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Monsterland: Eugene, Oregon (2020)
A story about the online radicalization of rightwing, conspiracy groups
It's important to note they prey on disadvantaged, white youth with no support system. The horror is that the radicalization won, and that he murdered his mother. Brilliantly written, directed, and acted.
Raised by Wolves: The Beginning (2020)
A insightful ending to a new beginning
While the first half of the season focuses on the Earth inhabitants and their problems that they carry over to this new planet, Kepler-22b, this episode makes it clear that the atmospheric weirdness the Earth inhabitants experienced was not something to brush aside. This episode is a confrontation on settler colonialism and the problems of pioneering.
Below, I will give my breakdown on aspects of the episode, how it relates to the season as a whole, and how I interpreted it all to mean.
I noticed that when Mother/Lamia realized she was pregnant she quickly rejected it, and this was a stark parallel to Tempest's rape and rejection of her baby.
Mother, then not understanding what it meant to be a mother, believed to be one meant the baby must be biologically related and that, for her, she was not able to have a child because she was an android. She cherished human ability to conceive. This was a mistakenly pro-life stance that denied Tempest her agency.
In this sense, forces on Kepler-22b strip Mother of her agency and use her weaknesses as a weapon to recreate the monsters the original inhabitants formed. While I don't like the ideas of rape and forced pregnancy, it seems like that was an intentional parallel.
The Earth inhabitants knew little about Kepler-22b except a few basic parallels to Earth. It was the Mithraic societal institution (separate from the actual religion) that found the planet and used it as their Holy Land to escape from the Hell they created on Earth.
Campion Sturges, part of the ruling class, knew of the Mithraic agenda and beat them at their game by sending his own Adam and Eve to restart life on a new planet -- mistakenly pushing for religious intolerance rather than end of structural oppression. Like the Mithraic institution, Sturges also knew little about the planet. It was all to give humanity a last leg after it was taken from them by the Mithraic institution.
Caleb, a character who grew up in the Atheist Resistance, that devoted their life to eradicating to the Mithraic institution, that we still don't understand if this caused complete religious intolerance, or at least the understanding of the end of religious fanaticism and oppression. Caleb was already struggling with the trauma of that, and sneaking into the Mithraic institution's Ark headed for "Heaven" (all for survival and a chance for peace), he becomes a victim of the terror of this new world the same way the Mithraic colonists would have had things gone according to plan. The voices he heard (now being sent to Paul) were from what the original inhabitants of Kepler-22b created. And, quite frankly, a man who never had the space to heal because he always had his guard up possibly facing persecution from Mithraic Authorities, wouldn't do well with those type of ominous voices. His isolation, his attacks, his breakdown -- all of that was a result of the the violence inflicted upon Mithraic Institution's oppression, and thus, he became a pawn of Kepler-22b's own game.
Father is another character who is as interesting. Him and Mary deserved more time to exercise their grief and stories the same way Mother and Caleb got to, but how they ended up and where they are now is something interesting. Father believed he could not love in an emotional way because he was a service module, but he came to love and express other emotions. He came to love Mother, Campion, and the kids most deeply.
Whereas Mary, she loved Caleb and wanted to be there for him because she was dealing with her own traumas (some related to the institution, some not), and she was alone as well. It was supposed to be the two of them, but Caleb became a victim of Kepler-22b, and that caused him to push her away (which we later see the planet isolate Paul from her as well). That love Mary had for Caleb might still be there, but it's not something where she can physically be around him. She has to protect her space, and she does. She has been working through her discomfort with mothering and birth because of her own miscarriage and infertility since finding Paul and eventually coming face-to-face with Mother.
Where Mary is now, she becomes the sole parent to six kids. Father and Mother don't have their kids, but they felt they raised Campion to a degree of independency, and their journey now is to reunite with him.
A show you'd think would simply be about the ways in which the violence of religious oppression corrupts and traumatizes us ends up including the violence of settler colonialism. The show is deeply about found family. It's about parenting and the mistakes made when done so. It's about the idea that you don't need to have a biological child to have a child; you just need to raise, nurture, love, and prepare them for independency. It's also about parenting never stopping just cause the child can be alone.
So, while these are good themes for the characters, we must understand, there was more going on than them. They were still settlers, and there is a violence in Kepler-22b that has yet to be solved.
Into the Dark: The Current Occupant (2020)
Very terrifying
This only re-infers why I believe psychiatric hospitals should be shut down. I don't know if the writers intend on showing the 'horror' being the delusion (which, as someone who experienced delusions, they are horrific and scary) but the treatment the staff and orderly inflicted on the patients was so terrifying. All the 'treatments' used to sedate and conform Henry was probably the most terrifying thing to witness. The violation he faced, the humility, toying with his delusion, it's really horrifying. I still don't understand the actual intent of the episode, but it surely does make me hate psychiatric wards. I think there are better ways to treat severe mentally ill people without that experience. Like prisons, it's inhumane.
NOS4A2: Welcome to Christmasland (2020)
A revelational episode
In this episode, our characters come face to face with the struggles they've had all season and in prior seasons. We see Lou and Tabitha bond over their struggle in wanting to stand by their lovers but also terrified with the dangers that come with being a Strong Creative. We see a two-part parallel between Millie wanting an escape from Charlie and Wayne wanting an escape from Vic. Millie wants to grow up while Wayne wants to stay a child. While Charlie infantilized Millie, Vic took away Wayne's childhood. The big difference is Vic's acknowledgement of her failures and her insistence on wanting to do right by Wayne. What probably broke me in this episode was Maggie remembering Bly. It was the one thing that threw her off her game and allowed for her to be surprised by the kids. Vic's apology to Wayne in the Ide Maze was the second-most heartbreaking scene. One thing that was done well (props to Zachary Quinto) was Charlie's reaction when facing his abuser in the house and then trying to absolve himself of his mistakes when confronted by Cassie (which was a lovely parallel to Vic admitting her mistakes and refusing to run away from them). Beautifully done episode.
NOS4A2: Chris McQueen (2020)
Hold those you love closest
A gut-punchingly raw and emotional episode with insightful parallels and deep introspections. I forget how dark this show gets, and this is coming from watching the previous episode. The writers never let up with their talents.
NOS4A2: Cripple Creek (2020)
A great villain is one who doesn't see themselves as one
This was a heavy episode loaded with twists and suspense. TW for child sexual assault implications, mentions of rape
Charlie Manx and Bing Patridge are complex characters. They are fully human. We know they're both villains, but to have those layers is great writing.
Manx is precise on which children he abducts (those he believe he's saving): the forgotten and neglected children of white suburbia. Otherwise, his immortality trip wouldn't be going on, but he met his match in not only Vic, but Bing.
Unlike the others, Bing caught onto his eventual plan of discarding the help. Bing doesn't like that. This pushes some harsh truths between the two men. It's both an internal and external battle for both characters, but in the end, only one remains.
What I find interesting is the contrast with the children finding support and guidance with their deceased parents. Millie loved her father so much and followed him wherever he went that it took away any chance for her to live her life. Her mother gave her a reminder that her life is not his and pushed her to find an escape. Wayne is trapped and don't know what to do. The biological father he never met, Craig, helped keep him tethered to his humanity, his love for his mother, so he wouldn't lose himself. It's these moments of hope that make such a fine contrast to the darker elements to the episode.
This might be my favorite episode this season.
Charmed: Breaking the Cycle (2020)
One of the better episodes this season...
Although if they cut the Harry x Abigail scenes, I would've given it a 10/10. Focusing on the sisters, their bond, development, and powers, and having Mel have a healthy love life that we can *see* on screen are some of the things the season was missing. This was an incredible episode.
Titans: Fallen (2019)
Don't knock it til you try it
So, I was initially put off by the description of this episode and dreaded it's coming but watching it: it was entirely better than expected. This episode feels like the beginning of Dick, Donna, Rachel, and Gar rebound into heroes. It's a well done episode, better than Gorenburg's first written episode of the season. I'd put it up there with Sams's episode (2.05).
Batwoman: Pilot (2019)
Not the best pilot but not the worst either
It's simplistic and basic. It's not awful or spectacular. There are moments that could use improvement, and there are moments that seem impressive and worth exploring.
I particularly am interested in Sophie, Catherine, and Mary's stories; I'd love to see them done right. I also wonder if Luke will be subjected to the errand tech boy trope; I hope not. It'd be nice if he were both geeky and suave (it's possible!), and not get stepped on by the white woman (it's a common trope among white feminist shows led by white women to have their white leads step on the men of color).
I hope by episode three, Rose's performance improves because in this episode she felt extremely stiff and dry. I've read some reviews by critics saying her performance is the same in episode two. This is my only problem with this show.
It's a nice, gritty and action/adventurous gothic noir superhero series. It fits in with the Arrowverse perfectly. It carries the same flaws and strengths as the Arrowverse, and it definitely feels niche. I particularly like to see Black women and Asian women in diverse roles. I hope they are all fully fleshed out and done justice.
Titans: Dick Grayson (2018)
Big disappointment
The cinematography and set designs were beautiful. I enjoyed seeing that, but the writing was fine in a way. Hatem is a great writer, but as a finale? That was really weak. This is like Krypton all over again. I'm also sick and tired of this show underhanding Kory in the foreground while showing her advanced and sophisticated skill in the background. Of all ways to go out, really? I mean, I do get Trigon has to win somehow, but I was expecting a different turn out than that. Why does the trailers have to spoil the entire episode? I'm not mad it ended on a cliffhanger, but I am mad about the underserve that Kory got, and how they didn't even give us any indication as to how that futuristic fantasy was absurd dreaming. It's very insulting. Considering Titans has had strong writing and a very good direction in previous episodes, this felt like a rip off. Do better.
Titans: Titans (2018)
Typical Pilot
This episode is divided into two segments. The first segment focuses on Dick Grayson (Brenton Thwaites) and Raven (Teagan Croft), called Rachel Roth in this interpretation, while the second segment focuses on Koriand'r (Anna Diop), referred to as Kory Anders. Rachel's life begins changing when she receives a surprise visit from an unknown, cultish man at her house. From then on, it's a journey from the suburbs of Traverse City, MI to the inner city of Detroit, MI where she meets Detective Grayson. Doused in nothing but mystery, Kory's scenes are mostly recollecting her own memory and making sense of the life she previously had while in the outskirts of Vienna, Austria. There is a small but brief cameo at the very end, akin to a post-credit scene, where Garfield shows up in one of his transitions. It is established that he lives in the midwest in Ohio, United States.
I want to emphasize that if you are expecting a live action adaptation to the 2003 animation this is not it. TITANS is its own body of work that takes primary inspiration from the Wolfman and Perez's New Teen Titans from the 80's, Nightwing's solo series, and Raven's solo series. Prioritize Geoff Johns's series and Wolfman's series. Beyond the comic inspiration (which provides multiple background Easter Eggs), TITANS is a series for a certain audience, and if you are not in that sect you may not like the show. It does its own thing while taking bits and pieces from different runs to shape a modernized and compelling story. Comic purists and fans of only the 2003 animation might not enjoy this show if they don't look to it with an open mind.
I do love the characterization of Rachel. She seemed just like a teenager to me. Reliant upon her mother's guidance for safety, make rash decisions when faced with danger, unsure of what or who to trust, over emotional, detached from her socially abusive peers and their antics; I liked that (possibly because it slightly reminds me of my childhood), and I loved the performance Croft gave. However, at times, I felt like the glimpses of her school life were rushed, but it is to be expected as it is not a primary focus in her story; it's merely a smaller detail to describe her character and situation (a socially isolated freshman).
Dick's sullen and spaced out character mimics his situation inside a liminal space, a grey area. He's torn between worlds. While other people may have difficulties understanding or even watching this, I think it's being done well, and I appreciate Thwaites's performance. I wish there was more development in the initial introduction of the main antagonist (for Rachel) and Rachel's relationship with her foster mother. The writing seemed rather rushed and slightly weak.
While I did enjoy Kory's parts, I felt that her scenes were also less developed (whether that was because it's purposely supposed to be a mystery, or if there wasn't much to that part, I can't say). Diop, Krupa, and the other actors put on a phenomenal performance and the story to it was fantastic, but I was left wanting more from the scenes.
I liken this pilot to be similar to most pilots. It has so much potential and so much story wrapped behind it. The performances are strong, and the writing is intriguing. The score was absolutely perfect fitting for the scenes. The visuals are pleasing and nice to look at; in other words, I enjoy the cinematography, the visual effects, the special effects, and the coloring. There are somethings where I am unsure if it's a plot hole or intentional gap in the story for later development.
Cloak & Dagger (2018)
A refreshing live adaptation from a Marvel comic
Content warning for a sexual assault scene in episodes 1 and 2 and repeated scenes of police violence and a car accident throughout the series.
CaD is one of the better shows from Marvel. It has a character-driven plot, well-paced characterization, parallels and symbolism in each scene and episode, and an interesting use of CGI and VFX.
It touches on drug addiction, domestic abuse, family neglect, environmental corruption, spirituality conflict, racism, and classism.
At the heart of CaD is communal support, being there for one another and trusting each other, and what things seem like on the surface has more bubbling underneath.
This was one of my favorite shows to watch, and I personally enjoyed the slow pacing in the beginning. It established that the characters drive the plot and invested me more into them and their motivations.
The action is paced where it needs to be. The magical elements are delivered where appropriate. There is obvious consequences and limitations that prevent our heroes from not abusing their powers or depending on it for too long. It was a relatively solid show from the first to the last episode.