixth form, then university etc. But I loved the interesting parallels between the son and father, both were coming into their own person which was needed for both of them so they could accept one another and their heart-to-heart at the end was very sweet.

Jackson and Viv

I love the platonic bestie vibes this duo have, it’s so wholesome and I enjoy that the writers never compromised their friendship for a relationship because it’s something you don’t really see that often. I liked the storyline Jackson had surrounding the stigma of cancer in men, it was different and very unexpected but I liked that because it is scary and it weaved very well into his intrigue with his identity. One thing I was a bit confused about was Jackson’s journey with his sexuality; I feel like they slightly breached the topic but there was no clear closure for that storyline which was a big part of his character arc last season, but perhaps I missed something. With Viv, her storyline also quite surprised me; I truly didn’t expect her romance with Beau to take an abusive turn – but in retrospect it’s very interesting to see all the qualities of possessiveness and obsession that Beau had throughout the season. But either way I liked the resolutions in their ending (also loved that Aimee and Viv kind of became a duo), and I’m sad to let them go.

Ruby

One thing I really didn’t like this season was Ruby’s storyline; it was just her pining over Otis again and Otis not giving her an inch despite using her to help his campaign. It felt very backwards to me, especially seeing as Otis didn’t even thank her (more on that later because I have so much more to say on Otis); although she found her own confidence at the end and didn’t dance with him, I honestly would’ve preferred if they were just friends, but I can understand the need to have tension and drama to make things more interesting, but I was just left wanting a bit more with her character rather than her problems being purely surface.

Jean (and her sister… and her baby)

I will be honest, it was very odd to see Jean without Jakob (or Sven as my housemates and I referred to him), but truly I kind of didn’t miss him because they introduced a much more compelling duo with her younger sister. Jean’s storyline was quite interesting; to see a woman struggle with post-partum depression on-screen and not be villainised for it was very refreshing and I thought linking it with her fear of being like her own mother was very good. Her sister’s storyline was also very interesting, I liked how different they were and also that they had a very natural sisterly bond, which is something you don’t see among older women anymore in media.

Cal

I really enjoyed that we got more of a look into Cal's life because that was one reason I didn't really connect with Cal last season was because we didn't get a sense of who they are. But this was majorly broached in this season and I was glad because I really enjoyed their character. Their story was wholly centered around their identity and I thought it was very heartwarming that the school charity came together for their top surgery. Two things that I struggled with though were the fact that their attempt to take their own life was very much brushed over and the fact that their and Jackson's storylines didn't really get completed either. But overall, I really enjoyed their character.

Eric

Honestly, he and Aimee are the best characters on this show, and you can’t even change my mind. One thing I was very glad for was that they tabled the whole Eric and Adam relationship and that they recognised that someone shouldn’t be in a relationship with their bully (and because Eric can do so much better, and I say that while loving Adam as a character too). Something that surprised me but in a good way was his relationship with his religion, it’s so interesting to see because you don’t see a lot of this, especially nowadays. And it was nice to see him flourish with friends that understand him and his views on things (OTHER THAN OTIS WHO DOESN’T CARE), and his turmoil of wanting to be baptised but then realising he doesn’t need that to reaffirm his relationship with God. And Ncuti is just SO funny and charming as Eric, he’s going to be a star one day (especially since he’s been in Barbie and Doctor Who) and I genuinely can’t wait to see it.

Aimee and Issac (but mostly Aimee)

Oh god where do I start, Aimee Gibbs is genuinely one of the best TV show characters ever; she is so likable and the journey her character has gone through is amazing. When the show opens with her documenting her recovery, I was immediately struck that she was going to have a fabulous ending to her story. I loved that she was trying different things like art to express her trauma and seeing her have fun with it was just so, so human and I love when media replicates that side of humanity. One thing that was a pleasant surprise was Issac and Aimee’s relationship; now this may be a controversial take, but I was never really an Issac hater… I know, how insane. So, seeing him get fleshed out more and more was really moving; their relationship was something very different and also made so much sense. I wouldn’t have put them together, but the actors had a lot of chemistry and I enjoyed that they uplifted one another but never crossed any barriers of their own agency.

Maeve

Maeve is a very interesting character; now for another controversial take, I was never a big fan of Maeve, it’s nothing I could really pinpoint but she often seemed very abrasive. But on the flip side, I also respected that about her character, that the writers were never afraid to make her spunky and outspoken, and for her to not be punished for that either. Her storyline this season was great, it made me enjoy her character so much more than I thought I would; the way she acted around the death of her mother was so good and felt very real – and I loved how mature the ending of her, and Otis’ love story was as well. Again, I know some people may think differently but I’m glad they didn’t stay together because let’s be honest, the two wouldn’t last a week ESPECIALLY long distance. She got to focus on herself and her career in the end, which was something she wanted since the beginning of this show; and it was incredibly satisfying to see that on screen.

Otis Dickhead

My, my… you know for the literal LEAD of the show, you’d think they’d write a character that’s at the very least tolerable. Because oh my god, now I’ve never liked the way Otis’ character is written, but Jesus Christ I think we’ve hit an all-time low. One thing he does that drives me up the wall is that he never texted anyone back; like when Ruby kept asking him where he was, he didn’t even message or anything and that was before Maeve’s mum passed away, he is just so inept.

Also, the fact that he’s a so-called sex therapist yet he struggles to article his own problems with BASIC problem-solving skills actually amazes me – I admire the writers for being able to write someone SO thick in the head without going braindead themselves, I really do. Okay rant over – Otis’ storyline really felt like a backdrop to everything in the season, the only interesting thing was his and Maeve’s story and that wasn’t even his main dilemma on the season. Overall, his character is shit and I’m so glad I never have to see his face again (sorry Asa Butterfield, love you!).

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herigo · 6 months

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shitapril · 9 days

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just finished watching "Derry Girls" and i truly cannot remember the last time that i enjoyed a show to this extent.

for a little bit of context, a dash of a synopsis and mostly really something that i can come back to later on, here's what i have to say :

Derry Girls is primarily a teen drama revolving around a group of friends that live in Londonderry, and the lives that they lead amidst the Troubles, a period of great political unrest in Ireland. it wonderfully encapsulates the antics and theatrics that come with adolescence, grossly exaggerates the irish in a way that only makes you more fond of them, and above all still manages to skillfully, sensitively and graciously weave the story of Ireland's hard-fought and bittersweet resolutions of the late 90s into a heartwarming tale of many a lives that otherwise stay nestled in the classes of the economy that are often forgotten.

for a netflix show, the writing and picturisation was commendable. characters had defining quirks and storylines, but without flanderization - a trait netflix teen characters often seem to have. they're humane, they have depth. many a times they're ridiculous and they will very rapidly etch a place close to your heart.

i'm not entirely sure how accurate it is historically, and i'm curious to hear what irish people think about this show and if i'm merely blindsided by the dry humour and the pomp of the 90s, but i for one thoroughly enjoyed it and would recommend watching it for a giggle and some warmth and a little dive back in time.

#derry girls #erin quinn #orla mccool #michelle mallon #james maguire #clare devlin #netflix #netflix shows #tv shows #tv series #review #entertainment #film review #movie review #tv show review #tv show recommendations #ireland #irish history

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ihasafandom · 7 months

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Only a few episodes in, but

Things about the One Piece Live action that I am annoyed/upset with so far:

Usopp has a short nose: absolutely unforgiveable unless it was deemed racist somehow, but to me it seems more so to NOT include it, as it's implying that long noses are bad, so what the freaking heck.

Usopp does not act cowardly: my dudes, that's two of his main defining features you just erased for no reason. If he isn't scared of everything, there's no room to move up. There's no space to show how brave he is for overcoming, that courage is not the absence of fear but action in spite of it. You made him bland and that's not cool.

IMO a good casting for Zoro should be rougher and thicker than the others. He's not so much in the start of the manga, but it becomes clearer as time goes on - square jaw, default frown, big muscles. I guess they could be leaving room for him to develop into it, but that's only if they're planning longterm and depends so much on how the actor matures if so. Hoping that as he does he also gets a bit more expression happening in his acting.

Child!Luffy has a different accent than teen!Luffy? Jarring

That devil fruit did not look a bit like a fruit. Not before he started eating, and CERTAINLY not during when it obviously turned to mush.

If you're gonna change things, could you at least have gotten rid of the fat joke at Alvida's expense? Bad enough what happens to her later down the line in the plot.

Things about the LA that I liked:

Dang, they did good aesthetic-wise. Interesting choice to make it grittier, but they hit a nice sweet spot that let the colour and life from the anime pop against the grit so it doesn't feel overdone or boring.

And like, the hair? Wow, good job making it look believable and natural that everyone's going around with rainbow hair.

🙏Thank you for toning down the screaming. Koby is so much more bearable.

Garp's casting is pretty good, and the change in the pacing with him and Koby as the B-plot plays well on a shorter timeline like this is gonna get. Since IIRC we don't get anything about them for ages in the manga & anime.

BUGGY WAS AMAZING! How did you turn this two-bit clown into such a compelling and dramatic threat!? Buggy is a better Joker than the Joker. I was SOLD. And again, the aesthetics?? That nose was perfect!

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bestreviewguy · 1 month

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Blue Eye Samurai is a masterpiece! Not only does the Netflix show excel in storytelling, but the animation, characters and ESPECIALLY the action scenes are truly mind blowing. The story revolves around a samurai who wishes to stop the reign of an Irish tyrant whom is using guns to overthrow the country. (Keeping it light on spoilers) However, this is not only the conflict in the show. There is also a very interesting dynamic between the main character and an antagonist who wants to get revenge for dishonoring him as our protagonist is the one to blame in his eyes. This adds depth to the show as their relationship isn’t a typical revenge plot and more of an enemy turned friends dynamic. The best thing about this show is the action scenes. Blended with a stylish animation, the VERY violent and mature tone compliments the sword fighting perfectly. My personal favorite is episode 6 but to be quite honest, each episode just one-ups the last. Another thing that’s done excellent is the characters. Each one is different and not a single one is wasted. This show is truly a treat that you have to check out if you have Netflix, love samurai’s, or just need something good to watch. I’m gonna give Blue Eye Samurai a 10 out of 10.

10/10

+ Great cast of characters.

+ Engaging mature story.

+ Fantastic action scenes.

+ Not a single bad episode.

+ Unique animation style and beautiful graphics.

#film #film review #netflix #blue eye samurai #samurai #sword #katana #ninja #season one #show review #netflix series #tv #tv shows

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agentnico · 2 months

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The Gentlemen - season 1 (2024) review

Alright, alright, alright….. wait, McConaughey is not in this one? Oh, well that’s not alright, alright, alright…

Plot: When aristocratic Eddie inherits the family estate, he discovers that it's home to an enormous weed empire, and its proprietors aren't going anywhere.

Guy Ritchie is honestly great. Since way back when he made Lock, Stock and Snatch, he’s consistently churned out top quality entertainment, except maybe the Aladdin remake. I mean I totally get he probably got a superb pay check out of it, but honestly what in the heavens did Guy Ritchie have to do with blue genies I will never know. Regardless, where the man really excels at is when it comes to the British gangster genre. The guy can make swearing sound so poetic and melodic - it’s honestly mad how something so otherwise rude can come off utterly beautiful and delightful like a song. Especially in his 2019 film The Gentlemen, the writing in that movie was so good!! Naturally Netflix caught onto this too as we now how a spin-off series.

Going into the show I was looking forward to it but also cautious, as I was aware this new show was missing the star power of the original film. I mean can you blame me? The movie had the likes of Matthew McConaughey, Charlie Hunnam, Colin Farrell and Hugh Grant to name a few. That’s a solid load of A-listers huddled together. As for the show, the names like Theo James or Kaya Scodelario didn’t instil heavy excitement, especially with James as honestly, I always thought he was a bit of a prick. Granted this may be due to when he played the dickhead in The Inbetweeners movie, and gosh do I feel old with that reference, but he just has that face of a guy that’s so full up his own arse. Again, I’ve never met the chap, he’s probably a lovely human being, but I’ve made this prejudgment in my head and as such when I found out he was the lead of this series I naturally rolled my eyes. That being said I give Netflix props as they hired the original film director Guy Ritchie to create this spin-off and even direct some of the episodes and do a lot of the writing, so of course I was going to check this show out.

Never doubt the Guy should be a new cinematic rule. I’m proud to report that the new The Gentlemen series is a fantastic watch. It’s not the most original show, yet it plays out more-so like a Guy Ritchie’s greatest hits, as it’s got his visual flare and style, with the super cool and smooth fashion choices - honestly Scodelario has a wardrobe change every other scene and each time it felt like she was walking out of a Tom Ford fashion exhibit, and then also all the men wearing their gentlemanly suits dripping with swagger and smoking their cigars and drinking their whiskeys - the whole thing is simply infused with that signature upper-class British gangster feel. Ritchie’s signature syllable-heavy dialogue that just rolls of the tongue is also more than ever present here, and whoever decided to cast Giancarlo Esposito in this show deserves a pay rise, as Esposito’s soft-spoken melodic tone proclaiming the colourful lines of Ritchie’s rich exposition was music to the ears.

The cast here too are super game. Theo James was actually solid as the lead young duke, as he had that manly prowess and was very believable as someone who gets shit done. Kaya Scodelario I thought at first was trying too hard to mimic Michelle Dockery from the original movie, but eventually she made the role her own, and she gave enough mystery to her performance to make us feel uncertain of her true motivations. Daniel Ings as the duke loser-cocaine-addicted-brother Freddy was a lot of fun, however I would say his character became a bit overbearing and annoying in the end, as he constantly made so many mistakes throughout that I honestly kind of wanted him to get killed. It’s as if whenever the show needed an excuse for something bad to happen, they’d just get Freddy to fuck up again. Apologies for my language, I don’t usually swear in my reviews, but also this is a Guy Ritchie project we’re talking about, and he uses the F word every other sentence. So fuck it. In regards to other notable cast members, Pearce Quigley as Gospel John, a leader of a religious gang was oddly creepy yet entertaining, especially when he’d randomly scream certain lines for absolutely no reason. Pure psycho. Peter Serafinowicz and Guz Khan have amusing turns. Lastly we have two British gangster alumni Vinnie Jones and Ray Winstone. These two of course were on a different level to everyone else. Of course Vinnie Jones can be quite cheesy when it comes to acting. One can fondly remember his delivery of the line “I’m the Juggernaut, bitch!”. But when it comes to Guy Ritchie, Jones and him have always been a great pairing. Here as the duke estates’ caretaker, Vinnie is super reserved yet again super cool. I think cool is a word that can be used and abused when it comes to this show. It’s all so cool! Then Ray Winstone as the leader of the crime family… I mean it’s Ray Winstone as the leader of the crime family! He got that Godfather-level gravitas, only more Cockney, and it was great watching him do his thing.

When it comes to the story, this show is standalone to the original film. You can definitely see the inspiration though with certain narrative beats and story choices being very reflective/similar to what occurred in the film, and then the hidden weed farm under the estate looked like exactly the same set as from the film. But overall this is completely its own thing, and each episode brings more fun crime shenanigans for the characters to deal and navigate through, and it was consistently entertaining. My only complaint is that I’d say the finale a tad anti-climactic. I think with all the roughness and toughness that the characters go through, the ending tied everything up a bit too conveniently and neatly. I get I’m not to expect the most realistic thing as this is Guy Ritchie’s world, but I did want things to get a bit more messy, especially due to the build up. That being said this is a major win for Netflix, and I’m expecting a season 2 to be green-lit soon, as this is a winning package.

Overall score: 7/10

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