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iamsosmrt posted:His wife does a job, but I wouldn't say it was great. She let his over-the-top efforts go on to the point where their business is impacted and they even lose a son. I need to see some interviews or something because I can't decide if Daniel's writing is bad or if he's intentionally this ridiculous. He never even bothered to figure out what kind of person Miguel was and why Sam was ever dating a kid who's only important trait to Daniel is that he's a Cobra Kai member. Giving up on the spoiler tags because  I actually really like this about Daniel. He's got a lot of fast-talking Jersey swagger, always has, and kind of relies on it when calming the gently caress down would do a lot of good. He's always looking for an opportunity to lash out and overreact to something. It's why Miyagi was such a crucial influence on his life - he's always needed someone who can tell him when to just chill out and let a perceived insult go past. I also really like that he's never fully understood that lesson but his braggadocio demands that he thinks he does, so he does dumb stuff out of misplaced self-confidence like set up the Miyago-Do Dojo, adding fuel to the fire and making everything much, much worse. Miyagi himself would have done anything but. You can see how this works with Amanda too - she's obviously the down-to-earth, pragmatic brains of the relationship and he's the hot babe they put on the posters. Basically I think it's all great character writing. I do think it's a shame we don't get the same for Tory and some of the other background Cobra Kais, but I guess part of the story of the show is how all these individual kids end up considering themselves part of the same mass.
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Apr 29, 2019 22:39
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iamsosmrt posted:I kind of hope his wife leaves him and ends up with a guy who's actually grounded, humble and doesn't jeopardize all the important things in his life over a pointless and obsessive vendetta. About the only thing his mid-life crisis is missing at this point is for him to start lusting after Tory so it could well be on the cards!
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Apr 30, 2019 18:20
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Yeah Demetri's a real insufferable piece of poo poo. The most unrealistic thing in this TV show about duelling karate dojos was anyone bothering to listen to his lovely standup gig. Ah, I suppose they were all drunk as poo poo by that point and would have laughed at anything. ty for ur posting service Athanatos
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May 1, 2019 22:12
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precision posted:I think it's just a classic sophomore slump. I mean Johnny was still written very well, as were many of the sub plots. I think earlier the poster nailed it when saying it's like they listened to the wrong feedback about what made S1 great. The inclusion of Stingray shows this pretty well. quote:I'm gonna write too many words here that no one will care about but... I don't think the writers have suddenly declined in quality, but I do suspect they had a lot more time to polish the S1 script whilst shopping it around. The characters, most of the actual script, the major and minor plots I think are still great, but what starts to suffer is, I don't know if there's a fancy writing term for this, but I'm calling it "infrastructure". The reasons for a particular character to have an interaction with another character at a certain time. The infrastructure in a show like this always needs to be pretty circuitous and circumspect because most TV dramas fall apart if everyone gets a chance to talk out their problems round a table. So you need to come up with good reasons why people don't, why there's a particular series of interactions that lead to the situation deteriorating. You already know the situation is going to deteriorate because of a Robbie - Samantha - Miguel - Tory love/hate quad but you don't quite know yet how to arrange things for maximum hurt and confusion. A script that's had a lot of time for polish and redrafting can accomplish this very elegantly, so you don't even notice it's happening. The characters are just following their motivations and desires in a way that naturally leads to them hurting each other - Hurting from a loss-by-proxy to Cobra Kai, Daniel sets up a rival Dojo. Of course it's taken a lot of work to design the characters and their motivations such that they believably act that way but the reward is an engaging, believable series of events. Scripts that have had less time for polish will kludge in easy fixes - Sam and Robbie arrange a date at the roller rink, where we've established Tory works and will be meeting Miguel later. This starts to feel a little contrived but it's a story and you need things to happen so hey ho write it up and move on. The real trouble starts when you haven't had enough time even for that. When you know something needs to happen for a dramatic story beat - Daniel and Johnny need to nearly reconcile again for maximum pathos - but you can't figure out how they meet and the script's due tomorrow - Daniel and Johnny independently arrange double-dates at the same time at the same restaurant, that is sufficiently booked up that they have to sit at adjoining tables. This is now Bad Writing. It can be saved by good characters, good dialogue, good acting, a willing audience, but really you should have come up with something better than this. And there's just too much of that third category in S2. Too many cases of people just happening to run into each other at the wrong time in order to move the plot forward. Which probably means that your central characters don't have enough motivation, which probably means they shouldn't be your central characters, which probably means S2 should have shifted much more focus onto Kreese and Tory as the gently caress-things-up, burn-poo poo-down, can-do players that you really need to move a story forwards.
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May 2, 2019 10:25
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I loving loved the line about putting Thunderstruck under the Cobra Kai commercial too. "Nu-uh, I've got the cassette in my car". Oh Johnny.
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May 6, 2019 19:23
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