This ep is full of painful banalities. Sam wants to hold onto what little Hollywood clout he has left. He has accumulated grievances. People don’t like the new Junkchain. Sam is especially unpleasant and does not exude warmth and has a barren personal life. The gang film in a mall and they’ve lost the ability to make rational choices for themselves. People have low character. Sam can’t do non-judgemental listening.
Bash and his idiot butler do not promote human dignity. TPTB do not make the narrative convincing. Sam has personal tumult. There is no intellectual rigour. Sam doesn’t have belligerent brilliance and gets way too much screen time. Why does he get so much attention as he’s drenched in anguish? I don’t care for his infinite sadness.
The girls have joyous intensity. There is little room for introspection. This tries to be a nostalgia trip. Even the mall security guard is an actor. This was not utterly absorbing and is not a complex dissection of society. It’s not brilliantly wrought. It’s flat and leaden and po-faced people muse and bloviate about their feelings. There is no tangible emotional clout and people are insistently bitter.
I like Debbie’s red glitter lipstick. Justine stays with Sam. There are no brutal human moments and this was not shockingly effective. Debbie wears a loud red skirt. Mike lives in an apartment. Debbie wants more money than her co-workers. She’s the Teri Hatcher of the show and has grandiose puffery. Ruth creates the show’s opening credits. Girls shriek.
Sam is rude and ungrateful and one feels deep loathing for him. This was not pacily written. Sam fires the Viking. There is no innate dramatic potential. People are damaged. Sam is brazen and is into conflict and being spiteful. Nothing enhances reputations here. One reviles Sam. Girls are low rent. There is no integrity, dignity or efficacy. Sam induces electric rage and has a failure to comprehend. Screw him and his sanctimonious denunciations.
“In a clump, whispering.”
Candy Of The Year
Debbie’s motherhood is mocked. Sam actively ignores Ruth. This is not substantial and real. Justine is 16? This is vigorously unsentimental with no emotional intensity. Beirut wants personal sovereignty. This was unbelievably inept. There is no emerging narrative. Ruth encounters hostility and does not experience care and affection.
There are unresolved tensions. This is not a profound mediation on the 1980s. It is staggeringly inept. Bash is unencumbered by responsibilities. This was meaningless and contrived. There is breakdancing. The eps feel unpleasantly prolonged. Ruth has an escape from self-awareness. There is sexism. All interest in this show has fallen away. Justine dates her pizza boy. This ep is totally unsuccessful.
The sexism and drama does not make the narrative convincing. This tries to evoke a sense of time and place. Sam and Bash are unrelentingly grim and deliberately devoid of a moral centre. They are persecutors. Debbie has haughtiness and self importance. Justine starts a fight at a gig. There is popular discontent. Debbie and Ruth are devalued. Debbie sees her co-workers as necessary casualties. Sam has contempt for democratic norms.
I’m irritated by season 2, it meanders. This was not sharp or satirical. Justine and Sam are not genuinely tender. This was rambling. Justine dropped out of school. This has no resonance. Debbie is jaded. There is slow moving turmoil. Debbie gives the audience sugar to keep them awake. The Beatdown Biddies transform. This was not impressively gripping or nuanced. Shelia bores.
This does not bottle the feel of a particular time. Sam is fastidiously terrible. This has no intended effect and is embarrassing. Debbie is potentially hubristic. Sam has endless malice. There is artifice in this hopeless ep and is full of sex-hungry, rude, crude and unwitty stuff. It’s baffling how bad this is. There is fear of career failure. This is not coolly observed. Ruth languishes unappreciated. Justine is actively unhappy. Ruth languishes unappreciated some more. Sam is sinister and controlling. This was all flaws and failure.
This was hokum. Sam is Glengarry Glen gormless and tempestuous and rueful. This was not enthralling or vitalising. Ruth is unillusioned.
“Why is this match not over?”
“Use the extra on drugs.”
“Dibs is law.”
“That wakes em up good.”
“G rated girl on girl in a 1 piece.”
“White girl trying to breakdance act?”
“Like Rocky and Apollo.”
“Your plastic crown.”
“You made airline food?”
“You appear and want things.”
“We’re the toxic twins!”
“Your version of your idea.”
“Sexy danger girl.”
There are flashbacks and a close-up of a fish dinner. Sara cheated on her husband with some random who is now on her slab. This was comically limp. There is sex and lying and Sara stares forlornly. Everyone is ethereally stupid. This has no insight into mortality. This was morbid and Sara meets her lover’s pregnant wife.
“Why would anybody take a tie?”
“TV cameras and the Beamers out front.”
“You and everybody in the church can choose to believe him.”
The daughter of the 2 murder victims (Katie McGrath of ‘Supergirl’ and ‘Merlin’) returns home. There are bad opening credits and Mark Ghanime guest stars as a landlord. There is exposition and no heartbreaking despair. There is sex and the daughter’s husband is a reporter. There is a small town paper. A woman in her underwear wails. A cop has secrets.
An unfriendly old biddy has wrath and pain. McGrath’s accent slips from scene to scene. A snotty teen and the old biddy are murdered by a killer who dresses like the 1988 killer. The daughter visits the 1988 killer in jail. He can speak only in ciphers. This was not worryingly effective in places. Sex tapes are found. People have no cautious dealings. This gets dumb in places and there are secrets.
“Your mom was a dirty slut and god struck her down.”
“I got an Elvira wig and everything.”
“Hell is there and hell is real.”
“There are decent people who live in this neighbourhood!”
“Hasn’t been laid since VCRS were invented.”
“Who the hell does that?”
“King of the gimps.”
MU Voq leads the rebellion against the Empire. In time the rebellion would become as bad as the Empire. MU Sarek has a beard and is a prophet. This seems to render non-canon the MU books. Where is Amanda? If MU Sarek was in the rebellion, how did Spock join the Enterprise crew in the original ‘TOS’ MU ep?
An Andorran and a Tellarite are seen. Tyler freaks out when he comes face to face with MU Voq. Tyler is hauled off. Despite being declared dead, they didn’t take Paul to the morgue? Paul meets his MU counterpart. The Emperor shows up and she’s familiar. This was okay.
“Hide your decency.”
“Malicious thoughts against your Emperor.”
“Witless alien insurgents.”
“Coalition of hope.”
“Butcher Of The Binary Stars.”
“Aggressive emotional expression.”
“How do you speak our forgotten tongue?”
“My so called Captain.”
“What friends do you have left?”
“He’s back and he’s leaving.”
“There is a god, she’s very very mad at you right now.”
“This feels like a reckoning.”
“Overlord of Vulcan.”
“Have my ganglia.”
“Don’t die on me you depraved bastard.”
“Finally she’s learned how to dress like a King’s mistress.”
“God chosen king.”
“Dispose of its enemies with impunity.”
“This can only end one way.”