Friday night is music night
I may have been a bit incoherent last night about The Brothers Bloom. What I was getting at was that it's good (I'm not going to say you should see it, because I'm a wuss about making blanket statements like that about films, but I included the link so you can see if you think you'd be interested.) My excuse for the incoherence is that I was off to watch the Glee finale and then The Mentalist.
Glee: Journey I was reminded of Bring it On again, suddenly, when I haven't thought of this show in conjunction with the film, but I always took issue with the order of that film (save the Big Number for last to help with the feelgood factor). Granted, it would have been unbelievable to have New Directions do anything better than they did on the stage (seeing as they never rehearse and only agreed the set list a week before Regionals!? And what they did only seemed based on a morning's rehearsal, so I didn't think they should have even thought they were going to win, although I hope that Jesse didn't have a solo n the other songs that they did, otherwise wouldn't that undermine the choral accent). And though I wasn't in tears at the Will/Choir sentiment, they pulled off the humanisation of Sue well, and Oliva Newton John was game if not very good as What Sue Maybe Didn't Want To Be, and Beth going to Rachel's mother worked well. I wasn't sure about what the juxtaposition with Bohemian Rhapsody was actually saying about birth (that is, I disliked what I thought the juxtaposition was saying while laughing). I'm glad they got 'another year' although this had to be one of the shows least in doubt of cancellation for most of its freshman run so there was zero dramatic tension.
Maybe next year Kurt can design the costumes and they can come up with a more DRAMATIC theme. I hope 'aural intensity' were played by an actual show choir. I didn't love the Will-Finn 'I love you's. Next year then, Victor Garber had better come back and sing. Maybe the two boys who dance could leave more of an impact and I hope that the promise of Santana and Brittany being credited means more of them. I would also like Scott Grimes to guest star as Emma's brother, and I'd also like Hugh Jackman to appear too.
Anyway, it's been exhilarating and exasperating.
The Mentalist 2.18
Me at the end: Oh Lisbon, even I know you need to hug her.
What's with the women choosing their careers over their romances = not good subtext? I mean, seperately, I can see why they did it, but it all adds up to something dispiriting. Van Pelt/Rigsby make me glad I'm not shipping them (I'm not not shipping them but don't care that much, but shipping a canon couple doing the on again off again dance would do my nut in). Their recent coming back together and this consequence is partly because of the Hightower-Lisbon and Hightower as threat to Jane's team, but because they're not going to separate the team (unless if this show also indulges in sexist 'creative' cast culling) we came to this. (And the shippers can expect more along those lines) I don't know how Van Pelt thinks that dumping Rigsby isn't going to make things difficult, BTW.
And then we have Lisbon being frustrated (i.e. angry. I bet this is like the fist time she's ever had a 'corrective memo') with Hightower because her job means so much to her. Cue the ranger take down, although he shoved at her, so he deserved it. I liked how they played the 'don't protect me'/'when Lisbon's not happy, I'm not happy' stuff. Low-key stuff like that is enough for the shipper in me to take and run with quite happily.
OF COURSE Rigsby and Cho got slightly lost. I also loved the 'Really? Now?' from Lisbon after Rigsby and Van Pelt came back from their well-lit nookie.
Glee: Journey I was reminded of Bring it On again, suddenly, when I haven't thought of this show in conjunction with the film, but I always took issue with the order of that film (save the Big Number for last to help with the feelgood factor). Granted, it would have been unbelievable to have New Directions do anything better than they did on the stage (seeing as they never rehearse and only agreed the set list a week before Regionals!? And what they did only seemed based on a morning's rehearsal, so I didn't think they should have even thought they were going to win, although I hope that Jesse didn't have a solo n the other songs that they did, otherwise wouldn't that undermine the choral accent). And though I wasn't in tears at the Will/Choir sentiment, they pulled off the humanisation of Sue well, and Oliva Newton John was game if not very good as What Sue Maybe Didn't Want To Be, and Beth going to Rachel's mother worked well. I wasn't sure about what the juxtaposition with Bohemian Rhapsody was actually saying about birth (that is, I disliked what I thought the juxtaposition was saying while laughing). I'm glad they got 'another year' although this had to be one of the shows least in doubt of cancellation for most of its freshman run so there was zero dramatic tension.
Maybe next year Kurt can design the costumes and they can come up with a more DRAMATIC theme. I hope 'aural intensity' were played by an actual show choir. I didn't love the Will-Finn 'I love you's. Next year then, Victor Garber had better come back and sing. Maybe the two boys who dance could leave more of an impact and I hope that the promise of Santana and Brittany being credited means more of them. I would also like Scott Grimes to guest star as Emma's brother, and I'd also like Hugh Jackman to appear too.
Anyway, it's been exhilarating and exasperating.
The Mentalist 2.18
Me at the end: Oh Lisbon, even I know you need to hug her.
What's with the women choosing their careers over their romances = not good subtext? I mean, seperately, I can see why they did it, but it all adds up to something dispiriting. Van Pelt/Rigsby make me glad I'm not shipping them (I'm not not shipping them but don't care that much, but shipping a canon couple doing the on again off again dance would do my nut in). Their recent coming back together and this consequence is partly because of the Hightower-Lisbon and Hightower as threat to Jane's team, but because they're not going to separate the team (unless if this show also indulges in sexist 'creative' cast culling) we came to this. (And the shippers can expect more along those lines) I don't know how Van Pelt thinks that dumping Rigsby isn't going to make things difficult, BTW.
And then we have Lisbon being frustrated (i.e. angry. I bet this is like the fist time she's ever had a 'corrective memo') with Hightower because her job means so much to her. Cue the ranger take down, although he shoved at her, so he deserved it. I liked how they played the 'don't protect me'/'when Lisbon's not happy, I'm not happy' stuff. Low-key stuff like that is enough for the shipper in me to take and run with quite happily.
OF COURSE Rigsby and Cho got slightly lost. I also loved the 'Really? Now?' from Lisbon after Rigsby and Van Pelt came back from their well-lit nookie.