I agree about how nothing/boring were the classroom scenes ... and think it's for what the reviewer suggested about the premise seemed such a good idea (I mean writers/producers probably thought the same -- only they were wrong. I did like the princesses and the guys' reactions at the end -- but wasn't it sort of the same Leonard joke as Penny's horned rimmed glasses.
I love this show. I've criticized the reviewer for some of what she likes best as opposed to what I watch the show for -- but this episode was ineffective sentiment, cheap thrills, played with melodramatic gimmicks. We've somehow gone from John Wayne standing stoically in a doorway looking on while a family reunion he brought about, after a movie's worth of challenges, is taking place ... to people seeing a photograph and falling to their knees, wailing out, waving their arms at heaven and weeping vociferously at the unfathomable (except by the folks at Bones) tragedy of War (and of course in the lab attacking their teammates for not feeling as deeply or showing enough emotion as Arastoo particularly determined a "proper" person would, which I think was the real intended message).
@ViperGeek - Thanks for the imdb site, some interesting things there like comedy band and how very much she's worked.
I think the girl Raj is seeing is thin, sure, but she's very attractive. I also think the way she portrayed her shyness did ring true. I hope they keep her around and develop the relationship. So far, what seems different about her to the other female regulars is that she seems to be thinking, but keeping what she thinks to herself -- which might mean an ability to blurt out some great lines down the road. I hope she's an addition to the show, because I think she's great!
I liked Luke managing to con each of his older sisters into putting on the shoes, just so he could see them fall -- and they each didn't have a clue and still didn't fall! It felt like family to me, like his sisters each gave Luke, maybe as the baby of the family, the benefit of the doubt. It was also a solution a child as young as Lily might come up with to glue down the slippery wig.
This show always seems to manage to connect with some of the funniest, over-the-top situations and character scheming. It's kind of amazing!
I like Sweets!
In trying to understand 18-49 ratings, somewhere I saw and kept in my mind as significant that 1.4 means cancellation and 2.4 means renewal ... generally. I don't understand it, but remember that. And probably saw those numbers on one of the sites referred to in comments here (but not positive).
On 9PM and 10PM time slots -- isn't the later slot more for shows featuring "adult" content (meaning shows like Dallas or Peyton Place adult content)? Maybe they're testing for that audience??
There's no way that they could (or would) plot out the whole series right from the start -- and so we shouldn't work too hard to figure out details as if they have.
The big gripe I have, though, is that I believe all of this unresolved speculation about whether or not the show is coming to an end has screwed up the continuity that, for instance, the show had in the first and second seasons -- the first season especially!
After that, though, the way most fiction writing goes is opportunism -- like if your characters have to go into a convenience store, the writers might imagine some interesting characters to be found there and such interaction might lead the plot down an interesting twist (or, say, Cho could have an interaction with a prostitute that they might draw out several episodes). But, season after season with however many people there were involved in writing scripts would generate all kinds of loose ends or false clues unconceived at the beginning (and maybe there are some ideas for twists -- like it is possible that the recurring religious sect was imagined by the writer of one show for that one show, but was good enough to have been drizzled into and expanded in other episodes to where it will -- it must, mustn't it? -- have something to do with the show's final resolution). (cont.)
When someone conceives a story idea, it starts with a "what if?" question. It isn't, however, clear whether the show started with a speculation about what if a carnival mentalist was solving crimes and then figured out what would have happened to get him interested in doing that -- or if it was what if a crime-solver's family is killed by a serial killer because he taunted him on television and then figured out what he could have been doing on television taunting a serial killer.
My suggestion is that, in any case, when the idea was proposed, it wasn't necessary for anyone to know who Red John is/would be. By now, I would guess, they know and that they do a fix-up on each accepted for production script to not contradict that. (cont.)
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