Showing posts with label Manhattan. Show all posts
Showing posts with label Manhattan. Show all posts

Once Upon a Time "Manhattan" Review: In the Name of the Father

Once Upon a Time S02E14: "Manhattan"


Oh Once Upon a Time, what are you doing to me? Like a fickle, chain-smoking French girlfriend in a black and white movie, you drive me mad with love and frustration. This was obviously an important milestone episode, and it set up a clear-cut and nicely conflicted trajectory for all the major characters, and yet why do I feel we should have landed here, on this excellent episode, in the middle of Season 1? Should it really have taken us all a full two seasons to reveal that Henry's dad was Mr. Gold's son—something you commenters and myself have been discussing as a given since about four episodes after the series premiere.

As many strides forward as we made last night (Henry met his dad! Mr. Gold found his wee Bae! Cora got a blowout and a pantsuit!), you just KNOW we're going to spend the next few weeks finding out, like, why Smee's hat means so much to him or why Tinkerbell has allergies or whatever. Again, like a fickle French movie girlfriend OUAT gives you one magical night you'll never forget interspaced with three weeks of sighing in a corner, writing slam poetry about her dad and ashing into a Mountain Dew bottle.

But I'm digressing. Let's celebrate OUAT at its best and most ridiculous, because it was both last night, starting with the line, "My weaving days are behind us!" when Rumplestiltskin came barging into his own house with an exquisitely calligraphy'd draft notice. LOL, he was like, a weaver for realz before he became magical. Mila, learning that her beloved husband had been called to the front, immediately started worrying that he'd act like a coward on the battlefield. Because Rumple's dad was a coward? Are cowards still a thing? Certainly in this day and time we'd interpret "coward" differently than someone who, say, didn't want to bare-knuckle fight a herd of ogres, and our cultural model for masculinity has more to do with avoiding adult responsibilities than embracing them yeah, even unto death, but whatever. To follow Young Rumple's thread (LOL he did not look a day younger in the flashbacks, they don't do shit for age makeup for guys because no one calls guys out on aging the way they do with women, haha I am going to have a face full of plastic in another 15 years and it's all society's fault), he excitedly got dressed up in a chainmail gown and went to the front and then got spooked by a Seer.

I know one thing this Seer saw for sure, and that is Pan's Labyrinth. Look at this blatantly ripped off character design! Good God, subtlety zero, you effing image plagiarists! ABC better hope and pray that Guillermo del Toro's lawyers don't watch OUAT because as far as I know Esperanto films isn't a Disney property.

Anyway, Rumple was so spooked at the idea of abandoning his wee baby that he pulverized his own leg with a sledgehammer and then rolled around screaming in pain as only Robert Carlyle can. Hey, Carlyle, we know you're a for-real actor but this is basically a children's show. Maybe tone it down a little? Yikes.

It got really long and awkward and raw, and then he limped home to find out that his child had been born, but Mila had heard about his cowardly ways and, much like Jane Fonda in Coming Home, it turned her way off. Instead of being glad her hubs was alive and well, she plopped the kiddo in his arms and headed out to find some new dick, which as we already knew would arrive aboard some tailored leather pants.

In Storybrooke, those same exact leather pants were making tracks around town as Hook refused to modernize his wardrobe. While Cora had picked up a copy of Glamour magazine and gotten herself on-trend, Hook was still rocking the guyliner, lacy cuffs, and slouchy boots of a true cosplay maniac. He, Regina, and Cora spent the episode basically twirling their mustaches and looking for Rumple's dagger so they could use the Dark One to kill all the Charmings. Sure, that's a fair-enough conflict, although by far the evil-est thing Regina did last night was go through Belle's purse.

The crime would have been the punishment if she had tried that with my purse, such a whirlwind of lint and small change and yes, a smattering of boxcutter blades. I absolutely loved the reveal that sneaky, morally ambiguous Ethan Embry had caught a video of this on his phone, though of course with the special effects and word-of-mouth marketing campaigns popular today he'll have a hell of a time convincing people it's not just a viral video tampon commercial.

Anyway, now that we're 700+ words in, it's time to get to the real meat of the story, namely that Emma found Mr. Gold's son and learned he was also the car-stealing shower thief she'd had unprotected fun times with all those years ago. The element of surprise was not present, because this was something we'd all predicted and yes, even started to take for granted in our predictions for the season. But the show still gave the moment a huge music sting like it'd BLOWN OUR MINDS. No, no we knew this was coming from way back, but the meeting of Emma and Bae and the reveal to the characters was handled in a completely gratifying way, if only because of Jennifer Morrison's performance.

Emma seemed legitimately shocked and horrified and happy to see her old flame, and the two actors across from each other in the bar made an implausible scene one of my favorite moments of this season to date. Seriously, all praise is due the actors in this case because some of the lines they had to say in a stricken tone of voice included "Your father Rumplestiltskin," and "You left me because Pinocchio told you to?!" and no lie, that is not easy. Try saying either of those lines, right now, with a straight face.

Still, they really pulled it off and I loved how Bae called Emma out on still wearing his keychain, and she had the perfect response, that it reminds her not to trust people BURRRN. Less successful was the reveal of what August had in his plot-spackle box that convinced Bae to abandon the love of his life to jail.

Like, what? Writers, why are you so hideously lazy? That August couldn't just have said this sentence aloud is the first thing wrong with this picture (anyone overhearing someone say "I know you're Baelfire" in an alley would immediately think, "These tranny hookers and their stage names!" and roll over and go back to sleep). Secondly, to see that sentence and then have absolutely no follow-up questions, as you will remember from the episode, is mind-boggling. Also, what does August knowing he's Baelfire have to do with August knowing what's best for Emma? None of that makes a whit of sense. Plot coupon NOT redeemed. Plot coupon EXPIRED. Take that plot coupon and get out of my store.

It was touching that Bae had kept Emma's dreamcatcher out of love for her all these years (cause he sure didn't keep it because it looks cool), and I loved when she reacted to it after a little B & E with Gold, and that Gold immediately confronted her on knowing more than she was saying about Bae. And then of course the climactic scene of Bae coming in and Mr. Gold being all warm but sad at the same time and big feelings looming between Emma and Bae and suddenly Henry came in and Bae was all, tears in his eyes, "How old are you, kid?" and suddenly Henry started shrieking "ELEVEN!!! ELEVEN Y'ALL MOTHERF-CKERS AAAHHHHH I HATE Y'ALL SO MUCH!!!" Like, take two kid, take two, maybe try that with a touch less rage. What was the direction there? "In this scene, Henry, you're just so confused and so riled up you just start screeching like a banshee. I want the people two sets down to hear you scream 'Eleven'. Then you calmly walk over to the window and hop out."

I'm going to skip over pointing out that Manhattan was green-screened behind them because it's apparently more expensive to recreate than a legit enchanted forest and talk about how gray and heartbroken Emma looked when Henry said she was just like Regina, who had always lied to him. Emma take heart, Henry is a master emotional manipulator who punches holes in Regina's ego as a hobby, so don't take him too seriously. Also, I can kind of see Emma's logic in concealing her past from Henry because OMG, is her backstory with Bae seedy. He framed her for stealing watches! Emma went to jail for stealing watches! Like, watches!? Something about that is just so embarrassingly smalltime. Couldn't the booty at least have been like a nice painting? Something a little classier? No wonder she wanted Henry to believe he was the product of a pity-sex sesh with a firefighter.

While Emma patiently endured a tongue-lashing from an 11-year-old, Bae and Gold had a tete-a-tete in which Bae got really touchy about that one time Rumple let him fall through a portal into the modern world (and presumably a life of embarrassingly smalltime crime). How could he ever, ever forgive his dad for abandoning him?! Except, isn't that exactly what he did to Emma? Totally abandoned her to jail and a broken heart for um, 11 years?

There was a lot of talk this episode about abandoning your child, which literally every character on this show has done (EXCEPT Cora and Regina, who are admirably ride-or-die for their kids), and of fate. I'd like (begin rant here) to point out that sometimes the feeling of "fate"—that you're fated to love someone, or succumb to some kind of morally questionable path—isn't so much the inexorable pull of destiny as being caught up in a destructive compulsive behavior cycle, of modeling the behaviors of your parents subconsciously, even if you consciously don't approve of them. Sure, it feels big and bigger than you and written in the stars, but it's actually just written in your brain chemistry. That Emma was abandoned as a baby and was drawn overwhelmingly to a man who would abandon her and her baby isn't fate, it's psychology. That Bae is angry at his own father for abandoning him but just found out he has a kid shows is really self-contradictory. Basically every good guy on this show needs to pull their nose out of their own ass and forget how hurt they are and worry about not passing their ill behavior to their own kids—which in everyone's case is ultimately Henry. Snow made this point herself on the phone to Emma before suggesting to Charming that everyone being related might "mellow everyone out." Optimistic! Didn't seem to work the last time you were all living in the same pointy house, tho. And who taught you the word mellow?

Suffice it to say, this was a waaay important—if not-at-all surprising—episode, and while there were plenty of ridiculous elements it was definitely one of the good ones. And if the show would just build off the momentum of this episode we could have a really stunning series to look forward to every week, but I feel like OUAT is fated to focus on filler.


QUESTIONS:

1. Have you ever found yourself in a relationship with someone and realized they were almost exactly like your mom or your dad?

2. How long ago did you figure out that Bae was Henry's dad?

3. Emma concealing the truth from Henry: unforgivable or the sensible thing to do?

4. Did August's typewriter reveal make you furious?

5. Will Gold try to kill Henry?

6. WTF how did Charming not realize people have more than one grandpa? What do you think he would score on the SATs?

7. What is Ethan Embry up to?

8. How long until Hook finds a men's H & M or something?


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Doctor Who "The Angels Take Manhattan" Review: It's Called Marriage

Doctor Who S07E05: "The Angels Take Manhattan"

And so it goes, the end of the Ponds on Doctor Who. This story was not one of the Doctor's sacrifices, not one of loneliness and corruption resulting from a lifetime of time travel, not even one of monsters, even though there were monsters in the form of the famous Weeping Angels. This story, the Ponds' last, was one of love and choices, and it rested almost entirely on Amy and Rory.

Like most of you, I absolutely adored "Blink," the episode that introduced us to the Weeping Angels. It's the episode that I insist people who "don't get" Doctor Who should watch, as it is a tremendously told, standalone tale of romance and mystery, of secret messages and terror. Plus there are statues that only move when you're not looking at them, and who doesn't love that?

The thing that I love about the Weeping Angels that somewhat got lost in their subsequent episodes, "The Time of Angels" and "Flesh and Stone," is that the Angels don't kill you. They simply send you back in time to "live to death" and feed off of your time energy. It's a somewhat bleak and interesting way to damn someone, and it got a lot of attention in this episode.

The basics are that the trio was reunited with River Song and the Angels in New York City, and weirdly, their exploits were being tracked and foretold in a book that the Doctor was reading. The Doctor, we learned, always rips out the final page of a book so that the story never ends. No surprise there—he hates endings, he hates seeing his companions age, he hates anything that reminds him of how timeless he is and how mortal the rest of us are. He especially hates that he can do nothing about it. When Amy skipped ahead in the book to check on Rory, who'd gone missing, the Doctor was horrified and insisted she stop. You cannot rewrite time once you've read it, it seems. This is the new "no spoilers."

Side note: I was so happy to see River return! She is such a dynamic powerhouse of a woman.

After River freed herself from an Angel by breaking her own wrist and then lying to the Doctor in an attempt to convince him that they'd changed the future foretold in the book, she clued us in to what marriage means in one of the most moving scenes of this series. Why did she lie about her wrist? "When one's in love with an ageless god who insists on the face of a 12-year-old, one does one's best to hide the damage." "It must hurt." "Yes, the wrist is pretty bad too."

The Angels' newest tactic, it turns out, is to zap their victims into a hotel, where they live out the rest of their lives and the Angels can continually feed on their time energy. Rory, who had just seen himself die alone in the Angels' hotel as an old man, without his Amy, wanted to make a run for it and change his future, but the Doctor insisted that it would take a lot of power.

Not to be cheesy and quote Huey Lewis, but the power of love will do. The love of firecracker Amy and faithful Rory. They ended up committing suicide together in a dark but powerful scene, and given that we all knew the Ponds would be leaving, the mega-happy double date/family picnic scene that followed just felt foreboding and eerie. Especially when the Doctor casually mentioned that going back to the Angels' hotel might rip NYC apart and could never be done. An Angel appeared and sent Rory back to the hotel—you can't undo certain fixed events, and they'd seen Rory die in that hotel. Some things are inevitable, and the Doctor hates that too.

In an emotional scene where no one could take their eyes off the Angel, Amy decided that she would willingly let the Angel take her, in the hopes of seeing Rory again, even though it would mean never seeing the Doctor again. The Doctor begged her to reconsider, a fairly selfish thing for him to do, but she merely asked River to take care of him, tears streaming down her face. (Karen Gillan has said that those tears were completely real, and I believe her.) She said goodbye and was gone.

The episode closed with Amy's afterword to the book the Doctor had been reading, and to her story. She reassured the Doctor that she and Rory were happy, she pleaded with him to not travel alone, and she reminded him to visit the girl who waited. It was the story of Amelia Pond.

For me, this was an extremely touching episode that really highlighted the best parts of Amy's character—her feistiness, her sense of adventure, and her love for Rory. There were great performances all around, but I especially liked hers. I loved that she didn't struggle with her decision to choose Rory over the Doctor—she made her mind up and that was it. Her end wasn't a result of the Doctor's negligence, a quirk of time travel, or her weariness of leading a double life; her end came because she had to choose, and she chose her marriage.

My only complaint about the episode, outside of a few nit-picky time-travel/storyline issues mentioned below, was that the plot was barely affected by the Doctor. He seemed powerless to fix the problems that came up, from River's arm to Rory escaping the Angels, but perhaps that was for the best. It was Amy's story, and it came to a satisfying close for me. Sometimes it's not about the complexities of endless time travel—sometimes it's just about a girl faced with two men she loves and a choice to make.

We'll miss the Ponds, and now that they're gone, we're alone with our ever-unpredictable, damaged Doctor. I can't wait.

– Yes OF COURSE the Statue of Liberty would be a Weeping Angel, how could the show resist? I'm willing to bet the writers set this whole thing in NYC just to show that shot of a gaping, fanged Lady Liberty. It might have been a little silly, but try not to think about the huge issues it creates (did no one notice the Statue of Liberty had moved?!)—it wouldn't be Doctor Who without touches like this.

– How about a hand for the amazing evolution of Arthur Darvill's Rory? He went from being a mulleted afterthought of Amy's to being a fully developed, badass, hilarious character worthy of being chosen over the Doctor. His small gestures and reactions often stole the show, and I'm somewhat sad that we didn't get to say goodbye to him directly.

– The creepy giggling cherubs were a fantastic new addition to the Weeping Angels. I don't want the Angels to get overused and become the new Daleks, but I would like to see more of those little guys.

– Was River kidnapped at the exact moment she decided to show herself to Rory? I was a bit confused about why Rory was involved in her kidnapping, perhaps because River and her kidnappers were all wearing the same hats.

– Best line: "What are you doing?" "You know, texting a boy."

– An interesting side note, and possibly a set-up for future storylines, that the Doctor continues to be nonexistent in the databases of the universe. Did he do it so River would get out of prison? Why is he keeping such a low profile now? Why does the show keep bringing it up?

– I also found it interesting that River said she would travel with the Doctor for a bit, but not too long, because there should only be one psychopath per TARDIS. It's nice to see someone acknowledge the reality of how insane a timelord she would actually be. I'd love to see a bit of the two of them, left unchecked by companions. Maybe a Doctor Who After Dark?

Doctor Who "The Angels Take Manhattan" Photos

Are you satisfied with how the Ponds made their exit?


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