He's being framed..." For the first ten episodes, Riverdale has been an uneven mess of half-baked characters, over-dramatic twists in the tale and unconvincing writing. But there have been moments of greatness hidden in between. Whilst far from perfect, this episode does start to tie the long threads of plot that have been floating around for a long time and bring things to a neat conclusion. I'm not convinced it will entirely engross me, but I'm eager to see some sort of resolution, even if it's just as uninspired as what came before it.
This latest week sees tensions hit a peak that they haven't seen before - this time with a bit more spice and impact than previous attempts. Whilst the town of Riverdale is setting up for a night of dancing and general glitz and glamour, behind the scenes a plot has been unfolding to frame FP Jones in the murder of Jason Blossom. For one, it's an interesting twist as there are a number of characters to choose from who have the motive and capability of framing him. The question is, who's the strongest candidate? On the back of this latest development comes a few consequences in which friends make decision that have potentially hurt their peers. Veronica and Archie have impulsively searched FP Jones' house in the hope of finding some answers on Jason's death, and Veronica's father's possible involvement. Inevitably, this leads Betty to scold them for cooperating with her mother to try and accuse Jughead's father in the murder. It's a nice change in tone, it's just a shame that the final scene may have already reverted them back to friends as they attempt to uncover a possible vendetta against FP. Elsewhere, and in more intriguing circumstances, Polly has discovered some interesting details about the Blossom family, in that the ring Jason used to propose to her was found in the Blossom couple's bedroom. Whilst Polly is sure this implicates Jason's parents, the Blossoms work cunningly to cover up their tracks, with Cheryl even disposing of the ring in the event that Polly might reveal her discovery to someone outside the house. To be honest, the entire idea of the Blossom family is so wacky and unrealistic, that I'm put off by the entire scenario, but there's at least some form of mystery in the air. Cole Sprouse is star of the week this time around with an emotional performance. He embodies Jughead with a quirky attitude to life, but around his father, there's a sense of love and longing to bring things back to normal. This, of course, all comes crumbling back down when the gun found in FP's trailer all but puts his father in the limelight as killer, and Jughead is now in a position where he's trusted his father so many times, and has been let down an equal amount of times. Will this be the last straw, or can his friends get to him in time to explain that he's been framed? Truthfully, this show is getting better, but it was never masterpiece material when it started. Stunted by corny dialogue and the fact that pretty much all the adults are unrealistic and downright unlikeable, this is more of an amateur story budgeted by a professional production company, and so everything looks wonderful and stylish, but the final product is held back by an incoherent script. 7.5/10
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Human progress isn't measured by industry...it's measured by the value you place on life. An unimportant life. A life without privilege. The boy who died on the river, that boy's value is your value. That's what defines an age. That's...what defines a species." Sarah Dollard is without a doubt a talented writer - her script for Thin Ice is nuanced, focused and powerful. The dialogue she provides for the two leads is energetic and thoughtful - and with someone like Peter Capaldi at the helm, it's hard for the execution to falter. Unfortunately, the episode is let down by some story issues, and a stereotypical and forgettable villain. Lord Sutcliffe, played well by Nicholas Burns, is just like all the power-craving, megalomaniac, rich idiots who came before him in so many New and Classic Who alike. But this doesn't deter from the bubbling chemistry between the Doctor and Bill as they together investigate a fun mystery of lights under the ice on the River Thames in 1814.
With a larger cast than the last two episodes, Thin Ice feels a bit more meaty in terms of the visual aspect. Not only are there some wonderful costumes and set designs, but the brief images of the giant worm in the Thames bring an awe to the screen. Doctor Who has never been blessed with the best effects, but its charm rests in its ability to dazzle using merely words. The story of the street urchins is typical of Doctor Who and brings an uplifting side to what is a bleak depiction of life. The fact that we see one of the kids swallowed up by the river helps us feel empathy towards the group. I wasn't expecting Doctor Who to be quite so hard-hitting. Despite there being so little time to show a lot of the interactions, scenes with the Doctor reading them a story and etching the name of Peregrine into a deed were two nice touches. For the main characters, this is another episode to help broaden their chemistry. The Doctor and Bill have already shown their compatibility, but in this episode we see a more cautious Bill, who questions the Doctor's inability to save the boy on the river. Pearl Mackie continues to shine as the new companion, this time giving us a blend of sadness and anger in her performance, which is pretty convincing. It's Peter Capaldi who excels though, and his dynamic with Bill is better suited in the tutor-student relationship. Whatever comes next in their relationship, there's no doubt that this flare and energy between them will remain. All in all, the story is simplistic and is clearly influenced by some classic stories with the old capture and escape scenario playing out towards the end. It's unfortunately plagued by uneven editing that lacks cohesion. Because the episode is so busy and energetic, the scene changes appear choppy and it even goes into overdrive towards the end as the Doctor executes his plan underwater with no explanation whatsoever how he moved those barrels of explosive so quickly. Once again, the resolution seems to have a lack of thought, but the sincerity is there, and to see the innocent creature underwater be free is a nice touch, and is reminiscent of the Star Whale in The Beast Below. What intrigues me most about the episode, however, is the ending, where we get another hint about this ever-present and equally ominous Vault under the university. We are given a wonderful scene with Matt Lucas, as Nardole faces a complication in that something inside the Vault has started knocking. One knock short of a Master, if you ask me. It's cruel for the audience, as it just means we get barely a hint of what it might contain, but at least we get the feeling that it's something threatening. This could even be the cause of the Twelfth Doctor's regeneration - who knows? Packed with nice dialogues and possibly the kindest speech the Twelfth Doctor's given, Thin Ice is a quaint story that faces up against racism and involuntary incarceration in a brutal way, but it ultimately fails to sort out its eventual plotting problems. I would definitely ask Dollard back to write again though. Other than that, next week looks to be one of the scariest Doctor Who episodes ever conceived, and including David Suchet, no less. Looking forward to it already. 7.5/10 My real name...is Historia." As is evident with Attack on Titan already, its way of storytelling is not exactly conventional. Flashbacks can be riddled here and there throughout the content, but sometimes a whole episode or half an episode can be devoted to looking back at a past event and filling in the gaps of knowledge. In this episode we go back to a training exercise in the snow that goes a bit awry when Christa, Ymir and Daz don't return from the trek. What's great about this story is its many layers of plot. One plot concentrates on the true identity of Christa, another questions Ymir's ability to become Titan and a third continues the relationship between Scout Cadets as they learn to live and survive in this unattractive world.
The flashback was great, and reminded me of the early episodes of Attack on Titan as we see Even and his friends attempt to learn patience and survival skills before they graduate. It never fails to remind us of Eren's hot-headed manner nor Mikasa and Armin's loyalty to him. Their solid friendship is always rewarding to see. Elsewhere we see Christa and Ymir bonding as they try to save Daz from cold death. Learning about Christa's past secrets is vital to understanding Ymir's and shows how very alike they are. It's made clear that Christa is actually the illegitimate heir of the throne who was given the chance to quietly disappear by joining the Scouts. Now Ymir's words at the end of the last episode have more meaning and remind us of the great thematic overtones that Attack on Titan embodies. Sincerely, I don't know whether to feel sorry or not for Ymir's death. Seeing Christa (Historia) distraught is tough, but with the discrimination now that following Annie's unveiling as a spy and saboteur amidst the inner wall, it's very difficult to trust another character who's been keeping such a big and dangerous secret. But, at the same time there was something different about Ymir, in that she had more rebellious notions and a non-conforming attitude to life. Perhaps she escaped this mysterious otherworld of Titans to find a better life. In that case, she is instantly redeemed. As a side note, interestingly, Reiner has a bitter reaction to finding out that Ymir is the titan who killed his supposed mate in the flashback. Call it a hunch, but I don't think we're done with the obvious mystery around Reiner and Bertholdt. The change of pace in the episode - once the Scout Corp arrived in the nick of time - was uplifting, even if Ymir could not be saved. In a row of episodes where all there is is despair and death, it's relieving it see a shaft of light in the darkness. We even get a comedic, if ignorant, moment from Eren. Seeing badass Mikasa in action again is always a positive factor. Equally, the directing was terrific, with the sequence involving Ymir's Titan pulling out bricks from the tower and throwing them at the oncoming Titans being deliciously dramatic - helped along by an epic musical piece. A sign of good things to come, perhaps? The Scouts have managed to buy themselves some time (as always, at cost), but with Even now where he needs to be, and some of the most skilled and experienced fighters of humanity by his side, they could finally be sticking it to the enemy. It's a promising thought, and not without endless doubt, but let's be honest, it can't all be doom and gloom. Needless to say, this is still one of my favourite anime. 8/10 That's the problem with you Americans...you watch too many movies and you think the deal can always be changed...and it can't. We're partners now and that's all there is to it..." After last week's mix of intrigue and despair, this week's took a much slower and silent take on the world of Fargo. The element of dark comedy creeps in as well when you don't expect it and you don't know whether to laugh or whimper. The characters that Noah Hawley has introduced this year are very strong, and given that there's far less than last year, more chance to spend time with each one properly. Whether it's the Stussy brothers' opposing personalities, Gloria Burgle's quiet confidence or V. M. Varga's disgusting teeth, there's a colourful pallet of new faces to behold.
Unfortunately, despite taking it slow this time around, not enough time was given to Gloria's story, meaning that there's still a gaping hole of empathetic feelings still to fill between her character and the audience. The other characters, however, are given a good amount of screen time, with the Stussy brother feud getting a little out of hand, thanks to Sy's, perhaps formidable, loyalty to Emmit. Although brief, the introduction of Donny was pleasant, and may be the replacement comic relief character that Ted Danson left behind, but will never be equal. As with every season of Fargo so far, Hawley makes great use of the time zone he's chosen for his story. 2010 is an interesting time where technology has crossed a tall threshold through the digital age. With such an isolated town, as is evident with Gloria's complete lack of knowledge and love for computers, technology hasn't quite caught up with world. Numerous references are made throughout to the ignorance of an older generation who are perhaps a bit behind the times, but I do love the scene with Irv Blumkin as he attempts to use Google. It is made all the more ominous, however, when his picture is taken by the computer, leaving Varga's henchmen to dispatch of him for prowling too close to the dragon's den. With the opening premise set in East Germany in 1988, I imagine many keen eyes and ears will be looking and listening out for Russian references. There were a number, including a new character who shares the same name as the man in the first scene, Yuri. What connection they might have is left in the open at the moment, but Hawley no doubt has a few twists planned along the way. Nevertheless, he has a way about him to set bring out his characters in the most original methods possible. The final scene especially is pretty definitive, as we see how Emmit's financial decision may have cost him the integrity of his career as Varga now permanently (it seems) moves into his office. David Thewlis plays his deceptively malicious character with ease, and like Billy Bob Thornton and Bokeem Woodbine before him, his demeanour is filled with terrifying confidence that will turn anyone in his perimeter uneasy. The Principle of Restricted Choice isn't filled with wow factor, instead it concentrates on its characters with great precision. More from Gloria Burgle would be helpful, but I'm happy to see how this one pans out. We could be looking at another winning series for Fargo, as the plot threads begin to converge and diverge in the most ridiculous and effortless ways possible. I for one am very excited. 8/10 As a big fan of progressive rock, it's always a thrill to see artists of the meticulous genre bring out their latest work. Procol Harum are best known for their awesomely experimental track, A Whiter Shade of Pale. Whilst their later work has never been as iconic as their first, the new album is very promising indeed. With the first track, already there's a blues rock feel that is both old-fashioned in tone, but modern in perspective. The mix of instrument seems very inclusive and cooperative.
The second track, however, takes a completely different direction though (but not in a bad way). Last Chance Motel is more soft rock than usual, and gives lead singer Gary Brooker a chance to show off his breadth and skill. He's a natural rock singer, even in his later days - his voice is just as crisp and natural as it has always been. Alongside a catchy and rhythmic flow to the music, the second is genuinely lovely, with piano and guitar sharing the spotlight in the middle of the song. Use of synthesisers in the fourth track brings a modern take into the latest album, but it doesn't quite fit. This is mainly due to the fact that it sounds too similar to the last two tracks that have already played. This may be derivative of a lack of new ideas, but it doesn't help to inspire me to keep listening, after two fairly good tracks to start. Unfortunately, apart from a uneven tone in "Neighbour", the album can't get out of the repetitive wheel of blues rock. They are clearly enjoying making these tracks, but the variability is minimal. Even with Businessman, which has a great rhythm and a bridge that connects well to the chorus, it still remains familiar. It's sad considering how much talent there clearly is in this band, and how many wonderful compositions have come before this. Regardless, the guitar solo in Businessman is brilliant. Moving on to Can't Say That, however, now we have something different. You can already tell from the length of the track that there will be prog elements embedded within, but it's all prog rock. It's a neat track, with some inspire bass-playing, and cohesive musical interplay. There's even a hint of jazz in the self-indulgent mucking about towards the end of the track. It even ends perfectly, with a silent, yet beautiful guitar chord. The final two songs are more mournful than the rest of the album, and don't necessarily suit Brooker. As a pianist, however, it's ideal. But to end on this melancholy tone was an odd choice, and I don't think it will grab many listens. To be honest, I would've finished with Can't Say That as it has such a great ending. Comparatively speaking, the general idea of their new album is low-key, blues and soft rock, with a heavy concentration on retrospective, emotional tunes. It isn't always successful, but the musical capabilities of the band never falters in their attempt. But, above all else I recommend their new prog rock song, Can't Say That, it's undoubtedly a new gem from the famous Procol Harum! 6/10 I haven't really followed Texas since their superb album, I Don't Want a Lover. Their mix of acoustic, contemporary rock has always been quite nostalgic for me, and remain to be some of my childhood tunes. That being said, there's some work into their latest album. Formulaic, yes, but a little different from their usual genre. Dance pop has certainly taken centerstage from the onset.
Let's Work is Out is pleasant, but it is ultimately unfulfilling as the opening track. Can't Control is equally unsatisfactory, but at least there's a new angle of music being experimented here. The electronic manipulations are interesting, but they don't have the same impact as Texas' old tracks would manage. Tell That Girl is a little more familiar, with a more rocky feel, but it does take elements from many other songs that have come before, and despite some excellent drum work, the song once again falls flat at the feet of originality. Something to take from the second half of tracks is that the band have done some more genre-exploring. Blues rock track, Sending a Message, is a little darker and more sombre, and the guitar work does a decent job of creating haunting riffs as background to Spiteri's dreary vocals. Once again, I'm left unmoved by a rather unadventurous tone. The first slight saving grace is the more melodic Won't Let You Down, which has some supportive riffs that gives it the edge it needs to take a more immersive role. The chorus is also really approachable with some lovely, precise chords simultaneously hit by the guitarists and singers. Midnight and Round the World bring up the rear. Midnight is uninspired, but it's fun and catchy. However, Round the World is what this album really needed to conclude. It has the scope and understanding to be more anthem-like for the band. Some synths placed in the background are interweaved well into the bass. There's something rather psychedelic about it, very different from Texas' usual style of general and simplistic rock. It's a breath of fresh air in an otherwise unremarkable album. Seriously, I'm not a big fan of their latest edition of music, but credit to the band - they've tried exploring some new areas of music that they've never discovered before. Some of it works, perhaps not cohesively, but the dance tracks are at least catchy. Spiteri is always a great contributor, but the whole band each have their own standout moments. Track 10 is definitely my personal favourite, but each song probably has a section that I can appreciate, but their overall product doesn't complement that. Admirable new album, but unemotional. 5.5/10 ...I'm not done with Hector Salamanca." Better Call Saul has made itself a name separate from its predecessor, Breaking Bad, and it's doing so in style. In its third season, the series is just as slick, stylish and original as it has always been. The aesthetic of filmmaking that encompasses this show is sometimes breathtaking to behold, and yet it's not a fantasy show where dragons swarm the skies, or a science-fiction where spaceships battle it out in space. It's a show about a crooked lawyer and a retired cop attempting to survive in a grim world of greed and one-upmanship. It's mind-boggling how Vince Gilligan and Peter Gould have created such a masterpiece out of a simple story.
Credit where it's given, the directing is as always top notch. John Shiban penned this week's episode with a tantalising display of camera angles. The opening scene is quiet, but foreshadows what happens later on, and the way the story develops leaves a lot to the imagination. Later on, we realise that the opening scene is actually set after the episode, a symbolic gesture of how Gus Fring has taken a chip out of Hector Salamanca's business, thanks to a new employee. This partnership is definitive as it paves the way to Mike's story in Breaking Bad, before he meets Heisenberg. The acting is also commendable, with Giancarlo Esposito demonstrating the business side of his character, whereas last week we saw his false persona, one of kindness and servitude. Jonathan Banks continues to allude me to the Godfather's Don Corleone, who is both quiet, yet sinister. From the outside, he looks just like anyone else, but perhaps a little more reserved. But, deep down, Mike is a fighter with an aptitude for the crime life like no other. The fact that he works alone proves his capabilities. Jimmy McGill's storyline was less compelling this time around with it being bogged down in Chuck's latest trickery. But the end of the episode gave us a hint as two Jimmy's next step, and it's great to see Kim by his side once more, even if it might be for the worse. As usual, Chuck's plans to dismantle his brother's career have become more intricate, with only two choices given to Jimmy and both looking grim. So, he'll either have to accept his fate and irreparably damage his career, or fight his way back into the ring. Either way, I'm intrigued to see how Jimmy's transition into Saul Goodman plays into this. Will this be his undoing or the catalyst for his later change of perspective. As per usual, Better Call Saul is teeming with intricate plot lines and great character stunts, but this time around things were a bit misty. Tensions are high, but there's no clear endpoint so far. Nevertheless, I look forward to spending more time with Mike and Gus and seeing how their relationship kindles the boss and hitman we see in their later lives. And despite Jimmy's sometimes criminal ways, I will always be on his side against Chuck. 8/10 Why didn't you say this to me when I was alive?" Regardless of your feelings towards the series (whether it's of animosity or reverence), there's a scene in the final episode that is almost impossible to bear. The series has crossed many boundaries in terms of the graphic depictions that have been included, but the scene I'm discussing is the epitome of how discomforting this show gets. It's testament to the acting as well, that the show is powerful enough to grab our attention.
Truthfully, I found this series frustrating and debilitating. But that didn't ruin the powerful message that supersedes all the events that occur. That no matter what people say, do or infer, we should always be kind and never be quick to judge. It's a rather topical theme to be discussing considering the current state of the world, but to have it shine through from a high-school drama, it's quite an achievement. Following a gradual increase of tension in the first seven episodes, the last six chucks into fifth gear and never stops - not even until the last minutes of the thirteenth episode. There are some truly harrowing seems to witness, and some equally sad ones. But all are important in the pantheon of reasons that pushed Hannah over the edge. However, instead of always laying blame on individuals this time, Hannah has given a few examples of her own mistakes. She feels guilty for ignoring Sheri's pleas and calling the police about the Stop sign. She feels mortified for losing her parents' deposit. And last, but not least, she blames herself for pushing the only person who ever showed any care for her away. Clay becomes a shining figure in the last few episodes as he comes to the realisation of many things. One major lesson that he's learned is to always challenge your friends, even if they may say otherwise, if they appear in trouble or distress, always be there for them to talk. His character development has been strong and unaltered throughout the series, and it's great to see him come out on top. Whether we know justice is served or not, his outwitting of Bryce is commendable, especially as he sacrifices himself to a few nasty bruises along the way. The main critique that I have for the show, however, is its lack of closure. There's a whole host of characters in this multi-layered show and each has had their share of woes in the maelstrom of emotions that ensued since Hannah's death. But Clay was the only character wrapped up properly. Everyone else was left in the air. Now, understandably, this can be compared to real life, as most of the time no answers are found to some terribly tragic events, but to see so many plot threads left hanging is a tough thing to end with. What has happened to Alex? How will Jess live with that terrible memory? Will Hannah's parents get justice? Will Bryce be once and for all silenced and locked up for his evil attacks on both Jess and Hannah? How does the trial conclude? After all, the prominent message that this series is conveying is all about helping those in a similar situation to Hannah and to absolutely avoid the same thing happening to anyone else. The show doesn't easily inform anyone where they can get help - it simply depicts the worst scenario possible. Mr Porter, I found, was portrayed as a pretty decent man and a helpful counsellor, who made one fatal mistake when he let Hannah leave his office on that fateful day - something he will regret for a long time, even more so now that Clay has given him his tape. The same goes for most of the people on the tapes. They were all (apart from Bryce of course) good people, who made very bad choices that unintentionally hurt Hannah, which then built up to an overwhelming amount. It's just a matter of watching what you say. If there is something to take away from this series, it is that life doesn't make it easy for anyone. But once you understand that, you can then be aware of the people around you, watch the things you say to them, and respect them no matter what situation they're in. It's a matter of recognising that you don't know what's going in their lives, similar to them not knowing what's going on in yours. Mutual understanding brings people together, and hopefully brings some happiness to the world. 8.5/10 I'm not Scottish. I'm just cross." Following Frank-Cottrell Boyce's last contribution to Doctor Who, I was not feeling entirely optimistic about his second outing. In the Forest of the Night could have been an instant gem, but it was weighed down and practically ruined by some major, gaping plot holes. Smile, however, tells another story.
Set on another world (in the Gliese 581 planetary system, I might add, which has been discovered in the last decade by astronomers as an exoplanet) where the robotic Vardies teem the skies as the perfect architects for a new colony. Except when the Doctor and Bill arrive, there are no colonists, except for a vast number of robots that speak using emoji. It seems a typical Who scenario in which the Doctor finds a mystery and gradually, amongst being captured and running away, he solves it by some metaphysical means. This is essentially the core of the episode, but it is also much more than that. Boyce succeeds in juggling a number of jobs in the episode, primarily continuing the introduction of new companion Bill. On her first adventure in the TARDIS (bar last week's brief time-hopping), Bill has now been put in a place where she can appreciate the Doctor's capabilities as a pilot through time and space. Their interactions while searching the empty colony city are wonderful - they're like chalk and cheese. Whilst Bill may not be experienced in the way of life, she asks the right questions, and has the ability to get the best out of the Doctor, even if he attempts to protect her by leaving her in the TARDIS or telling her to stand by a map. Ultimately, however, she sees through his, albeit caring, trickery. She is a determined woman who does not want to be left out, and the Doctor finds it difficult to stop her, though I believe he doesn't mind. The story, on the other hand, is rather simplistic. The idea that the robot Vardies have developed sentient capabilities is interesting, but the execution of the conclusion was haphazard. As usual, the Doctor stands as a negotiator for proceedings, but it's all too simple after he's pressed a reset button (turned it off and on again). The main problem I found with this story is it is incredibly derivative, perhaps unintentionally, but unquestionably so. There are hints of The Girl Who Waited, The Girl in the Fireplace, The Doctor's Daughter, The Beast Below, Silence in the Library/Forest of the Dead - even 42. The references towards The Ark in Space and The Beast Below are justified, but for the rest of the stories, it appears to be an amalgamation of past Doctor Who stories. Nevertheless, this doesn't hide the fact that this has an original quality to it - far more dystopian that Doctor Who has been in a long time. On the plus side, I had some really great Classic vibes - it reminded me of the slow, contemplative episodes of Hartnell's era as they scour a new location with curious eyes. The Keys of Marinus comes to mind as one that has this type of adventurous tone, but still quiet all the same. Regarding the new overarching story, we get a little bit more information, albeit a bit vague. But there's clearly something massive (figurative) in that Vault, and whatever it may be will have vast consequences for the duration of this season, I can guarantee. With Smile, though, we had a really fun, meandering story that had strong character development, and a fascinating, if simplistic, world to explore. Even ten series on, Doctor Who is still top notch TV. 7.5/10 I have no right to tell you how to live your life. So actually, this is nothing more than a hope of mine...I want you to live a life you're proud of." From the moment I first started watching Attack on Titan, I knew it would be brutal, demoralising and cruel. Much like Game of Thrones. It has the audacity to offer up characters with rich and relatable backgrounds and then throw them into a predicament they can't get out of. This was a running theme in the first season. But, what makes this series different from any other that prays on the audience's emotions is its grounding in humanity. Characters come and go like a production line, but each one has an intention, a moral reason for doing what they do and making their decisions. Their morality is never in question.
This week's episode starts off as another inconsequential , isolated adventure much like the last two week's, but it quickly spirals into something bigger and more important. A few interesting developments have emerged. Alongside the characters, we've been gradually learning about titans; their origin, their biology and their function. Connie questions something that the audience has been wondering for a while. He hypothesises quite out of the blue that the titan he saw in his village reminded him of his mother. It's an ominous thought, but an intriguing one. To add to this intrigue, Ymir reveals her capability to read another language - something that doesn't surprise Reiner as much as it should. These small oddities are teasing, but they're not conclusive, and so we're still waiting for the elusive answers, but it keeps us watching, that's for sure. But now, in one helluva revelation at the end, Ymir shows her true self; a shapeshifting capability like Eren's to transform into a titan. Revelations aside, this episode also has some brilliant character moments shared between the group. It's a clever idea of the writers to set this desperate scene and show how the characters react to the situation and each other. Reiner's near-death experience brings out a different side to him - before he was confident and decisive; near death he struggles to accept it. If his thoughts on Christa aren't enough to signal change, then I don't know what is. Even Bertholdt notices it. The flashback we get in between seems a bit nondescript, but we may learn more later. Outside, Nanaba and Gerger struggle to subdue the sudden onslaught of titans. Credit to the directors of this show, it never ceases to amaze me the effortlessness of the animation as it transitions through battle scenes - it's like a water painting in motion. And it never seems to hold back the brutality of the battle too. In a very realistic way, the scouts eventually run out of stamina, perseverance and gas, and it all comes crashing down. Losing more experienced fighters shows how desperately difficult it is for these people to live when constantly being harassed and slaughtered by an outside enemy. Questioning their morality, as Gerger does in his final moments, is all they have. Finding only a couple of drops of alcohol left in the bottle before his death symbolises their understated lives. It would've been nice to see a progression in Eren's tale this week as well, but this was a sufficient episode filled with revelations and questions. Ending on a cliffhanger like that was naughty, but it holds good prospects for the future, and hopefully a few more satisfactory answers. The world of Attack on Titan is beginning to look much bigger than originally believed, and it's all down to thoughtful, logical writing. 8.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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