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Docteur Qui

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Posts posted by Docteur Qui

  1. 16 hours ago, Jay said:

    I thought the sequence that got us from Jimmy leaving Marion's house and finally getting caught was poorly staged and just kinda clunky and weird.  The Omaha police were immediately on him like white on rice and I really feel like he would have had tons of time to safely escape them in time


    There was a CCTV camera right near the dumpster that Jimmy was hiding in, which is revealed in the shot looking down while the cops surround it with their guns drawn. I took that to mean that as soon as they located his car and house they were able to track him through the CCTV. The idea of them doing that in real-time is admittedly a bit far-fetched, especially for 2010, but not completely unbelievable.

     

    Great finale. I’d say better than BB, and in many ways righted some of the moral “wrongs” of that finale (like Walt going out almost heroically) - I was relieved but not surprised that the show far more concerned with legal drama and consequences ultimately ended with a courtroom and justice being done. Look forward to thinking it over more in the coming days.

  2. Great write-up @Jay, I also agree with the reading that Gene's recklessness implies that he wants to get caught; it's not exactly within his wheelhouse to turn himself in so he's kind of taking Kim's advice but the only way he knows how to. He knows punishment is in the horizon, but by taking things further and further he's intentionally making the punishment more severe for himself because he knows he deserves it. It's also very much like a secretive drug/alcohol abuser acting more reckless as a cry for help.

     

    8 hours ago, Jay said:

    We'll never know, because of course instead Marion figures out who Gene is.  Holy cow, that final scene was something else.  I loved that he gave one beat of "that's not me", before turning pretty quickly into intimidation mode; That brief period when he was holding the telephone cord like a choke wire was something else.  I liked that sanity prevailed, and he didn't do anything to this poor old lady - I'd like to think his previous experience with elder care and Irene in particular played a part here.

     

    Thanks for pointing out his line "that's not me"; I just realised that is a great way to read Gene's expression just after Marion says "I trusted you" and he realises the weight of what he's doing. The horror that passes his face in that moment really sells the internal struggle that we're watching - who is this man, and who does he see himself as? After Jimmy, after Saul, after Gene, who do we have left? Huge shoutout to Carol Burnett for turning in a heartbreaking performance this week. It's phenomenal to watch these two comic giants, known for their wit and warmth, show off their dramatic chops.

  3. 15 hours ago, Naïve Old Fart said:

    I've not seen CUCUMBER, but I like QUEER AS FOLK.


    Cucumber is a spiritual sequel to QAF, it’s a story about middle-aged gay men in the years after their sexually charged party days are over. It’s got all the hallmarks of RTD; biting humour, raunchy jokes bordering on obscene, and absolutely harrowing tonal shifts from hilarious and awkward to completely devastating. Plus the characters are equal parts endearing and frustrating. I really liked it.
     

    There was two companion series to go with it, Banana which is an anthology format, a bit lighter and featuring a younger queer cast, and Tofu which is a documentary series. All three are about queer sex, with their names referring to the distinct states of the penis’ hardness. Worth the watch while being flawed and a bit rough around the edges; I kind of see all three as RTD working through many of his feelings about sex that he would later encapsulate perfectly in the exquisite It’s A Sin.

  4. On 09/08/2022 at 11:52 PM, JoeinAR said:

    David wanted to check out the new "gay" series Uncoupled. It might be the worst show I have ever seen.

     

    Agreed. Made it three episodes in before I gave up, I couldn't stand it. Once I found out it was from the creator of Sex and the City it all made sense though. All the jokes were so dated; they would've been cutting-edge in 2001 but not in 2022. The worst part is that all of the references and depictions of sex are so clinical and puritan, but the show acts as if it's the raunchiest thing in the world. Bizarre. The entire premise of this show was done much earlier, much better and with much more fun when Russell T Davies made Cucumber. Check that out instead.

  5. 1 hour ago, Anthony said:

     

    I recall Saul being sleazy comic relief. Someone who put on a big show but who was ultimately scared and harmless.

     

    Now what feels like out of nowhere, he's gone full Heisenberg.

     

    I would draw the line at comparing him to Heisenberg. For starters he's never taken a life, although he appeared to come close (twice!) in this episode. In fact I think the fact he didn't is very important to note. Even if the cancer patient guy hadn't woken up we don't really know whether or not Gene would have still gone through with hitting him in the head. It's chilling that he came that close, but it's important to make that distinction. And while threatening Marion in her own house was downright shitbag behaviour (and grounds alone for why he really does need to be arrested and jailed), he didn't physically hurt her.

     

    My view is that this is the absolute worst, lowest point of this character. The reason we never saw Saul or Jimmy do anything as bad as this before is deliberate; this is the ultimate consequence of Jimmy's refusal to deal with his emotional trauma and subsequent "using" (to use the addiction metaphor that the show implies) of the Saul persona. It's no coincidence that it's Marion of all people who is present at this low moment; it's a direct link to his time with the Sandpiper residents in season 2. When he alienated Irene from her friends it was horrendous to watch, almost unforgivable, saved by his last ditch effort to throw himself under the bus and reconcile things. This all shows us how far this man has fallen, and while it's not pleasant to watch he's still nowhere near the monster that Heisenberg was.

     

    1 hour ago, Anthony said:

    I thought the falling pillar was hilarious - how you think it’s going to come crashing down, but it just stops with this pathetic “thump”.

     

    Agreed, a very funny moment, and one of many. Last week I felt there was very little humour so I was happy to see it this week. It's also a poignant metaphor for the fall of Saul Goodman and the muted, drab life of Gene. Not with a bang, but with a whimper.

     

    1 hour ago, Anthony said:

    I saw some reviews saying Jeff was smart enough to crash the car to create a diversion for Gene to escape. But my interpretation was he freaked out over what turned out to be literally nothing.

     

    Yeah I'm with you on that, to me that was clearly Jeff freaking out. Another very funny moment.

     

    1 hour ago, Damien F said:

     

    As you say, her life itself isn't too bad. What is bad is the wasted potential. She is a person who is capable of single handedly dealing with the legalities of a major bank expansion or helping vulnerable people in court but instead she has a job that just uses a fraction of her talent and intelligence.

     

    I was so compelled by Kim's staunch refusal to show any kind of decision-making throughout that whole sequence. Over and over again she defers to whoever she's talking to: "I dunno, what do you think?" etc. It's Kim both living a humble life of penance, but also holding back the incredible drive and headstrong nature inside her. She doesn't even trust herself to have an opinion on Miracle Whip for fear of slipping back into her old ways. 

     

  6. I can totally see where the gripes about the structure of the season or the gap between BCS and BB are coming in here, but for me I think the idea behind it is that nothing particularly significant happens after Kim leaves, at least not dramatically. We've seen all we need to see for what transpires next. The time jump at the end of "Fun and Games" shows us everything we need to know: after Kim left, Jimmy completely commits to the Saul persona; filling his day from start to finish with non-stop noise, phone calls, distractions, work, sex workers etc. all so he doesn't stop and think for even a second about Howard, Kim or Chuck. We don't see the aftermath of "Fun and Games" because Jimmy won't let there be an aftermath: he's pushed it all down underneath Saul.

     

    The reason we're spending so much time with Gene is because for the first time since Kim has left he hasn't got Saul to hide behind, just the slow, achingly lonely existence of the Cinnabun manager alone with his own memories. This is the aftermath of "Fun and Games", it's just come years later than it should have.

  7. 5 hours ago, JohnTheBaptist said:

    There were no blanks, and if this show had never been made then you wouldn't be talking about blanks in that scene of BB. I've seen a LOT of breaking bad discussion over the years, and I've never seen anyone confused by that particular scene. 


    I think you’re misconstruing what I said - I didn’t mean to imply anything about Breaking Bad having confusing plot holes that BCS has filled. I just meant that in terms of showing us scenes that weren’t in BB they chose a good place to put them. The “blank” (or gap) I’m referring to is right after Saul meets Walt and Jesse for the first time but before Saul meets Walt in the high school and offers to work with him for a cut of the profits. The new scenes don’t tell us anything more about Walt or Jesse, and not should they, as we’re not watching their story as it’s already over. But they do tell us a huge amount about Jimmy/Saul/Gene, and arguably reframes the way we see his character as depicted in BB while also setting the table for Gene’s actions. Its placement in this episode intercut with the Gene scenes deliberately highlights its significance, inviting us to understand why Gene is acting the way he is.

     

    In terms of whether you like those choices or not, that’s entirely subjective. But to claim it’s anywhere near as bungled as late GOT (which I’ll also defend, while acknowledging that it’s deeply flawed) is to me missing what the show is trying to tell us about the man we’re watching.

  8. This is an excellent conversation! Thanks for sharing. So wonderful to hear Williams speak so vividly and jovially, the man's mind (and wit) is as sharp as ever. Loved the anecdote about calling his father "vibes", haha.

     

    I also appreciated the interviewer, great questions. And I'm really glad she acknowledged the fact that live to projection concerts wouldn't be a thing if it wasn't for JW's scores. It's a legacy that none of us really saw coming but will be standard practice for years to come, propping up orchestras and keeping them more popular than ever.

  9. Not to my knowledge, which is a shame because she's certainly reaping the benefits of having such an incredible sonic brand for her empire!

     

    Still sour at the fact she vetoed Williams' original plans for the Children's Suite from Philosopher's Stone, it could've been a wonderful project in the vein of Benjamin Britten's Young Person's Guide to the Orchestra. While I respect that she didn't want Potter to be used for educational purposes, the fact is that it would've been an exceptional way to introduce a new generation to the orchestra and further establish Williams' music as valid within the classical canon and as standard repertoire for the symphony orchestra. Thankfully the Live to Projection concerts have all but done that anyway, and you'd be hard-pressed to find an orchestra around the world that hasn't performed sold-out concerts featuring his music.

  10. I’m more curious about the other book from the 601 cold open - HG Wells’ The Time Machine. My theory: after Kim’s departure Saul obsessively reads the book again, this time in order to go back in time and prevent it from ever happening. The reason he works for Walt is so he can use his scientific knowledge to create a time machine and-

     

    F7F004CE-82A1-42F0-A221-947444703B2D.jpeg
     

    lol not really. But man, I’ve been reading some pretty dumb theories on the BCS subreddit lately.

     

    Can’t wait for the next ep. When do the episode posters/artwork usually come out?

  11. 20 hours ago, Koray Savas said:

    The show is rated TV14 in the US.

     

    Seasons 3 and 4 are MA15+ here in Australia (the first tier of legal restriction, minors under 15 must be accompanied by an adult etc, equivalent to R in the US I guess). So yeah, the show is not really for children anymore, and you could argue it never really was even considering how young the cast was back when it started - it was clearly aimed at Gen Xers and millennials when it debuted IMO.

  12. 8 hours ago, Marian Schedenig said:

    TTW is all over Moffat's Who (think River Song), and has been cited as a major inspiration. That's what made me read it. I haven't seen the series yet.

     

    Apparently the book's author very much enjoyed The Girl in the Fireplace and in her next novel the episode is referred to in one of the chapters as a cute little nod. I must get round to watching the series, but I'm more looking forward to Inside Man which sounds fantastic.

     

    I'd love to see Moffat pen the occasional ep in the new series. Just let him have fun with the toys without the pressures of having to keep the wheels on the whole thing spinning. I'm sad that we never got to see a RTD-penned script in his era; he was slated to write a two-parter surrounding a trial for Davros, but it didn't work out and eventually became The Magician's Apprentice/The Witch's Familiar.

  13. 7 hours ago, SpaceCoyote said:

     

    Kim placed her glass safely in the center of the ledge, while Jimmy put his so close to the edge that some of it was hanging off. In season five, Kim throwing bottles off her apartment balcony showed that she was becoming reckless, similar to her starting to smoke inside (they'd previously placed bottles on the balcony ledge, which was itself an indicator of getting less and less concerned with consequences). The shot in 6x09 could intend to show her state of mind: she's back to playing things safe and striving to be on the straight and narrow. Jimmy is once again the one teetering over a cliff, and he's about to fall off and break.


    I love this, agree with Jay, brilliant catch!

     

    I’m going to miss combing over the details of this show here, I always learn so much. What a gift it is to have a show so layered and oozing with extra meaning. 

     

    While on that note though, I’m glad I never put too much stock in the exact dates within this show, because it sounds like a nightmare to reconcile!

  14. I think Gold should return for the specials in 2023. It'd be pretty amazing to let him wrap things up musically so to speak - I don't really feel like he got that opportunity in series 10. Moffat had a bad tendency to track in previous music instead of original material Gold wrote (Day of the Doctor could've been something really special if that hadn't happened), so I'd love it if he got that chance to give us all his Doctor themes one last time. Especially if Smith and Capaldi do end up making appearances as well - I salivate at the thought of hearing "A Good Man" and "I Am The Doctor" again.

     

    After that though it's definitely time for a new composer. But whoever it is I hope they pick up Gold's mantle and push for a bigger orchestra with colourful orchestrations. Akinola nailed the brief in terms of delivering a contemporary hybrid score suitable for television, but suitable doesn't really cut it for Doctor Who. Who knows (heh) what he'd have done if he wasn't being pushed to make the score so dull - I've heard other stuff of his and he's definitely capable of it. RTD at least seems to understand how important scoring is beyond the mere functional, so that's encouraging.

  15. 8 hours ago, Anthony said:

     

    On rewatching, the scene is fine. Heck, it was a good scene even the first time I saw it. I was just acutely aware of how few episodes there are left and was thinking "don't spend time introducting new characters when we've got such little time remaining with the existing ones".

     

    I get the feeling that's pretty much it for Gus' storyline, so that's why it does work for me. I can't really see him or Mike having anything major left to do for the rest of the show now that we're firmly in Saul/BB territory - anything interesting or revealing about either of those characters is already there in Breaking Bad. Both Gus and Mike had moments in this episode that were both capstones to their inner conflict, and turning points putting them on the path to their eventual fates.

     

    Aside from plot reasons, the point of Gus in Better Call Saul was to further shade the character as he appears in BB. This episode was very succinct in giving us what we need to know about Gus: his single-minded drive to consolidate power and destroy Don Eladio and the Salamancas. We were told that in BB, but BCS actually shows us, using the restaurant scene as the moment Gus not only fully commits to this goal, but also as the gestation for his plan to poison Eladio.

     

    Same with Mike; we know from BB that he is a highly skilled and intelligent asset to Gus with a dark past. But given everything that Gus has made him do over the years, why still work for him? Mike's scene with Nacho's father shows us: because despite his insistence that he's a hitman with a conscience and a moral code he knows deep down that he's doing evil, and he can never truly be redeemed for the damage he has caused. So he sticks with what he knows, and keeps earning the money to compensate for the future he robbed his granddaughter of.

     

    There's a sense of futility to all of this, which is enhanced by our knowledge of what happens to these characters. What matters is how we see these characters react to the realisation that they're on the Bad Choice Road and there's no getting off.

  16. 5 hours ago, artguy360 said:

    I love JW's SW transition music. I feel like the sequel trilogy didn't have as many great scene transition highlights though. Am I wrong?

     

    You're absolutely right. Some of the best things JW has ever written are fanfares or amazing thematic variations for otherwise boring shots of ships taking off and landing. The sequels were too slick for their own good!

  17. 8 hours ago, Jay said:

     

    I think you are way overthinking a short scene mean to be funny and introduce us to a new season.  There wasn't any deeper meaning to it and these characters are all unimportant ones

     

    It's not overthinking when it's pointing out a systemic problem that the show has with its tone, message and gratuitous use of sexual violence. I used that scene as an example, but there's multiple others.

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