The Theft Of The Royal Ruby
This has dated opening credits. What became of Poirot’s art deco flat and his friends in later eps? Why does he waddle like The Penguin? David Suchet minces. This is based on the story ‘The Adventure Of The Christmas Pudding’. A prince's royal ruby is stolen. Poirot does showy manipulation, this is before he became a gloom merchant and the show developed a dark aesthetic. Poirot does smug smartass banter.
The Prince is Egyptian and the ruby has to be retrieved because of Suez. There is exposition dumping. This is before Poirot became an enemy of happiness who lacked empathy and guilt and acted without risk of consequences. Poirot is coruscatingly blunt; we see hints of the rooted nastiness that became more apparent later on. Still his mocking pomposity is emotionally taxing. There are no complex character dynamics. Poirot is needlessly prickly.
There is a Christmas gathering and Poirot must sniff out the ruby thief. Cue logic-defying desperately twee acts as Poirot goes blame-laying. Annoying kids are insouciant. People lounge picturesquely. Wouldn’t the cook have made the pudding months earlier? Who eats pudding on New Year’s Day? The maid is Irish, but of course. Poirot is snobbish with a vehemence. This is okay even as complexity is shunned.
People don’t know how to eat mangos. Dreegy baddies are unmasked. This has fleeting relevance. Annoying kids lurk. Someone writes an ungrammatical letter. TPTB never interrogated, subverted or challenged Poirot. Cold and troublesome people commit moral outrages. There is over-acting with hysterical intensity. This has only a thin veneer of credibility. This was a bit vapid.
Thieves are inept. Old cars are driven. Poirot has an unerring talent for self-dramatisation. Baddies face enduring indignities. There are colonial hints. Poirot does folksy homilies and casts moral judgement. Nobody shares information and there is classicism and no emotional authenticity. While deeply imperfect and insufficiently effective, it is watchable.
“Some coffee for the woman.”
“The miscreant may try to run away!”
“Choices of men friends.”
“Is it vulgar enough yet?”
“Looking very furtive. Stop it.”
“Daughter of a licentious camel!”
“She wouldn’t listen to the likes of me.”
Not In Kansas
Lena wears very red lipstick. I see Reign has been doing her hair while locked up. Mon-El does his annoying cape tricks. Sam and Reign are separated. Supergirl asks Lena for a favour. Kara decides to abandon Earth for Argo City. She is selfish and a deeply unpleasant person. Alex exists only to want a child and fawn over Kara, quite a change from 1x01.
Kara more or less asks Mon-El to go to Argo for a dirty weekend. Lena is excluded from Kara’s leaving party. As the DEO send Kara off with a party, nobody points out her selfishnessness. Guardian lurks. Winn bores. Kara hangs out at boring Argo city. Nobody has motivation or purpose. J’onn and his mumbling father bore.
DEO weapons are on the street. Kara and Mon-El fawn over each other, ignoring Imra’s existence. This is an unsubtle gun control ep. Eve studied nuclear physics. So why is she James’ PA? Lena and James discuss gun control. Kara acts like a big bully in Argo. From gnashing her teeth about Lena’s every utterance and move, now she has distain for randoms. Her smug satisfaction and self serving pretexts allows her to treat people miserably.
She thinks she is on a moral mission. This ep is a boring, excruciating catastrophe. Mon-El and Kara fawn over each other and we are supposed to support these 2 homewreckers. Why do people fawn over Kara? There is bad acting. Selena is revealed as the big bad. J’onn says the DEO must give up their guns. WTF? Do they throw rocks at bad guys and worldkillers from now on? Sam just goes home after being Reign. Selena strands Kara and Mon-El on Argo. Mon-El looks like a shady Ferris wheel operator at a carnival. This sucked hard.
Kara is always making alarming threats and being deliberately incendiary and acting in an unappetising way. She seems to have forgotten her illogical resentment of Lena. Baddies maraud on Earth just after J’onn’s dumb no guns speech. The DEO will have to come up with something substantially more punitive than being smug libtards. Kara’s stopped caring about her solemn commitment to heroism and Earth being under persistent threat from people from Krypton. Kara’s forfeited her right to sympathy and this ep was dreary, monotonous and boring.
This was all done in deadly serious fashion. Who cares if Sam has emotional distress? Kara has to bang her married mancandy after insidiously withdrawing from Earth! This was not emotionally accurate.
Love The Lie
Pope warned The School to clear out. The School had wheelbarrows ready to transport documents to be burnt in metal bins, which they had standing by. The School is a potentially interesting and disturbing plot development after the mortifying mess of the early eps. The School defends itself with guns and suicide pills.
What was the final file burnt? This was badly lit. Some of The School get away and those left behind take suicide pills, even the students. There is no cataclysmic confrontation. The School’s toxic legacy goes on. Ian whines. Dimension 2 had no 9/11. Ian and Emily 2 have no authentic hardness. There is a pile up of predicaments.
This tries for profundity. Howard 2 trails emotional and physical destruction wherever he goes. Emily 1’s mother Charlotte shows up when Emily 1 wakes up. Peter Quayle can’t parent. Clare 2 is locked up by him. The boring assassin bores. Some in Dimension 2 have unquenchable, indiscriminate hatred of Dimension 1. Clare 2 lies about Clare 1’s fate to Peter Quayle. Charlotte isn’t considerate.
Peter Quayle’s torment violently escalates, via slow-burn ambiguity. Clare 2 talks about the flu and torments Peter Quayle for self-amusement. What will become of Clare 2’s child? A child, after all, born of 2 worlds. Clare 2 has a creative attitude towards the truth. The boring assassin kills someone and has an appetite for confrontation. Peter Quayle shrugs off Clare 2’s historical grudge; she has a long and bitter memory and a duty to her dimension that must override all other concerns.
A whispering dude casts a malign cloud. This was unsavoury and dull and one feels no enthusiasm whatsoever. There is escalating aggression and profoundly unsettling stuff happens. When will the Howards switch back? Peter Quayle does no moral searching and thinks about the totality of his doom. He has a conflicted attitude. Howard 1 and Howard 2 berate each other; Howard 1 is visibly horrified by his double.
Social cohesion is threatened or something. This is not a thought provoking plot. Howard 2 lies about Emily 1’s condition and contemptuously dismisses him. Howard 1 has wilful incuriosity about Emily 1. He knew about her secret life and multiple affairs. Emily 1 is a ho. This was unconstructive. There is no moral vision. Potentially bad things seem ready to happen. There is T&A.
Howard 1 still hasn’t learned Howard 2 isn’t factually reliable. The School wasn’t an oasis of learning for Clare 2. There is no ready excitement. Peter Quayle claims Howard is the mole. To protect himself? His child? He deliberately misleads people. One feels withering distain for Peter Quayle.
“Our legacy only survives if we can protect this secret.”
“Their work is finished. Ours isn’t.”
“They’re comparing timelines between our worlds.”
“Teaching kids about life over there.”
“Just invited a homeless person over for a one night stand.”
“This place was already burning when we got here.”
“I didn’t say they were good ways.”
“Charade we call diplomacy.”
“A child born of 2 worlds.”
“Now you’re a spy hunter.”
“They hate you.”
“Can’t do that. It’s weird.”