Kara calls Lena her best friend and nothing is ever her fault and she berates James. Kara, stop lying. Alex annoys and fawns over Ruby, you’re not her mother! Mon-El is fawned over by Kara, everyone forgets Imra’s existence. James keeps his Guadian suit in a Catco elevator? A cult bothers people. Mon-El is a pernicious influence on the show. Kara’s lies are a cause of difficulty but she won’t stop lying even in the face of Lena’s withering distain.
James’ helmet flies off as he is being Guardian and the cops show up. Lena is done with the forced ideology of self-elected moral arbiters. Alex makes J’onn’s problems all about her. Will Mon-El take off his dumbass pimp suit? Winn is useless. Lena speaks to Supergirl with magnificent candour.
Supergirl babytalks and thinks she has serious morals. There is bad acting. The cult threatens to dox James. Kara and smarmy bastard Mon-El are behaving like trailer trash. Kara tries to force camaraderie with Lena as Alex does the same to Ruby. Mon-El urges Kara to lie to Lena. Kara calls Mon-El smart and tactical. James and Ruby have to fawn over Kara and Alex. TPTB have no moral imagination.
Kara’s passive complicity in the end of Mon-El’s marriage is ignored. Reign does cold observing. Kara has an unshakable delusion that Mon-El is a good man and that she loves him. This is not emotionally charged. Reign does grim assessing. When will Mon-El meet his reckoning? There is no moral arc. J’onn fawns over Mon-El and there are shoehorned topical resonances. I found this dull.
“Nothing will come of nothing. Speak again.”
“Therefore be gone.”
“I’ll not endure it.”
“By day and night he wrongs me.”
“His countenance likes me not.”
Norman rants about his National Insurance Card and his awful wife is awful. This was not sweetly melancholic. Thorpe has disinhibition about planning retaliatory action. One feels waning interest in this. Norman’s awful wife and child clear off. Norman gets over it soon enough. Thorpe does fierce delivery. Norman spirals into despair. Sordid deeds are planned. This ep was not immensely satisfying.
There are causal cruelties and this was done in obvious questionable taste. There are dubious morals and Thorpe is very unpleasant and has malevolent distain. Myles prances around behind a thick rind of makeup and woollen socks. There is no grim reality and there is not much joy as women are disposable and Thorpe claims to protect public morals.
Thorpe continues to deliberately plan Norman’s death even as he is wildly successful and Norman is disconsolate, harangued, alienated and demonised. Thorpe is inherently cruel and icily polite as he does moral posturing. Thorpe has absolute unwavering determination to see Norman, and his desperate fragility who is really unthreatening, dead.
Norman wants to be heard, understood and vindicated. Thorpe has murderous intent and lives in a poisonous atmosphere where people follow his whims. Thorpe’s MP nemesis was Ian Brady’s defence barrister? Thorpe’s terrifying cruelty leads to a cataclysmic response. Thorpe’s stubborn pride leads to looming disaster. Norman’s uncouth antics go on.
One can’t bestir oneself to care. The years long conspiracy to murder is morally indefensible. In the 1970s Thorpe has been widowed, has remarried and messes up a chance to be in coalition government. There are bad VFX. Various dumb scumbags are recruited in a low rent titty bar to murder Norman. The deliberate process of planning Norman’s murder comes to a climactic moment.
People are stupid. The perennially media ready Thorpe has such a strong sense of certainty in his all-consuming and groundless obsession with wanting rid of Norman. Thorpe’s messianic tendencies grow. Norman’s poor dog is shot but he is not.
“I’m planning to vanish.”
“Arriving like a visitation.”
“Isn’t my chosen habitation.”
“People seem to hound me.”
“I’m sure he meant it in a jovial fashion.”
“A gift for eliciting money out of people.”
“He’s getting married again.”
Will has a son called Hamlet and his wife Anne Hathaway is staying with him in London with their children. Will is obviously annoyed by his unwanted wife and children. Colm Meany prances in orange bloomers as the owner of Will’s theatre. There is unsubtle religious hate. This was not endlessly inventive. Will’s wife and kids are morally obliged to annoy.
Tudor England has not yet built a society that functions for everyone. A riot breaks out. Will is not emotionally supported by his stupid wife. Will shags Alice. Women dress anachronistically. People are not interrogators of their own place in the world. The worst kind of things happen. This was not fateful. There is no social bonding. There is contemporary discourse and one is uncaring.
Who are all these people? A grim menacing type lurks as Will pants over Alice and ignores his burdensome bumpkin family. There are 2 song and dance routines to modern music. WTF is this crap? Will declares he loves Alice, as for Alice she is to be married until she messes that up. ‘Upstart Crow’ is better than this.
There is plotting. Urchins work in a brothel. Julian Sands plays an invalid bloke dying of the dying. Will shags his mistress and mocks his illiterate wife. Before he was Shakespeare, he was Will - indeed. Will is told to ditch Alice for her own good, which he does. The only good thing about this dreck was Marlowe (Jamie Campbell Bower of ‘The Mortal Instruments: City Of Bones’).
“Sell your arse.”
“Beweep my outcast state.”