1- Rivers of London/Midnight Riot- I read the series the end of last year and liked it a lot. Great world building, especially in the first book.
2- White Collar. UGH. Every single other reaction I've seen is flaily fangirling OMG and I was so, so SO happy to see yours because.... yeah. Contrived, not surprising and unimaginative. The new boss was obviously in the senator's pocket but was written/acted ridiculously terribly (allowing someone, ANYONE, in the immediate area of an active investigation? I don't think so). And the timeline of the episode made no sense. How did Neal, who was being looked for and known on sight by most of the FBI AND wearing his traditional suit and fedora, get out of the building and to June's and manage to find the incriminating evidence before Sam showed up? For that matter, how did Sam get out of the building? And the timing aspect of what was supposed to be extra dramatic, Peter being taken out in handcuffs just as Sam left, was ridiculous and made no sense.
Show, I want to like you, but you make it hard. (I don't *dislike* it, these sorts of contrivenesses just make me feel MEH and slightly annoyed)
everything i've heard about the rivers of london books has been good. word of mouth is a powerful thing and i'm verrrrrry suggestible. :D
i've only seen twp wc reactions - one was along the lines of WHAT DO YOU MEAN WE HAVE TO WAIT UNTIL THE FALL TO FIND OUT WHAT HAPPENS?? and the other was another "wow, that was contrived". i don't think the writers know how to write drama and tension without all these ridiculous, badly-thought-out, hand-wavey plot contrivances. unimaginative is a good word for it.
1- Rivers of London/Midnight Riot- I read the series the end of last year and liked it a lot. Great world building, especially in the first book.
2- White Collar. UGH. Every single other reaction I've seen is flaily fangirling OMG and I was so, so SO happy to see yours because.... yeah. Contrived, not surprising and unimaginative. The new boss was obviously in the senator's pocket but was written/acted ridiculously terribly (allowing someone, ANYONE, in the immediate area of an active investigation? I don't think so). And the timeline of the episode made no sense. How did Neal, who was being looked for and known on sight by most of the FBI AND wearing his traditional suit and fedora, get out of the building and to June's and manage to find the incriminating evidence before Sam showed up? For that matter, how did Sam get out of the building? And the timing aspect of what was supposed to be extra dramatic, Peter being taken out in handcuffs just as Sam left, was ridiculous and made no sense.
Show, I want to like you, but you make it hard. (I don't *dislike* it, these sorts of contrivenesses just make me feel MEH and slightly annoyed)
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i've only seen twp wc reactions - one was along the lines of WHAT DO YOU MEAN WE HAVE TO WAIT UNTIL THE FALL TO FIND OUT WHAT HAPPENS?? and the other was another "wow, that was contrived". i don't think the writers know how to write drama and tension without all these ridiculous, badly-thought-out, hand-wavey plot contrivances. unimaginative is a good word for it.
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