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Xuan ya zhi shang (2021)
good spy flick
This slick but convoluted spy picture follows a group of Chinese spies on a secret mission. There are twists and turns, smart good guys and smart bad guys, some stylish cinematography, and an odd mix of realistic world building and unrealistic James Bond-style action.
Unfortunately, I found it increasingly difficult to follow the story. This was probably mainly because I have difficulty with faces (prosopagnosia) and everyone in this movie looks alike and dresses alike. There are all these men in suits and fedoras who seem to be in their 30s. And all these women in their 20s with ponytails who also wear fedoras. I would just get so confused by who the good guys and bad guys were. The only character I could always recognize was the main bad-guy boss, because he was older than anyone else. And I could usually recognize the pretty teenaged-or-just-past girl. Outside of that, I got more and more lost as more and more lookalike characters arrived and died.
Normally I have other ways to know who's who in a movie, like personality or clothing or voice. But no one in this movie has a distinct personality and they all sound and dress the same. It's as bad as those American sci-fi films where every astronaut is a square-jawed alpha male with a crewcut.
In spite of this, I enjoyed the movie. It's far from Yimou Zhang's best, but it's entertaining. But if you have face blindness be warned that this is going to be a particularly tough movie to make sense of.
Kite Man: Hell Yeah! (2024)
Odd premise made surprisingly enjoyable
I was excited when I heard there would be a spinoff of the brilliant series Harley Quinn, and utterly perplexed that it was the annoying minor character Kite Man. I mean, really?
The first episode was cute but unexceptional, as it sets up the basics - Kite Man and his girlfriend, Golden Glider, who has a freaky power she can't control, are stealing for sustenance when they find their favorite bar imperiled and it becomes a whole thing. It was reasonably funny and intriguing so I kept watching.
And I got more and more into it. Like Harley Quinn, Kite Man mixes a genuinely sweet love story with nutty characters and disturbingly graphic violence. And in spite of being only mildy interested at first, I soon reached the tipping point where I just binge-watched the whole thing.
While Kite Man still seems like an odd series star, he is backed by a wonderful ensemble that includes a very funny Bane (who would seem to have been a better option for a spin-off star) and Darkseid with his very silly greek chorus.
The story was good, but like Harley Quinn it's really the likabililty of its off-kilter villains that makes it so engaging. Here's hoping for a season 2.
Oni: Kamigami Yama no Onari (2022)
fun animation but strictly for kids
I'm not going to rate this one, since I don't want to skew the ratings for something where I'm not remotely the target audience. This is aimed very much at young children, of which I am not one.
I watched this because the animation in the trailer looked cool, and the animation really is very good. There's also a wonderfully imaginative collection of characters - the weirdest I saw in ten minutes I watched was a guy with a water dish for a head who passes out every time his water splashes out, at which point someone has to refill it for him. Seems like an evolutionary dead end, but it's certainly creative.
I like a lot of cartoons that are ostensibly for kids, like Infinity Train or Pixar movies. But those films have a certain sophistication, whereas Oni has got that cute, simplistic kids vibe. It doesn't mean that nothing interesting will happen, or that there won't be a good story. It just means that my adult brain almost immediately said, "nope, not gonna watch *this.*
But if you've got a kid and want to watch TV with them, you could certainly do worse.
Flirting with Disaster (1996)
weird and fun
I didn't watch this movie when it came out, in spite of an amazing cast that included Lily Tomlin and Tea Leoni, because I heard it wasn't very good. I don't know who I heard that from, but I can certainly see people not liking this disheveled bit of weirdness.
But when I finally saw it, almost 30 years later, on the urging of my girlfriend, I quite liked it.
At its simplest, this is the disastrous road trip of a an adopted guy in search of his biological parents. His wife comes along, as does a neurotic, incompetent adoption agency worker, and together they travel the country, causing chaos.
That sounds more straightforward than it is. The characters are very quirky. The road is very indirect. The movie has a shaggy, disheveled quality in which events rarely go in any sort of normal way and everything goes sideways much more than it goes straight.
The cast is excellent, including Mary Tyler Moore a sort of comedy version of her controlling mother from Ordinary People, Stiller as a sort of sympathetic jerk, and various odd people that include racist truckers and gay cops (or FBI, or whatever they were - I missed it).
My girlfriend said when she saw this movie in her twenties she thought it was hilarious, and while neither of us reacted that strongly to it this time, it was decidedly amusing and engaging.
Recommended.
Beaver Falls (2011)
mediocre throwback
This movie is inspired by every summer camp movie of the '80s. There are hot girls, they're schluby guys ready to prove themselves, there are macho jerks, there is an authoritarian guy running the whole thing. At least that's my first impression.
In the very beginning of the first episode I thought, well this might be pleasant. It had a reasonable low-key summer comedy vibe to it. But as the protagonist charges arrive in all their obnoxious glory I lost what little bit of interest hadn't previously been lost by a lot of the ridiculousness.
Well my main issue is this just isn't very funny, it's also pretty stupid. The whole setup makes no sense. How is it that all the jock guys get a cabin and all the schlub guys get a cabin? Is this an official policy? Maybe that's explain later but I can't see how it's ever going to make sense. Meanwhile, the idea that three rookies are put in charge of a cabin with no instructions and expected to come up with the whole activity for their charges seems utterly ridiculous. I've never worked in a summer camp so I can't say that's not exactly what happens, but I find it hard to believe that many summer camps would be that badly run. And it's not badly run in a funny way, it's just badly wrong.
A half hour or so in I had lost all interest in making it to the end of the first episode. Not recommended.
Almost Paradise (2020)
How much stupid can be squeezed into an hour?
The first episode of Almost Paradise begins well. Christian Kane is an ex-DEA agent with a heart condition ready to retire on a tropical island. Instead, he gets involved in a big police investigation.
So, so far so good. Not great, but light, mindless, comedy-action, right? Sure, the whole way he gets attached to the police is absurd. Sure, his "wisdom" is transparently nonsensical. But hey, popcorn TV, right?
But around the middle of the first episode, the show hits maximum stupidity. There's the "look at me breaking all the rules." There's "let's put the tough cop in a bikini for absolutely no reason. There's an absolutely ridiculous set up for the second half. And then there's this whole "very special moment" chunk of time that made me realize when I'd thought the show had gotten as stupid as it could, it was only just getting started.
The one episode I saw of Almost Paradise can rival any other episode of any other show for pure stupidity.
It's not that I can't turn off my brain for a really fun show, it's that this is at best mildly fun and so stupid that you can't just turn off your brain - you have to beat yourself into semi-consciousness.
Unless you just don't mind stupid at all - and judging by the comments here, a lot of people apparently don't - then avoid this thin.
Bad Monkey (2024)
This sort of thing has been done better
Bad Monkey falls into a subgenre I generally really enjoy - the breezy crime comedy with an irreverent hero. Psyche, The Finder or the first season of The Glades are good examples.
Bad Monkey aims for the same thing, but in the first episode it just is never funny enough, engaging enough, or clever enough to keep my interest.
Vince Vaughn is only adequate as the protagonist. The narrator is good, but the narration is odd, in that the show's writers keep apologizing for fairly standard storytelling approaches. The most interesting characters are several sexy women, but they seem to be peripheral, so you need to like the rather Vaughn and the blandly likeable L. Scott Caldwell.
The mystery is like a million other mysteries, but while a show like The Glades gives you a different mystery each week, it seems Bad Monkey is offering one generic mystery for the entire season.
Nothing about this is bad. Little about it is particularly good. I can't recommend it.
Genius (2017)
stories of interesting people
Overall, this bio series is well produced and acted. Some people have argued about what counts as a genius, but these are all people who changed the world, so I'm okay with their interpretation of the concept.
I've been watching these seasons out of order. I really liked the first episode of the first season but then I got distracted and never watched the rest, only tuning in again for season 3, which was overall a more effective portrayal of Aretha Franklin than the movie that came out a little later.
The MLK/Malcolm X season was also riveting and effecting, and Griffin Matthews's portrayal of Bayard Rustin was fantastic - he was better than the actor in the movie Rustin.
Picasso was well done but the time hoping didn't work. The movie ran on two tracks maybe 30 years apart, but there didn't seem to be any compelling reason in the narrative and it was just annoying. Also, Picasso, is loathsome. But still, very good acting and production.
One episode left of Picasso and then *finally* I'll finish up Einstein.
Inside Out 2 (2024)
clever, hilarious sequel, but I have a quibble
I loved Inside Out, and I love the sequel almost as much. This time around, the little girl is less little, a hockey wiz enjoying her best life until puberty hits her and she does what kids hitting puberty do - go psycho.
This involves the arrival of a number of new emotions which compete to power with the emotions from the first movie. Things get out of hand, there is a lot of arguing, one begins to wonder if it's true that people only have one positive emotion in the head competing against tons of negative ones (probably) and, like the first movie, you get two great, dual track stories, one of the girl, one of the emotions in her head.
But one thing bugs me - anxiety.
Anxiety in this film is very strategic, and I'm not sure that's what anxiety is. I feel they need two emotions, anxiety and ... cunning? Planning? (I know those aren't emotions, but there's got to be something that would work) that would work together to cause what happens in the movie. I just don't believe anxiety is that ... calculating.
At least not for me. But still, amazing movie.
Robot Dreams (2023)
A bittersweet love letter to NYC
This movie, written by a Spanish director, is one of the best portrayals I've ever seen of New York (he spent time there).
I mean, yes, this is a charming story about friendship and loss and it's funny and touching and imaginative and pleasant and incredibly original and blah blah blah, and if you weren't around in New York in the 80s you're not going to recognize how well it caught a million little details. But I was around, so I spent the whole movie thinking - "oh wow, it's that thing! I remember that thing!"
It's also a movie that really sticks with you, because it just really takes you on a *journey*.
Recommended even if you're not a New Yorker, but if you are and you haven't seen this yet, you absolutely have to.
Futurama: The One Amigo (2024)
yes, the premise is ridiculously dates, but it's also terrible from a sci-fi standpoint
As everyone is noting, centering an episode of anything around NFTs in 2024 is ludicrous. Especially since many of us believed from the first weeks that NFTs were a hyped up flash in the pan that could never get past the ludicrousness of the concept.
But the other issue is that this episode only makes sense if NFTs were just reinvented in the year 3000. Because otherwise, how could no one understand how the blockchain works? At this point the blockchain would be old technology, like the steam engine. You wouldn't have to have kids explain it to you.
In its younger, smarter days, Futurama, if they had done something like this at all, would have created an NFT-like system and perhaps tossed in a joke about the collapse of NFTs in the 21st century.
The main writer of this episode appears to be someone who's been with the series since the start, so I think this represents the way old people become so out of touch they are no longer funny. I saw it with people like Bob Hope when I was a kid.
The other story thread, about Mexico, is not bad. Not great, but not bad. But overall, this is a huge embarassment for the series.
30 Monedas (2020)
Mixed bag first season, amazing second season
The first episode of 30 Coins was incredible, an action horror story that kept me enthralled, as a priest, a mayor, and a veterinarian battle evil.
The next few episodes weren't nearly as good, but they were enjoyable, with the priest and the vet keeping your attention more than the white bread mayor and his complaining wife lost it.
But as the series went on in its increasingly convoluted way, I began to get bored. By the final episodes, I was thinking I might not bother watching season 2 at all.
But I was curious enough to look in at the first episode of that second season and I was instantly hooked. Haruka was a terrific character who added a little cosmopolitan style. The season story was more straightforward and held the momentum much better. The mayor's wife because a far more interesting character.
While season 1 completely lost me by the end, season 2 has me wishing for season 3. I understand the show was cancelled but I've heard the creator is still trying to find a way to make it happen. Fingers crossed he does.
The Merry Widow (1934)
sparkling
Driven principally by the brilliant direction of Ernst Lubitsch and the charm and chemistry of Chevalier and MacDonald, this musical waltzes along through its silly story.
The real story of the film isn't the plot, but the underlying cat and mouse romance as Chevalier attempts to seduce MacDonald while she attempts to tame him.
Lubitsch is a master of froth, and this is him at his frothiest. The movie is remarkably visually engaging. I often tend to look up things on my phone or fold some laundry while watching movies on TV, but that's really impossible here - every second has something in the frame you need to see, whether it's clever visual gags like MacDonald's closets or just Chevalier working a room, with women swaying towards him as he hops over banisters to get to them. It's the work of a director who started out in silent movies and intimately understands the power of visual storytelling.
It's also a musical from the days before musicals were codified by MGM. Lubitsch approaches song and dance the way he approaches everything other aspect of the movie - as a way to create visual engagement while revealing character. The musical elements tend to flow in and out instead of dividing neatly into song/story/song/story as they do in many Hollywood musicals.
That integrated approach does preclude, for the most part, the amazing set pieces of other musicals, but there is a stunning waltz orgy near the end where waltzing dancers seem to multiply until they fill the screen.
This is a must-see.
Murder in the Private Car (1934)
entertaining mess
This jumbled oddity involves a goofy "crime deflector" protecting a long-lost heiress.
There are a lot of issues. The deflector idea is intriguing but it's not unclear how Mr. Scott figures out the things he does while very clear that most of the time he's an idiot who fails in his appointed role. It's also hard to believe his romance with the much younger Georgia.
The character of Ruth also makes zero sense, when she learns something awful about the man who raised her it doesn't phase her, and early dangerous encounters flow off her like water on a duck.
But while the filming borders on inept, the movie is enjoyably humorous, the main characters seem to be having some fun, and there is a surprisingly suspenseful runaway trail sequence that could have appeared in a much better movie.
If you like old comedy-mysteries, this isn't the best, but it's not the worst.
Murder at Glen Athol (1936)
bad movie with one great performance
I almost gave up on this no-budget whodunit in the first 10 minutes. It was dull, flat, blandly staged and indifferently acted. Then Iris Adrian breezed into the room as a flirtatious gold digger who might as well have been wearing a neon sign saying "trouble."
Adrian's scenes were genuinely engaging, and if she'd had more screen time that alone could have made this movie worth watching. But she doesn't have that many scenes, and the dull script and convoluted, shapeless mystery had nothing else to recommend it.
By the way - this movie has two titles "Murder at Glen Athol" and "The Criminal Within" and neither makes much sense. No one ever talks about glen Athol and the criminal within doesn't make any sense in the context of the movie - they were clearly just trying to come up with a title that would intrigue people.
Anyway, in spite of Adrian's performance I can't recommend this movie.
Sweet Tooth: Out of the Deep Woods (2021)
has potential, but also has concerning flaws
The premise of this series gets sketched out pretty quickly. Deadly virus, mysterious hybrid births, chaos, a man and his hybrid son. It's a solid premise filmed in an engagine manner.
BUT ... this first episode has an intrusive and completely unnecessary narrator. He basically describes things you're seeing. He rarely tells you anything you can't figure out on your own, and never tells you anything a better script couldn't have show instead of told.
A small example: The narrator says the source of the hybrids, is a mystery everyone will obsess over. 1 minute later we hear a collage of TV broadcasters, one of whom says, everyone is puzzling over the source of the hybrid. He uses almost the exact same words as the narrator. So what was the point?
Even when not using the narrator, the episode leans very heavily on exposition.
To me, this suggests that the series' makers either aren't confident in their ability to show instead of tell or they aren't confident in their audience's ability to understand what they're watching.
Still, the kid star is likable, as is Nonso Anozie, the episode looks good, and the premise has a lot of promise.
So I'm going to watch a few more episodes and see how they are. But I don't know if this series will ultimately be one I stick with or not.
Furiosa: A Mad Max Saga (2024)
unpleasant and unengaging prequel to a much better movie
Mad Max: Fury Road was easily the best of the Mad Max Movies, with amazing action and just enough moments of genuine feeling to keep it from feeling like a hollow exercise in mayhem.
Furiousa, on the other hand, a prequel about the title character, is for the most part a hallow exercise in mayhem.
Some exciting early action soon devolves into an unendingly sadistic portrayl of Furiousa's horrific childhood. Furiousa is tossed here and there, her only goal to just survive. There is a lot of action, but there's no reason to care about any of it, because both sides are terrible and Furiousa is just trying not to die.
The movie is over halfway done before Furiousa takes agency, and at this point the movie improves, since there is some reason to root for some people over others. But even though one cheers for Furiousa because of her terrible life, you don't really cheer for her because you care specifically about her. He's spent most of the movie not talking, her face often hidden (and later covered in war paint that masks her expression), making her little more than a generic victim of war.
Still, for most of the last hour, the movie is fairly entertaining. But then there's the final confrontation, and my god that goes on forever. What should have been a couple of minutes is dragged out to 15.
The movie ends more of less where Mad Max begins, so the two movies together do give a pretty detailed bio of Furiousa if you want it. But we didn't learn anything necessary, or insightful, or that wasn't suggested in some way in the economical story moments of Fury Road.
If you want sadism and empty spectacle, you might like this. But for me this is the weakest of all the Mad Max films, and I regret wasting 2 1/2 hours on it.
Words and Music (1948)
Mickey Rooney and a few good numbers can't save this mess
At first glance, Words and Music looks like it will be terrible, as the remarkably bland Tom Drake talks to the camera as Richard Rodgers.
At second glance, the film looks like it will be lots of fun, as Mickey Rooney barrels into it as the chaotic and brusquely charming Lorenz Hart.
The pair's early songwriting struggles and success play out well, and the first big musical number gets a lot of fun out of a song I've never heard of, Mountain Greenery.
Unfortunately, the movie decides to be more showcase for songs than actual story. The actual bio takes a backseat to a mixed bag of musical numbers. And even when they're good, like Thou Swell or the brilliantly danced (by Gene Kelly and Vera-Ellen) but silly Slaughter on Tenth Avenue, they just come across as a bunch of random songs that make one wonder why they bothered with a story at all.
As for the dram, well, Drake's guy-narrating-a-school-film-on-the-constitution delivery drags the narrative down with every appearance and Rooney finds himself trapped in a fictionalized version of Hart's life that he can't find a way out of. Rooney does his best (it's the only time I've been that impressed with him) but is let down by a skeletal script and lackluster direction.
Even by the standards of Hollywood songwriter biopics, this is bad. In spite of Rooney's performance, I don't recommend it.
The Changeling (2023)
Fascinating start, completely goes off the rails by the end
It's hard to even know what this series is, exactly, for quite a few episodes. Is it supernatural? Is it about mental instability? What exactly is it? It's halfway through before that's clear.
But even while it keeps you guess, it keeps you interested, because it's such a wild ride and the performances are great.
And then right at the end, it complete falls apart. The penultimate episode is tedious and has almost zero to do with the series.
Now you would think that was because they didn't have enough to make up the full 8 episodes and were tossing in filler. But apparently not, because the final episode is rushed and short. It's not as bad as the previous episode, but it also doesn't wrap things up - they were hoping for a 2nd season - and at the same time it doesn't really make you want to watch more. It just makes you wish they'd given us a satisfactory ending, which they definitely did not.
It's a shame. Most of this was really engrossing, but the ending has to be considered an unforced error.
Three Little Words (1950)
A serviceable vehicle for some great musical numbers
Kalmer and Ruby wrote songs. They sat in a room, and they wrote songs, and they were hits. Which is great, but not that interesting. And while this film does make some attempt to act like there's some tension, and squabbling, the movie can't really make itself anything more than a song about two guys who made their living hanging out and writing songs.
So as a light-hearted biographical drama, Three Little Words is pretty useless.
But it does offer an excuse to turn some of those songs into musical numbers, and some of them are really incredible. The best is Astaire and Vera-Ellen as domestic dancers - they were two of Hollywood's best dancers and it is always wondrous to see them together. Other top numbers are Vera-Ellen and a bunch of guys, Astaire and a cane, and a very amusing performance of I Wanna Be Loved By You mimed by Debbie Reynolds to the song's originator, Helen Kane.
In between dance numbers, Skelton does some light physical comedy, there are mild jokes, and there are women calmly dealing with idiot men. But the movie keeps getting dumber and dumber in spite of its likable cast, with the laste 15 minutes being genuinely painful to watch.
This isn't atypical of Astaire films - he made a million formulaic moves with great dance numbers but only a few genuinely good movies (The Band Wagon, of course, alongside Easter Parade and Top Hat).
So if you want to see a typical Astaire musical with typically brilliant dancing, you should watch this. Or you could just find the dance numbers online and skip the movie altogether. Your call.
The Bear: Tomorrow (2024)
like watching sauce dry
In the third season of Twin Peaks, there was an episode that begins with an endless slow motion shot of a bomb exploding, then nonsense happens for the rest of the hour. I thought of it while watching the Bear's season 3 opener because, like that TP episode, it was painfully slow, did nothing to further the story, was horribly pretentious, could be removed from the series altogether without losing anything of value, and was rhapsodized over by some people who claimed it was a brilliant work of art.
The episode is simply an hour-long montage of scenes, most wordless, that are a mix of moments from Carmy's life, either scenes from his days in NYC, of moments in the past 2 years, and very occasionally of something happening in the present day, all while a painfully repetitive minimalist score drones on.
And then it ends.
This is what you can get away with if you're popular enough. You can do something that, if it was someone's first experience of a show would also be their last.
The Bear has pushed the envelope before, though more successfully, so for now I'm assuming this is not a sign that the series has lost it but simply a sign that the showrunner feels free to indulge himself. But if I turn out to be wrong I will certainly stop watching the series.
The Nevers: I'll Be Seeing You (2023)
disappointing
The second half of The Nevers only season was, for the most part, still excellent. But there were some issues, with some strange character turns and some rather perplexing sequences. But still, for the most part it was still quite exciting and entertaining.
But the final episode was deeply flawed. It wasn't just that it was so dispiriting, although honestly I wish it weren't even if it *didn't* turn out to be the series ender (not the maker's fault - they thought they were coming back, not knowing HBO was on the verge of massacring a lot of its best shows.
But there were issues beyond that, many coming from some of the odder plot decisions of previous episodes in which some characters seemed to have surprising character alterations and the galanthi seemed to become less explicable as it became visually clearer.
Some of the finale was just dumb, like the unlikely sense of security the touched developed after everything that had happened before. Some of it was frustrating. And some of it was riveting (Amy Manson was in particularly good form).
It wasn't a terrible episode, but it was a bad note to go out on. Bye-bye Nevers.
Doctor Who (2023)
Great "first" season, for the most part
Not everyone liked the way this season started out, but I loved it from the beginning, by which I mean Space Babies.
This is exactly the series I remember from the first reboot season in 2005 - silly and cheesy and imaginative and funny and charming and well acted. Davies has just gone back there, and I LOVE IT.
So much of this season is so clever and original and fun. Some episodes are truly brilliant - Dot and Bubble, 73 Yards, Space Babies (I know I'm in the minority here, but I stand by it).
Ncuti Gatwa is a fun Doctor. So far I wouldn't rank him with Eccleston or Tennant but he's as good as any of the rest. And Millie Gibson is terrific as the latest spunky young girl companion - she's not doing anything new, but she's doing the basics as well as anyone.
I don't love everything about the series. Gatwa's mood shifts from "let's party" to "I'm still relieving my trauma" are head spinning and rather annoying, and the season finale was a slight letdown. But overall this is as good as the final (terribly underrated) Whitaker season.
Doctor Who: Rogue (2024)
The DTF Doctor Who
This episode was a fun period piece, mixing Bridgerton and bounty hunters, with a lot of fun gowns and mocking of the upper class. But it's also a very weird episode.
First off, the Doctor's view of romance has really ... evolved. In the Rose years it was all, "no, we mustn't, the most I can give you are longing looks." In the River years it was - "Wait, I'm married? How on earth did that happen? Well, I guess if it's already happened I'll have to accept it." And now it's "hey, you up?" It's not really what I would expect of the doctor. I mean, yes, he's always a little different, but this seems to be a big, surprising push.
And while I don't want to get into spoilers, his reactions at the end also don't jibe with the Doctor we know. The Doctor is "never say die." Tell me the Doctor is throwing orgies in the Tardis and I'll say, "well, that's unexpected, but okay." Tell me the Doctor is like, "well, that's how the cookie crumbles" and I'm like, "whaaaaaaaa?"
Right now the most popular user review here lists 6 or so ways in which the Doctor seems off of Doctor norms. I agree with all of them.
But it was still a fun episode.
Doctor Who: Empire of Death (2024)
good for the most part, but disappointing
The second-half of the season finale begins with all the intensity of the excellent first half. It's chaotic and absorbing and things go from bad to worse to worse to OMG!
There's a solid explanation of Susan Triad, and some really clever ideas. Even the parts that don't make that much sense (that bit on the planet) are engaging.
The series continues with its theme of a guilt-ridden, PTSD Doctor, which I could do with a lot less of, and they punted on a mystery I was hoping they'd answer, but I wouldn't call either of those irredeemable.
But then there's the resolution to the mystery that's been building up all season and it's ... not good. I mean, conceptually I can see and appreciate what they're going for, and I feel that if they elaborated on that concept and gave it more context and history I might say, okay, I get that.
But then I guess they wouldn't have time for the incredibly annoying weepy-heartwarming nonsense that went on forever (by which I mean 10 or 15 minutes) at the end.
I wasn't disappointed enough by the worst of this episode to ignore how of it was genuinely fun , but the last part of the season 1 finale was undeniably a letdown.