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Things That Go Boom
A cannibal has sinister intentions in this misery drenched show. Gordon is Captain and Bullock is not seen or mentioned. Nobody is elegant in their speech or restrained in their conduct. Lee runs crime now? Riddler lurks, whining. This is not a glorious spectacle. Sofia’s ambitions go far beyond what is safe or wise. Penguin has a history of bad judgement but gets more vicious by the day.

Nobody is morally unimpeachable. The openly hostile Riddler is innately violent, stupid and a waste of space. Sofia lives in moral squalor. Ruinous decisions are made. Nobody acts thoughtfully. This ep was less than competent. Gordon is unimpressed by the unrelentingly dour roaring psychopath cannibal. There is no emotional intimacy or emotional vulnerability. The acting is less than totally convincing. Nothing incendiary happens. This is utterly dreadful and miserably uneventful. Sofia is bothered by the Gotham sirens. Barbara and her stupid haircut thinks she’s bad.

There are absurd impasses. People are ungracious. This is almost deliberately banal. This is not unremitting brilliance. There is bad VFX and philistinism. There are exaggerated feelings of anger and irritability. Penguin obsesses over a kid. People babble about promises, inducements and entitlements as they lambaste each other.

Gordon claims a patina of respectability. Why is Lee hanging out with Riddler? Sofia grew up with no boundaries. This show has never been sustained brilliance but at least Alfred and Bruce aren’t in this ep. So yay?

Best Lines:
“This is Gotham; you’re a second class psychopath compared to what we’ve got.”

“I remain a moron.”

The Bad Place
Who are all these people and what is going on? Castiel is not in this ep thankfully. People babble about dreamwalkers and some guy named Jack who is Lucifer’s son. Dean badmouths Jack. Dean is not pleasant. Characters fight for dignity. Jack is difficult and disruptive for vague motivation. There is bad acting and calculated violence and pain and anguish. There are no mysterious resonances.

Mary is alive and in an apocalypse world. How? Dean has total disregard or sense. People reckon with their past choices or something. This show’s fans celebrate mediocrity. The show pulls mythical constructs out of its ass. Dean is a toxic burden on this show; he is hostile to the very idea of sense. Dean wants co-dependent bliss with the boring Sam. The show’s early makeshift charm is gone.

Dean has ingrained hostility to sense. This ep was an unmitigated failure. People are ill-disposed. There is no moral storm. People have ill-defined expectations. Angels prance. TPTB continue making Dean look purposefully unflattering. People are quite prepared to believe the worst of Jack. Dean tries for curt steeliness but comes across as constipated. He kidnaps someone, violating a clear moral line.

Sam always thought he was the socially responsible brother, here he stands idly bye. Angels drive cars and engage in car chases and stalk Jack for no clear reason. They do unclear things for unclear reasons. This was not emotionally compelling. All Dean does is express irritation and suspicion and fail to arouse much sympathy. Where is Benny? Sam and Dan end up in a bad place, standing in a giant footstep. Why is there only 1 giant footstep?

Best Lines:
“Trying to make it in Trump’s America.”

“That door was triple-locked.”
“Was it?”

“Angel radio.”

“Cocaine boy.”

“I’m not the kind of girl folks come for.”

“Of course you don’t matter but they think you do.”

“Heaven’s running out of angels.”

“Something bad’s coming.”

No Man’s Land, Part One
There is a useless flashback and unpleasant feelings and the cultural chasm between worlds grows. Pope walks his fluffy dog and Ian Shaw tries to menace him and fails. Nobody has complete sincerity. The boring assassin bores. People are disconnected emotionally and reason is trumped. This is unrealistic to the point of being meaningless.

The assassin has avoidant attachment. This is not a compelling portrayal. I don’t care about the ambiguities of these character’s personal relationships or Howard 2’s abrasive self-assertion or Ian Shaw’s sense of exclusion. This is not dryly witty or winsomely imaginative. The characters are not consequential figures. Emily 2 is a hardass bitch. A dude is stabbed. Peter Quayle wallows in regret and does poorly judged things. There is a crisis of trust and discursive rambles. Nobody is nice, charitable or self-sacrificing. Howard 2 is exacting. This ep does not charm or interest.

Howard 2 is not brilliantly threatening. This ep isn’t gratifying. There is the sense of something amiss. Howard 1 learns what happened to Emily 1 was Pope’s doing. There are secrets and morality loosening goings on. How did Peter Quayle have handcuffs to restrain Clare 2? Peter Quayle and Clare 2 have tetchy relations. Does Clare care about her child? Howard 2 ropes in Emily 1’s lover. Clare 1’s dad orders his unloved son in law around. One of The School graduates is the father-in-law’s PA!

Clare 2 didn’t think much of Clare 1. If the crossing point is a tunnel. Then how do the interface rooms work? What are the interface rooms for? People loiter menacingly. This was incoherent, tedious, meandering and a waste of time. Peter Quayle decides to kill himself and Clare 2 in a car wreck. Has he succeeded? No one helps them. The 3 crossers from The School shoot up the place. Clare 1’s dad is not shot. Dimension 1 seems to use old computer tech.

The attack doesn’t go to plan. Or does it? One of the men and the PA are killed. The surviving injured man makes it to the border and is in a diplomatically neutral space. What is the plan? There is no fierce intellectual determination just unspeakably dreary collective misfortune. There is volatile masculinity and this isn’t decisively compelling. There is no sensationalist clarity or emotional revelations. What is the singular purpose of The School and its graduates?

Best Lines:
“Your wretched little life.”

“That’s how far his reach goes!”


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