Register a SA Forums Account here!
JOINING THE SA FORUMS WILL REMOVE THIS BIG AD, THE ANNOYING UNDERLINED ADS, AND STUPID INTERSTITIAL ADS!!!

You can: log in, read the tech support FAQ, or request your lost password. This dumb message (and those ads) will appear on every screen until you register! Get rid of this crap by registering your own SA Forums Account and joining roughly 150,000 Goons, for the one-time price of $9.95! We charge money because it costs us money per month for bills, and since we don't believe in showing ads to our users, we try to make the money back through forum registrations.
 
  • Post
  • Reply
Tender Bender
Sep 17, 2004

Something that was really striking in the finale is the use of dialogue; It was often pretty sparse and almost poetic in how it was deployed, especially in the garage interrogation scene but really throughout the entire episode. It was rarely natural sounding, lots of repetition, simple phrases, and use of silence as we moved through effectively separate vignettes.

It made me reflect on how this whole season had such creative direction and went weird and dark. I love how Bill Hader could have easily coasted with a pretty good dark comedy series, but instead he's really stretching and doing bold experimental filmmaking.

Adbot
ADBOT LOVES YOU

Tender Bender
Sep 17, 2004

A thing that builds sympathy for Sally (and Barry too, tbh) is the show's view on the cycle of violence and abuse. Both characters (and others in the show) have faced serious harm and trauma that have gotten them to where they are, and they pass that down to others through their own actions, and so on. It doesn't excuse their actions but it seems like a more measured understanding of their place in an unfortunate cycle.

Tender Bender
Sep 17, 2004

cheeeeesecake posted:

Almost definitely


(Anyone remember that one? Clearly showing my age)

This is Arrested Development, right? "Oh, most definitely"?

FireWorksWell posted:

Yeah. That thread had some pretty angry derails. There was another one about snow on the tires of parked cars.

Specifically it was about the white splashes of dried road salt all over the cars in winter scenes. Some posters presumably from warmer climates had no idea what it was and were theorizing on the possible causes.

Tender Bender
Sep 17, 2004

I don't really have a grasp on Sally's character post-timeskip. I feel like her post-skip life, while not exactly illogical for the character, is still a pretty huge shift that happens mostly offscreen. Whereas the other characters I think pretty much arrived at their endgames pre-skip and we're just catching up with how their landing spots developed over time.

Tender Bender
Sep 17, 2004

Von Pluring posted:

Chekhov's Coke.

Fuches is the worst person in this show. I always hated that character because of what a snivelling, evil piece of poo poo he is, but on a rewatch I'm enjoying the hell out of Stephen Root's performance. I'll enjoy it even more when the Raven finally croaks though. (Pun!)

He is great in S1 of the HBO Perry Mason show as a fire and brimstone prosecutor, he does some fantastic scenery chewing.

Tender Bender
Sep 17, 2004

Owlbear Camus posted:

Gentlemen can disagree but I think it's perfectly in keeping with the themes of the show.

You stand in your own way of what you think you want or think you're supposed to want. There is no happily ever after.

You can't change, at least not for the better.

You're doomed to inflict what was done to you on others.

By putting the characters in their "happily ever after" (escaped and with their True Love, the raven, sand mogul/mob boss, ostensiably freed from their showbiz narcasism) and showing they're still actually hosed up is perfectly in keeping, if misanthropic bordering on nihilistic.

It's a credit to the writing they wring laugh out loud humor from such a bleak canvas.

I view it in a less pessimistic light: I don't think it's that "you can't change", but rather you can't erase or paper over your sins by deciding to "do good" or trade a good deed for a bad. It stays with you and comes home to roost. Would love to hear Bill Hader talk about what he thinks of Catholicism, lol.

It's definitely about the cycle of violence and abuse, and how that perpetuates onward. It's a poison that seeps into people and spreads. I dunno if it was intentional but I think it's definitely thematically significant that this all begins with a US soldier murdering a family in the middle east.

But not everyone is doomed or trapped. Gene's son seems remarkably well adjusted and forgiving considering what he's dealt with. Albert Nguyen seems alright considering what he went through and what he saw in Barry. It's definitely a fairly bleak story but I don't think it's completely cynical.

Tender Bender fucked around with this message at 16:37 on May 25, 2023

Tender Bender
Sep 17, 2004

Alan Smithee posted:

What about the other two

I was gonna say, The Other Two is really loving funny. I missed that it came back a few weeks ago and just binged through the S3 episodes that are out.

Tender Bender
Sep 17, 2004

That DICK! posted:

barry, lets break that down, bury. to hide underground, to cause to disappear. sally, sally, to sally forth, a sudden charge from a besieged place against the enemy.

\/

Tender Bender
Sep 17, 2004

I actually really liked the finale up until the fake movie.

Fuchs' speech to Hank doubling as a thinly veiled self-reflection was a great final monologue for Stephen Root, who's stolen pretty much every scene he's in for me throughout the show. I love the Fuchs/Barry dynamic and it ended where I wanted.

Great end for Hank, at least as far as this season goes. Need to do a full rewatch to see how I feel about his arc overall.

Barry's end was perfect. Incredible use of tension by Hader, keeping us wondering If Barry is going to make the right decision in time before Gene shoots himself.

Glad Sally and John are alright, although I would like to know what the gently caress happened. Did she not go to the cops and tell them everything? Or did they just not believe her?

Gene's end sucks, yeah he's a scumbag but he doesn't deserve life in prison.

The movie was a terrible way to end the episode, it's a fine idea but I was just watching the runtime, first worried and then bummed out when I realized that the fake movie was all we had left before the show ended. No reason for it to take up so much time with how short these episodes are. I guess you get the slowly dawning realization of how hosed the public story had become, but... Eh.

Tender Bender
Sep 17, 2004

TIP posted:

finale was great, whole season was great

I laughed really hard several times this episode

Truly impressive how right up until the end they managed to balance laugh out loud moments right in the middle of deadly serious tension, without undercutting the emotional impact. It's amazing.

Tender Bender
Sep 17, 2004

I saw someone on Twitter comment that the show started suffering when Hader began directing all of the episodes instead of just some, so his focus skewed more on the directing with less focus on the writing, and I tend to agree. The scene by scene scripting and jokes are still solid, but the overall plotting and themes feel kind of haphazard in the final season.

We get almost no interiority into Barry himself this season, the Death Beach and the desert winds are completely abandoned. I get that Hader didn't want people to sympathize with Barry but you can't write your show for the Comments section.

Tender Bender
Sep 17, 2004

AlternateAccount posted:

Yes, it's SoCiAl CoMmEnTaRy, but done by stupid people. Sorry, just twists me up given that way too many people think that that's approaching reality.

I wish I could buy a rock bottom price EOTech at Walmart/Kroger/CVS :\

"This show doesn't hold up to scrutiny by people who get pedantic over gun types and purchase methods" is a feature, not a bug

Tender Bender
Sep 17, 2004

AmbientParadox posted:

The other running thread imo has been the critique of Hollywood. Season 3 had that amazing bit at Banshe about the algorithm deciding what's good and what's not. They also touched on Hollywood revisionism with Joplin ignoring what actually happened in favor of a happier ending. Mask Collector giving an insane Hollywood take on the real events fit right in.

It mostly worked for me in Barry and I'm glad it's there, but I can never shake the feeling that these "Hollywood making fun of Hollywood" bits are more funny for the people making them than they are for me watching it.

Tender Bender
Sep 17, 2004

Rewatched the finale, and on reflection I think the time skip was a good idea... Or at least the passage of time was. Especially with Hank's attempt to bury what he did to Cristobal, that's something where I think the passage of time really lets those feelings fester. We need to feel like Hank has spent years trying to block out what he did and reaping the rewards for it, and I don't think it would have felt as effective if he had just killed him like yesterday.

I think the mistake was honestly not doing another full season, and having the time skip happen between S4 and S5. Doing it mid-season in a show as short as this meant everything felt super rushed and haphazard.

Tender Bender fucked around with this message at 03:04 on May 31, 2023

Tender Bender
Sep 17, 2004

Stayne Falls posted:

Getting some real The Californians vibes from this page

Lmao I was thinking this too

Adbot
ADBOT LOVES YOU

Tender Bender
Sep 17, 2004

Dick Jones posted:

In the revised Jim Moss version of events, Gene somehow got the Chechens to bankroll his acting class and Ryan found out so he had Ryan whacked? Then who ordered Barry to shoot the Chechens in the car? And if Gene's behind it all why would he then go on to date the detective investigating the killings?

Also I'm having trouble reconciling "Struggling With Loaf of Bread" Gene with the Gene who was making gourmet steaks for everyone at the cabin in the S1 finale.

I think the theory was Gene was mixed up in their drug (?) business. He dated Janice to get the inside scoop on the investigation.

  • 1
  • 2
  • 3
  • 4
  • 5
  • Post
  • Reply