A lot of funny shit has happened on TAZ but in my opinion, the funniest scene was the fight in the elevator of tomorrow
Magnus and Merle fighting for their lives while Taako looks on from outside the glass, alternately eating his sandwich, rubbing their misfortune in their faces, and very convincingly pretending to help
STUFF I LOVED (EVEN IF IT MIGHT HAVE MADE ME CRY) IN SUPERGIRL 219 – a list i made myself
“those firsts that you talked about? i want to have them all with you. i never want to stop having firsts with you.”
okay yes also the i love yous, but damn that was a good line.
i don’t even have the words, i’m a pile of mush.
as creepy as it was that that guy was watching them, and manipulating the fuck out of maggie, he really did nail that maggie’s heart eyes can be seen from space.
alex wants to name a dog gertrude. okay girl, you almost died so you get a free pass.
J’ONN HAS THREE DAUGHTERS NOW, AND HE’S PRETTY HAPPY ABOUT THAT.
floriana was clearly sick the weeks they filmed this, and her sick little voice just made everything hurt.
I AM A PILE OF MUSH 😘
“i’m listening for her. i can’t hear anything. i can do all these incredible things but i can’t punch my way out of this or fly fast enough and turn back time. and i’m afraid that i’m going to lose the person that’s most important to me.”
this was, man. dreamy sigh. almost* perfect. when this show is good it’s just so very good, and this line reads cheesy on the page, but melissa nailed it to the wall like the 2x4 that it is. kara is at her best when she’s an observer of humanity. that’s always been true.*
“to us, kara.”
this, all on its own, was enough to draw out how single minded to the point of selfishness kara sometimes is, but how easily she can be pulled back from that. this entire scene was masterful and reminded me how much i love and miss kara and j’onn together.
“what?! no, get in here.”
ENDED SO GOOD, STARTED SO BAD.*
one day kara and maggie will realise that they’re so incredibly alike, and alex is going to be in big trouble.
kara punches first, and if that doesn’t work she uses her words. (she should probably at some point for real learn not to do that.) maggie uses her words, and if they don’t work then she busts people out of prison or sends her gf off to her possible death. (this is not actually a good thing either!) honestly.
“and just in time for dinner.”
ALEX CAN’T COOK.
kara danvers endorses pineapple on pizza because she understands what is good about this planet.
kara’s dinnertime cardigan: CONTENDER #1 FOR OUTFIT OF THE EPISODE.
NO ONE ASKED FOR YOUR OPINION, MON-EL.
that guy was clearly into teenage alex and probably still was, and yet they 100% resisted the temptation to make him a homophobe and honestly THANK YOU.
will gregg henry ever be anyone but russell fabray to me? i guess we’ll have to check in again in another five years.
who knows that kara danvers is supergirl? “the DEO.” oh, kara, honey.
(oh for there to have been a, “and maybe cat, but…?”)
IS IT TIME TO TALK ABOUT LENA NOW?
IT’S TIME TO TALK ABOUT LENA NOW.
THE ALIEN DETECTION DEVICE RETURNS! AND IT WORKS.
(i’m never letting this thing go. i demand explanations. i must be furnished with enough informations to be able to make an actual call on where lena luthor stands on what constitutes the fundamental rights of an individual.)
that was a date lena and rhea went on. they can talk about mothers and children all they want, that was a date. a very gay date.
(RIP LENA WENT TO PARIS FOR SCHOOL. THE PRICE OF THAT DREAM IS LENA WENT TO SCHOOL JUST A CHARLES RIVER AWAY FROM THE HOME OF THE RED SOX. I’M PRETTY OKAY WITH THAT 😍)
lena knew rhea was an alien after a single slip that would not be out of place amongst lesbians over the age of 40. either lena is a terrible baby gay or she knows kara is supergirl. there are no other options here, THEY MUST CHOOSE ONE.
i’m 500% spoiled for where this plot is going, and after this episode I REMAIN EXCITED.
kara and lena call each other on the telephone to talk to each other with words from their mouths. according to the laws of communication between peers under the age of 30, they’re married now. marrieds who go on brunch dates that sometimes involve kale and sometimes do not.
*with a few season-long tweaks this episode could have been perfect.
because up to the water’s edge (PUN INTENDED) it was. at the very least it was the best episode this season, and it was the rest of the season that let it down.
it could have (should have) been the culmination of kara losing her job, losing her sister, losing herself in being the public perception of supergirl. their misstep was not laying the groundwork and expecting two key pieces of backstory to simply be accepted.
the supergirl defence? okay???
maggie not being 100% team supergirl? okay????????
if only they had used kara’s period of funemployment to actually have kara leaning into a life of only being supergirl, instead of setting that up and then never following through. if only they’d actually ever shown her alienating herself from the people she protects, because tbh this whole supergirl defence thing sounds like it should have been a multi-episode arc all on its own, and one that i really would enjoy the heck out of. if only for one second before this episode they had shown maggie to have any kind of disagreement with kara’s superheroing. (context didn’t make this disagreement any more tolerable to me. in fact the concocted backstory made it worse because they had the chance to show it and then never did. so instead, much like it did to kara, maggie blurting this shit out seemed to come out of nowhere, and just made it seem like she was pissed off that she didn’t get to save the day. maggie sawyer’s one true characteristic is being a communicator. that is literally her whole thing this episode again. that shit is her jam. but it’s also kara’s. supergirl talks people down in the end far more than she punches their lights out. kara is a reporter. kara is a person who uses her words, just like maggie. not laying the groundwork here did both maggie and kara a huge disservice.) if only kara hadn’t been absent from so much of the plot all season that these threads were there to pull together ¯\_(ツ)_/¯
(this could honestly have been a season finale. but that would have made me actually worry for alex’s safety and tbh i’m very glad not to have had to live through that. #LESBIANLIVES.)
i could have gone my whole life without watching alex slice her own arm open to pull that tracker out. alas, i will not get to live that life anymore.
BEEP [ rin doesn't know how to use a phone for the life of her hjhgkj ]
[ SENT ] Please calm down, Master — I promise you that your phone isn’t BROKEN; the little popups when you hold down a letter on the keyboard just shows ACCENTED letters that can be used in the event that you were to speak in a different language.
[ SENT ] No one has HACKED your device, as far as I know — that’s just how it naturally functions, so there’s no need to freak out!! I promise!! You’re making great progress, but you mustn’t get frustrated over the keyboard — the keys are a bit small, but your thumbs are hardly fat…
[ UNSENT ] …Please don’t tell me you blocked my number again…
I have a one track mind, but the entire death scene of the Simm!Master I was thinking, "Shit. Shit. Shit. He's going to die, regenerate into Missy, and basically hook up Clara with the Doctor. Somewhere in space and time, next stop CLARA."
I have such a one track mind that whenever anybody says “somewhere in time and space” I just have the MST theme song running in my head.
Then I’m like - yeah, if Simm!Master immediately regenerates into Gomez!Master, one has to wonder if the plan was cooking in their head somehow? Already? Some…way? Why would that plan be in action? Something about getting the Doctor to the point that he is in s10? The 12 of s10 is only possible because of how Clara influenced him for two and a half seasons but how….? And how.
(1) I know you've already pointed out the cinematography and music. But can we just talk about the body language, mannerisms, and positions the characters were always in!!? Like how Isak and Even were constantly touching each other, or leaning towards each other. Like that's not scripted. That's just them getting into character and letting their guard down. You see a lot of tv couples doing the bare minimum. Like with Ian and Mickey on Shameless. During the scripted kisses or hugs or whatever
But in any other scene they acted more like buddies. But in every single scene with Isak and Even their little looks, and quirks and stuff constantly screamed “in character”. Like how Isak was all twitchy and nervous when he asked Even (in the locker room) if Even’s parents would like him. You could see him swaying nervously and not being able to stand still. Like honestly, this show works So hard at getting every detail right. Right down to the minuscule details. It just blows me away. And like when Jonas and Isak were talking on the bench, and Jonas kept pausing to actually think about who Isak could be talking about. And both boys kept eating throughout the entire scene, and kept pausing for nervous breaths and everything. Like it’s just honestly SO well done. I’m blown away!!
(did tarjei improvise this? please tell me he did)
(isak starts to genuinely laugh but he remembers even is looking at him and then he’s too shy to laugh all of a sudden????)
(THIS CHOREOGRAPHY - and this entire scene. PURE. GOLD. honestly, whoever directs the actors is the MASTER of it)
(and like, i never thought i would actually enjoy watching someone eat a kebab but here i am, amazed at how jonas and his kebab become the same person).
jonas and isak’s conversation felt too real, just like every scene in skam ever (perhaps with the exception of william smashing a bottle in some guy’s head?) and i think that’s why we all feel so attached to it. skam is realistic to the bone.
and now, if i’m allowed to ramble: i think being an actor is not only about expressing emotions realistically or playing intense characters. you don’t have to be dc’s the joker or get into the skin of margaret thatcher. it’s about being conscious of every single movement you make. especially considering that most scenes are shot more than once in order to assemble the dialogue. so, if your character has a hand in his pocket during one take, you need to remember to keep your hand there in every other take (there’s actually a continuity error with even’s hand when he’s on the sofa sitting next to emma and he’s trying to reach isak’s shoulder - which is not entirely henrik’s fault. and this is the only continuity error that i easily noticed).THIS WAS NOT ACCURATE. MY FAULThowever, there’s a continuity error in the tissues scene in 3x01, for example, but that’s not the actor’s fault.
THINGS I LOVED ABOUT SUPERGIRL 205, A DOT-POINTED ESSAY BY ME.
this is so long omfg. let’s go!
ALEX DANVERS, MY DARLING CHILD.
okay there was a LOT going on here, let’s start with the fun stuff:
“she broke up with you? who would do that?”
maggie “drink something a little harder and lose my cool” sawyer, be still my heart.
maggie calling alex a nerd. girl, you work for the science police.
alex suggesting a pinball bar.
that entire scene with alex and winn. alex is like, here is a whole lot of super personal details about maggie. winn: what’s a maggie? isn’t that exactly how it goes though? THIS THING HAS BECOME THE MOST IMPORTANT THING IN MY LIFE VERY QUICKLY. everyone else: who da fuck is this thing? and then they worked some kind of wizard spell and managed to make winn’s crush on kara both not the worst thing ever and also a totally pointed reference. good job, show! and then alex’s face murdered me, part 1.
”we’ll go and celebrate singledom,” says the girl who has never enjoyed dating and from the sounds of it has never actually been in a relationship. this entire scene is like a fucking master class in unravelling a plot point around your active story. maggie is well within her rights to be like, hold up what’s going on here? and alex’s response of utter confusion is perfect because it sets up maggie’s “my bad, then.” even if i hadn’t read the interviews with the show runners about this, i’d still have said at this point HALLELU THE SLOW BURN LIVES, because ngl, that very first scene had crushed all my dreams. but then. BUT THEN. (then that scene ended with alex’s poor confused face murdering me, part 2.)
(then alex was about to blurt out her gay awakening, only to be interrupted by kara’s. HEY LET’S TALK ABOUT THAT IN A MOMENT. ALSO ALEX AND KARA. ALSO IN A MINUTE.)
“my whole life has been about being perfect–” “OH GOD IT’S HAPPENING.”
this was perfect. perfect perfect perfect.
chyler smashed it out of the park with this amazing balance between alex’s absolute terror of the unknown and complete wonder that she may have finally solved this puzzle. alex’s face murdered me, part 3.
alex walked out of that scene BUZZING, and god, what an amazing thing to see. because it’s always scary, but it’s not always the most terrible thing on earth, and it was just so nice to see that on tv for once.
and maggie! this was about alex, not about the ship, and it was played in such a way that made me fall a little in love with her. thankyouforbeingafriend.mp3
and so the slow burn is saved! SAVED! because “wow this new girl is really neat and i think i want to kiss her???” isn’t the making of an otp. let them be buds. ALEX COULD DO WITH A FRIEND. A FRIEND SHE WILL EVENTUALLY MAKE OUT WITH, BUT STILL A FRIEND.
i’m emotional, don’t touch me.
alex and kara! science fairs! scary movies! punk rock music! this little glimpse into the tiny danvers sisters, post-alex’s broken arm! god, alex really did take her job of looking after kara and teaching her so seriously, you can just see all the steps from there to 2 years ago and alex’s spiral once she lost that part of her life as they both went off to college.
KARA DANVERS: NSYNC IS NOT WEIRD AND THEY ARE AMAZING. MY PATRONUS.
(and again, magical storytelling: let mon-el find his thing… ALEX FIND YOUR THING.)
but also, i adorethat alex genuinely was going to tell kara, even if it did get interrupted. HEY NOW LET’S TALK ABOUT WHY.
LENA LUTHOR, YOUR THIRST FOR KARA CAN BE SEEN FROM KRYPTON’S FORMER LOCATION IN SPACE.
lena showing up at kara’s work to ask her out on a date!
KARA IS LITERALLY LENA’S ONLY FRIEND
lena showing up at kara’s home to ask supergirl out also on a date!
OH HEY YOUR SISTER SAVED MY LIFE, COOL, GLAD SHE’S YOUR SISTER AND NOT…????? giiiiiiiirl.
HEY KARA REMEMBER THAT TIME I DID YOU A FAVOUR LIKE A WHOLE WEEK AGO, I NEED TO CASH THAT IN. CONVENIENTLY YOU PUBLICLY REVEALED A CONNECTION TO SUPERGIRL LAST WEEK.
(i paused this scene to type some words and i looked back up to see i had paused on lena staring at kara’s mouth and just started LAUGHING HYSTERICALLY LIKE OH MY GOD WHERE IS THIS EVEN GOING BESIDES GAYTOWN???)
kara showing up on lena’s balcony was clearly an homage to supergirl’s love for other wealthy CEOs made me cackle like a lunatic, i think this is the point where my brain started leaking out of my ears
“kara and i will see you tomorrow night”
i’m just loving every damn thing they’re doing with lena at this point
so doctor cadmus is mrs luthor. this very explicitly gives us context for where lena was coming from with her little alien detector, far more than the vaguely defined lex. they’ve set it out: she’s the daughter (and probably sister) of a alien bigot, and she was raised to be one, too. she is one, even if she wraps it up in empowering humans to protect themselves.
but she’s also secretly trying to sabotage the crime gangs her mother in funding.
and she’s actively fraternizing with aliens in public.
and there’s the whole blah blah i just want to do good blah, which in the context of being a capitalist libertarian is so much whatever BUUUUUUUUUT.
“you can’t live in fear. you more than anyone must understand that. time and again you risk everything to see justice done, is it so hard to believe that i feel the same way?” AND THEN, “are you one of those people who thinks there’s no such thing as a good luthor?”
WHAT DOES SHE KNOW ABOUT HER MOTHER’S INVOLVEMENT WITH CADMUS? because i’m pretty sure it’s something.
so is she trying to bring her mother down, or is she about to get a rude awakening that will drive her into the arm of team supergirl. i honestly can’t tell at this point, and i love iiiiiiiiiiiiit.
PLUS SHE’S A GIANT SCIENCE NERD, ALL MY DREEEEEEEAMS WERE NEVER THIS WILD.
i ship them so much oh my god.
KARA AND HER ALIEN CHILD
mon-el’s first day of school work! kara you nerd, i’m surprised you didn’t buy him a lunchbox. tbh, i’m still loving the hell out of their entire storyline and the way it’s being used to forward kara over and above everything else, like god this show how you do me so right.
that mon-el is as bad a liar as kara, but also less manipulative (bribery coffee!) is interesting, especially in light of the whole kryptonians are snobs vs daxamites are party boys.
once again kara’s grossed out by humans and aliens doing the sex thing, my sweet little prude.
no strip clubs for you, little daxamite!
“that was close.” “yeah, for their car.”
they finally put some of the cgi budget into showing kara carrying someone for real!
everything about winn and james, including and most especially winn poking james in the bruised ribs
Me, I think that RTD is a better writer than that. Rose may have been insecure from time to time, especially when she felt her relationships threatened, but I never got the impression that she considered herself worthless, or rubbish. She may have said that she had no future, but that was less about self-worth and more about her feeling that she was living in a holding pattern with no real purpose. Martha was *highly* confident, challenging the Doctor to “earn that title” in her very first episode, striking down racist scorn in the exquisite “bones of the hand” scene, organizing an entire planet against the Master, and finally laughing in his face when he’s foolish enough to think that she plans to beat him with *his* tactics (superweapon of great power, complicated plot, etc) rather than the quintessentially Doctorish move of empowering someone else. If anything, Martha’s confidence is initially shaken by the Doctor’s hot and cold running mixed signals.
No, the only companion whose story fits the simplistic narrative in that post is Donna. And let’s not forget, Donna’s arc is a *tragedy.* Donna—let’s be clear about this—is a genius. She has pattern recognition skills that would make Sherlock Holmes forget to condescend. She spots alien infiltrators by noticing the lack of human imperfections in their personnel files. She instantly grasps the relationship between biology and behavior and is able to extrapolate critical information about an alien species. She works out an alien dating system based on patterns alone. But she firmly believes that the only thing keeping her from being totally insignificant, and totally ignored, is her willingness to turn up the volume until people are forced to notice her out of sheer annoyance. The Doctor repeatedly praises her insight, and she repeatedly brushes him off. In the end, when faced with a choice between losing some memories and dying, she *chooses dying*—she genuinely thinks that without the Doctor’s influence and the infusion of Time Lord traits, there’s nothing in her worth saving. The Doctor goes on to commit one of the more viscerally filthy acts of a distinctly checkered career, because all of that affirmation, all that praise—it didn’t work. We all thought that “Midnight” was the worst way the Doctor’s voice could fail him. We all thought wrong.
Other people have discussed the Moffat side of the post in a lot of detail, calling out its inaccuracies, but I want to point out the one that I found most glaring: the Doctor never actually called Clara a needy game-player. That was her description of *him.* He misinterprets it as a self-portrait, and begins to assure her that he doesn’t mind a single one of her personality flaws and doesn’t want her to change. It would have been a very affirming statement, if it hadn’t led immediately to the realization that they were in a trap. His later statement that Clara is a control freak is not actually an insult either, or at least not an intentional one; it’s part of the traditional Doctor Who “you have critically underestimated one or more brilliant humans, and now you’re in the soup,” speech.
In short (way, way too late for that), neither RTD nor Moffat are writing the overly simplified story that the OP outlined. They’re both better writers than that. Thank God.
EDIT: Your other anonymous is, of course, correct. I have not seen “Deep Breath” since I saw it in the theater, and I forgot who had that particular line of dialogue. I believe, however, that not only does my point about RTD’s writing stand, but my larger point about Twelve still holds up. He offered the description, when prompted, but as soon as Clara appeared to *accept* the assessment of herself as an egomaniacal, needy game-player, he assured her that he didn’t want or need her to change.