s03e08 — In God We Trust

Bishop,❤
I was hoping so much that he would help Ali, and it turns out that he discharged the Alamo revolver , as I exhaled at that moment 🫠

Yeah.. I'm not even sure what I want to say..

Despite the fact that all the arches seem to be closed, there are still feelings of incompleteness and dissatisfaction.

This season has a completely different vibe. It's fashionable to say it's even a different series. It is clear that teenagers will grow up over time, but the color has changed, the darkness, the sobriety or something.. Rue wasn't much of a fan of the series, like the first two seasons..

.Well, the death of Ru, as predicted in the last episode. The death of the narrator is the death of the series.

Recent Episodes - Bible Propaganda

It's a pity that so few characters from previous seasons were shown. I personally missed Kat very much. And it would be interesting to see what's up with her boyfriend ex. I remember how he blew up the hall with his fiery performance on the show 😁
How's Foster doing in prison?
In general, it would be possible to twist the plot more interesting.

In the last scene between Maddie and Cassie, do they have vibe like they're together, dating, or something like that, does anyone else have that feeling? 😌🩵

To be honest, it didn't go much further, although some episodes and arcs were interesting.

The third PPE is terrible. I wish I'd dropped it at the end of the second one, by God. He could have destroyed Hollywood, he could have punished all the heroes, he could have destroyed them, but in fact a couple of cringe jokes, a character change, ridiculous imitation of breaking bad, Yellowstone, too old to die young, and the films of the Sefdi brothers, and in an irregular mix, working worse than the above.
It's a shame, because the season started promisingly - a good break, a change of scenery, summer's gone, time to pay the bills - everything is bad for everyone, as it should be, like the heroes of boogie nights after the 80s began. But in the end.. meh

Visually, it's a typical a24. On the one hand, I would like everything to be shot on Kodak film - the film is chic. But on the other hand, where's the style? The first two seasons intonationally responded to what was happening to the characters, but what about here? Did they come out into the world, ended up in Texas, in heaven on earth? So high that you have ascended to God? Actually, Texas Sheridan won, yeah.

The author did not punish Nate for the darkness in his soul, which he overcame but did not redeem - they just made him a two-faced pussy, a completely different character. The snake idea is cool, but for a cheap thriller. Cassie's character is tossing and turning, now smart, now dumb, now treacherous, now naive. Although of course it's funny when Sweeney talks about God with a dildo in his hand - the sense of humor does not fail, yes. But humor does not compensate for dramatic weakness, as well as meta-commentary on fame - they like to chatter that Sydney's conservative boobs played a big role in Trump's victory - and that the conservative turn began with euphoria, initially even vociferous. But the show can only talk about it, without working on the topic in any way. In general, these jokes are confusing. It is clear that drama with satire, drama with alcohol can be combined, but there must be something behind them. And this meta joke about Sweeney selling a body turned into a healthy marshmallow from ghostbusters here. Which takes away from the idea that you've made a career out of those boobs and elevated the entire main cast to the rank of superstars. The cool scenes of stuffing balls with drugs are naturalistic, "adult child" and "doggie" are all bold and cool, but provocation should work for the story.

Moreover, it seems to me that Levinson might not have revealed the Hollywood theme by oversight, but by cowardice - if he had, then you would have to admit that you had risen to the use of sexualized images of your characters much more than the story required. That you earned fame and glory from the purely typical images of teenagers, coveted images, and risked nothing.

In theory, there should have been a deep satire on different types of euphoria: drugs, webcam, prostitution and Hollywood, but in the end it was labeled populist, for show. And that's exactly what it means - the same Hollywood in the person of Lexi, the heroine of Maude Apatow, did not reveal itself at all - Lexi, as the most disgusting character, condemned all the characters and put them above herself, being part of the same dream factory as a pusher or a dancer, did not receive any punishment at all - disowned her sister and went she spent 16 hours a day working on a soap opera, abandoned her dramatic potential, teased in a school play - that is, she did even more evil for the art world than a sister selling a body (which in the East, for example, is generally considered an honorable profession). Well, what are you pissing off about, Levinson? As an author, you've already embarrassed yourself with an Idol Weekend, you've been given such a chance to slam the door and smash Hollywood like Billy Wilder on Sunset Boulevard, and you've made a mess of it.

With the characters whose actors have passed away, I can still understand the flaws, but only partially. In one case, with Angus, it was necessary not to insert it at all, and in the second, with dad, on the contrary, to reveal it - it is obvious that everything was prescribed and removed before passing away, and the line was cut off as badly as possible. The body-positive Barbie was brought out, Jules was reduced to a flat stereotype function.

It is unclear why new characters were introduced - and moreover, why cool actors were called in their place, who only take attention to themselves with their stardom, but do not move the plot. Sharon Stone plays a two-line role that could be played by any generic actress her age. This woman who fucked the whole of Hollywood with her crotch in basic instinct and fucked us, the audience, too - and he puts her on a pair of pussy gags. Aren't you stupid?

And most importantly ... <url>. Its ending seemed to me very funny, and, well, much weaker than the ankatgem or martisuprim even. "It worked... but it didn't work out." And here, "if you don't know what to do, put this doubt in the mouth of the heroes." And what is God in history? Redemption, salvation, the way from the fking to the less fking? It's like he doesn't know himself, so he says he doesn't know. And then... Herak!.. and he knows, having put into the mouth of another hero the fascist theory about "everything is simple, empathy is dead, there is only good and evil. I've been tinkering with your characters, and I can't think of anything better than how to reduce them to archetypes. And if the hero is in the middle between good and evil, I do not know what to do with you. To be sure, I'll make pathetic statements about the gray area, that every part of the system is corrupt."

It is clear that Rue should not have survived, she should have gone the way of atonement for her sins, and injustice is also present in the world - but to close it with cheap retribution is a cowardly scenario, cowardly, simply because the viewer wants this retribution. And the viewer must be punished harshly. After all, he himself said in the scene with Lexi, when her performance was disrupted, that "art should hurt." Yours does not hurt, frighten or disgust, does not strain or excite - because you are a collective farm popsovik and hypogor without ideas, sensitive to texture. Maybe you've had some shit in your life, you know how to make them play. You are a diligent careerist, obsessed not with the movie itself, but with that idea, that by-product behind the movie camera, which plays on the base strings of your soul - fame. He and Chazelle need to compete and take off their grindhouse, these cocaine populists complement each other very much.