Discuss and Rate the Last Thing You Watched (non-movies)

Hawki

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It does inevitably dip in quality down the line (about season 5?), although it never suffers the sort of catastrophic collapse that Friends, How I Met Your Mother, or (eventually) The SImpsons did, limping on well after they should have been quietly taken round the back and put down.
I put Parks and Rec for a bell curve. I like the first two seasons, but their humour is far more in your face and absurdist than what comes later. Where Tom and Nick come in, and we get more of an overall plotline. I'd say it actually peaks when Leslie gets her position on the council.

I actually put the final season as being the worst. Can't really remember why though - been ages since I've seen it.
 

Bob_McMillan

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The first (and possibly second) season of Parks and Rec are pretty bad. It gets way better
+1 to this. It drops the pretty transparent "we wanna be the next The Office" act in I think season 3 and the characters become actual good people, which surprise surprise, is more funny than watching a bunch of assholes. Which I'm thankful for, I feel the show paved the way for sitcoms to be less about snarky sociopaths and more about genuine relationships that also happen to be really funny.
 
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Johnny Novgorod

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True Detective S3

After enjoying the season quite a lot I was left nonplussed by the finale. It's such an anticlimax (which might be the point, but still). More than explaining the big central mystery of the show, it simply handwaves it while discarding all the exciting theories and connections that sprang from it. I feel like in the end they chose the most unexciting option for every question mark raised across the 35 year investigation. But since the lead POV character is struggling with memory loss and ending a lifetime haunted by the case, maybe that's the point. That no explanation could be satisfying, and it's not worth wasting your life over it.

At least it wasn't as depressing as S2.
 
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meiam

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+1 to this. It drops the pretty transparent "we wanna be the next The Office" act in I think season 3 and the characters become actual good people, which surprise surprise, is more funny than watching a bunch of assholes. Which I'm thankful for, I feel the show paved the way for sitcoms to be less about snarky sociopaths and more about genuine relationships that also happen to be really funny.
Oh that's good to know, I tried watching the first season over the holiday and wasn't super impressed by it (not bad, but nothing amazing) at the same time I'm really not into office style humour so I just chalked it up to it not being my style.

Anyone watched ghost can give me some impression (US or british)?
 

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A "series" titled "Oatstudios" showed up on my Netflix recommended list, and I watched the first 2 episodes. It's a list of sci-fi short films ranging in length from 7 to 25 minutes, and most if not all of them are directed by Neil Blomkamp. And you can tell: it's very high concept, incredibly violent and very grim. The first one, "Rakka", is especially something straight out of the darker corners of Warhammer 40k. Based on just 2 episodes I can't say if there's a thematic throughline, but they're entertaining enough. Both shorts so far have ended incredibly prematurely though: it feels like it cuts to black right before heading to the final act. But that might be the point.
 

Johnny Novgorod

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Started watching Cowboy Bebop again. I'd forgotten how chipper Spike is in the first couple of episodes, and Jet comes across as much more embittered than he does later. Haven't rewatched past Stray Drog Strut yet but it seems to me that Faye really changes the dynamic once she joins in. As in Spike gives up and starts lazing off, and Jet adopts a more fatherly, amenable attitude towards the other two.

I always liked that about the main Cowboy Bebop trio, how there's a shifting dynamic that can make any of them into a third wheel. Spike and Jet can be the seasoned pros to Faye's impetuous wild card (and at first there's a brotherly treehouse mentality about keeping the girl at bay), Spike and Faye have a bratty, bickering chemistry as they take point on bounty hunting while Jet calls the shots and stays behind keeping things running, and Faye and Jet are probably the more "adjusted" of the three (grounded as they are by more material problems) which keeps them at a distance from the more aloof/ineffable/tormented/suicidal Spike.

The first couple of episodes have a very efficient way of establishing the mood of the show and how easily it can lean on drama (ending of 1) and comedy (ending of 2). But the first episode already balances both a fair bit. And for all the space western talk I always thought that it was more of an imagery thing (and this goes for 3 or 4 episodes), and if anything the series as a whole borrows its mindset from film noir. It's actually the very first thing you see in the pilot, and what ends every episode: Spike's backstory about falling for the wrong woman and being betrayed by his friend.

He's not exactly trying to run away from his past at first, it's more like he got far away enough and keeps it at a distance because he can't be bothered with it anymore. Same goes for Jet and Faye. Eventually everybody deals with it in their own way, but it very much hangs over them Damocles style and the implication is there's no escaping it and they're all just wasting their time until they do something about it. Everybody gets their own version of a femme fatale too, someone who wronged them and sooner or later have to get over or die trying.
 
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Old_Hunter_77

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Oz: S1:Ep1

A penitentiary has an experimental ward with relaxed rules and the goal of actual inmate rehabilitation, but leads only to the same manifestations of the prototypical human conditions: racism, sexism, classism, violence, drug abuse, deceit, etc. People turn into the kinds of people they never imagined they could be when survival is the #1 priority.

Piggy-backing off my post in the "Actors And Roles You Can't Separate Them From" thread, I asked my girlfriend to watch Oz with me. She hadn't seen it, and I haven't seen in nearly two decades, and by the end of the first episode, I realized it might be a bit too raw for me now. The first episode isn't too bad, but having flashbacks to the violence and prison rape that's prolific throughout the series, I'm not sure I can stomach it again. I still praise it as an excellent show, but once may be enough. I couldn't really gauge her reaction, but she seems intrigued. She might want to continue, but if not, I won't press the issue.
When Whiplash came out I heard some people talking about like "wow can you believe JK Simmons can be so mean" because they know him from commercials or comedies or whatever. That's I know who hasn't watched Oz.
That show is messed up
 
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Thaluikhain

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When Whiplash came out I heard some people talking about like "wow can you believe JK Simmons can be so mean" because they know him from commercials or comedies or whatever. That's I know who hasn't watched Oz.
That show is messed up
Also Watchmen. But yeah, means he has the range.
 

Old_Hunter_77

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I watched the first episodes of three shows within the last day.

The Gilded Age
HBO series in 1880's New York by the dude that made Downton Abbey. So, you know, period costumes and rich people drama. Awesome supporting cast especially the women.
I didn't like it, though- I'm all for period piece corset drama but all of the dialogue and plot points could have been written by me when I was like 12. They constantly just repeat the theme: "Things are changing;" "They are the old we are the new;" etc. Because it's about how bankers and railroad magnates are the new money coming uptown to legacy society.
I'm hoping it's just that it's the first episode so they get past the awkward intro let the characters do their thing.

The Book of Boba Fet
It's just stupid that he survived the Sarlac pit, ok? Just dumb.
But, fine, I already knew this happened because I watched the Mandalorian. But still. Otherwise the whole premise didn't make much sense to me yet- like he's a crime boss but not really? I dunno...

Cowboy Bebop (remake)
I wasn't gonna watch it 'cause they canceled it anyway and I don't really care about anime and whatever but figured what the hell and I guess I didn't have any expectations but dug it. I was actually surprised how much they kept the original style- I assumed they wouldn't 'cause it would be so ridiculous but then that's exactly why I like it. Just silly fun, and I gotta say John Cho is freaking stylin' and hot. And I'm not surprised they brought in Fay Valentine right away and I'm glad for it.
 

Dalisclock

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Finished episode 3 of the Book of Boba Fett.

It's a little better but I'm still not entirely onboard. I mean, I do kinda like him having to work his way up from the bottom, the train job was fun to watch(though the flashbacks are less interesting then the main story so far) but then you get the sequence with him doing woodworking with the tuskens and the interpretive dance around the bonfire and.....whaaaa? OTOH, At least it's not more of the fucking Jedi and the Skywalker clan so you know what, I'll take interpretive tusken dancing over that. At least it's something we haven't seen a thousand times before.

The speeder bike chase was super cliche ridden, and while I think it was intentionally so, it doesn't make it better. And for a bit I was like "This feels like Saints Row, where the main character has to do everything themselves despite being a crime lord. Maybe he should hire some goons to do this shit for him" but then he hired the cyberpunk bikers which I'm not sure is an improvement.

So still hit and miss right now. I'm still gonna keep watching but some of the creative decisions are.....weird. Also, does Boba and Fennec have a speeder or something or do they hoof it to and from the palace whenever they go somewhere? Because I'm pretty sure it would be a good idea to have a vehicle of some sort in the desert and when your palace is apparently way out of town. Sure, it's good exercise but you've got shit to do man. Don Corleone lived in New York and he had a car.
 
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Bob_McMillan

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Also, does Boba and Fennec have a speeder or something or do they hoof it to and from the palace whenever they go somewhere? Because I'm pretty sure it would be a good idea to have a vehicle of some sort in the desert and when your palace is apparently way out of town. Sure, it's good exercise but you've got shit to do man. Don Corleone lived in New York and he had a car.
The scene where evil Chewie is released made me actually laugh. Dude loped off into the desert like a side character in a high school play running offstage after his single line.

Anyway, get ready for more weird creative decisions in the next two episodes.
 

Bob_McMillan

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Caught up to episode 5 of Peacemaker. Probably the best live action superhero TV show we've gotten since Daredevil (or The Boys, but I haven't watched that). I don't know anything about budgets, but the show looks several levels better than any Disney+ MCU show. The camerawork, the soundtrack, (some) visual effects, and the fight scene choreography are all very premium. John Cena kills it in the role, and the new characters they've introduced are great as well. I love Vigilante, the fucking weirdo. Eagly is such a refreshing change of pace from yet another fucking dog companion.

It is a very James Gunn feeling show, so if you didn't like GOTG or his Suicide Squad, then you definitely won't like this. The comedy doesn't always stick the landing, just like in his movies, but enough sticks to make it work.

Side note, John Cena has such an insanely ripped body, seeing him naked or at least shirtless kinda weirds me out. He's so impossibly huge at some point I had to wonder if he's wearing a muscle suit.
 
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Agema

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The Responder (BBC)

Gritty 5-part police drama set in Liverpool about a police officer who is losing track of his job, his life, and is on the verge of psychological collapse. It stars Martin Freeman, who does a bang-up job considering his prior history as a rather cuddly comic actor. He convincingly comes across as someone at core a good man and once a good cop, who has been dragged down and is gradually disintegrating; although it is his compassion for the people he deals with that has both damaged him and led him to compromise himself. In this sense it does show the toll that dealing with social deprivation and misery has on the lives of those working with them - and even how that ripples beyond into the people associated with those workers. I was quite stuck by the similarities with a previous drama ("Good Cop") about 10 years ago, with a very similar premise and setting, not least because the lead in that show is a major supporting actor in The Responder.
 

Silvanus

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Finished season 2 of Netflix's Witcher series.

As somebody who has read the books (the plot of which the Netflix series is supposedly an adaptation) I found this series inexplicable.

Season 1 hopped around different times and places, but pretty loyally portrayed most of the important events of the short-story collections which precede the novels. Season 2 ostensibly takes place afterwards, overlapping with the beginning of the novels ("Blood of Elves" onwards). Yet now the plotlines have almost nothing in common. I don't mean this rhetorically; the majority of the show's plotlines are not from the books; the majority of events from the books do not occur in the show.

The primary focus for this season has been a mystery surrounding monoliths, huge chunks of black stone which stud the land, and which Ciri seems to have a unique ability to crack/damage by screaming. They seem to be bringing new monsters to the Continent from the other spheres of reality. The other main plotline has been a demonic creature called Voleth Meir, the "deathless mother": the first witchers were apparently created to combat her, and she has been trapped since then underground, until now. She attempts to cut demonic deals with Fringilla Vigo, Francesca Findabair, and Yennefer, offering them their desires... but she demands Yennefer deliver Ciri to her, and eventually possesses her.

These two plot strands are easily the most prominent in S2 of the Witcher, driving most episodes and serving as the climax of the season. Neither monoliths nor Voleth Meir are a thing in the books.

A secondary plotline surrounds the elves gathering as refugees at Cintra, where Fringilla has negotiated an uneasy truce between Nilfgaard and the elven leaders Francesca and Filavandrel. Francesca eventually falls pregnant and gives birth, but the child is assassinated, and the elves blame Redania. They travel north to exact vengeance, and Francesca goes full King Herod, slaughtering Redanian children. It then turns out Nilfgaardian emperor Emhyr ordered the assassination, in order to manipulate the elves into going to war with the Northern Kingdoms.

In the books, there is an agreement between Francesca and the Nilfgaardians, though it only comes up later, following the conclave of the mages on Thanedd. The elves head for Dol Blathanna, not Cintra, to form their own kingdom. Meanwhile, elven commandos do indeed fight against the Northern Kingdoms and assist Nilfgaard. She has made a grand-scale stategic and moral gambit; there is no child assassination plot manipulating her into doing so.

This TV plotline has really pissed me off, personally, because Francesca Findabair was one of my favourite characters in the book series: genuinely morally grey, doing what she believes is best for her people, and successfully creating a mostly-independent country (which they direly needed), but compromising her principles to do so, and assisting an aggressive empire in return for their support. She makes these decisions not lightly, but freely. The show has destroyed her characterisation. She is tricked into war, and resorts to slaughtering children as her first move-- pointless cruelty above strategy. There is no measured thought or big-picture compromised thinking here. She has been reduced immeasurably, and the Francesca of the books would simply never act like this.

Yennefer also acts dramatically out-of-character, nicking Ciri and attempting to trade her to Voleth Meir in return for getting her powers back, then having a last-minute change of heart (conveniently when Geralt turns up). She's also been reduced, to a flighty and easily-changeable individual who takes decisions lightly, endangers her allies for no justifiable reason, and then needs to be shoved aside and set straight before finally changing her mind and deciding not to sacrifice her friends after all.

Other characters who act in ways they never would include (but are not limited to) Cahir, Vesemir, Eskel, Istredd, Tissaia.

Personalities for characters have been almost entirely replaced, to the point where they scarcely represent the characters they are supposed to inhabit. Half of the plotlines are not only show-only, but are at total odds or fully contradict the books (the monolith plotline being the most egregious).

On the plus side, some of the performances are pretty solid, including Dijkstra and Yarpen Zigrin.

Blech. Don't think I'll be keeping up with it.
 
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Bob_McMillan

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Yet now the plotlines have almost nothing in common. I don't mean this rhetorically; the majority of the show's plotlines are not from the books; the majority of events from the books do not occur in the show.
This is all made so much better by how the writers went on record saying their problem was that they just had so much good source material, they didn't know what to adapt. I guess they have a very different definition of "adapt".

I don't mind straying from the source material (for example Dandelion/Jaskier being more of a loser and comedic relief than in the books), but then you need to actually provide as good or better than what you changed. I was expecting this season to really cement Geralt and Yennefer's roles as Ciri's surrogate parents (something I felt was largely implied rather than shown in the books), but nope, both barely spend any time with her and one even outright betrays her. They were on the verge of something with Ciri getting closer to the other Witchers, but even that was mostly forgotten and messed up by the end.

The show ended up being some bizarre mashup of a Netflix and CW show. It had all the tiresome drama and despair of a Netflix show while having the shitty writing and CGI of a CW show.
 

Johnny Novgorod

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Still rewatching Cowboy Bebop, eps 3-8

3/Honky Tonk Women
First scene establishes Faye perfectly: she's all about affecting an image. Within the same scene she goes from mysterious and seductive (barters with the merchant) to cool and badass (gets the drop on the goons and shoots them up) to coy and self-conscious (surrenders to the goons). This is all in 2-3 minutes and a great summation of the character. Really the whole episode cycles through these stages of Faye: chats up Gordon but winces when he feels her up; puts on a show for Spike but gets frustrated when he doesn't follow the script; tries to move them and Jet with some bullshit sob story then frets when they don't buy it. She's also resourceful (can pick a lock and secretly interface) and gets the final say on everything - even if it doesn't work out for her, as we learn next episode.

4/Gateway Shuffle
Compared to the mundane casino tryst last episode, this one is fairly ridiculous. The eco-terrorism angle is alright but is made silly by 1) having the leader be the 'Mom' of apparently every member in the group (which reminds me of Futurama and also the air pirates from Castle in the Sky) and 2) the 'Monkey Business' virus is probably the most ridiculous conceit by the standards of the show. Encapsulating the tonal whiplash of the episode in one scene, the terrorists pull a brutal massacre at a fancy mall while wearing rat masks, then amidst the corpses leave a holographic message with an upbeat ringtone about caring for the environment.

5/Ballad of the Fallen Angels
This is the first really somber episode of the show and what I think of as the end of Act I of Cowboy Bebop. Vicious enters the chat, Spike and Jet have their first falling out, Faye needs to be rescued and everything climaxes in a gloomy cathedral that ends with Spike losing a fight for the first time and falling to a melancholy lullaby as flashes from his past play over, recalling the show's intro. The stinger is still comedic and all is well by the end, but you get the feeling for the ultimate tragic direction of the story.

* Vicious should come across as massive weeb edgelord. Black trenchcoat, wields a katana (where everybody else uses guns), likes to brood in a rundown church, has a fucking crow for a pet. But the character is so brutal and mirthless that you kind of just accept it. You never feel he's putting on a show for anybody and frankly could give shit about Spike. I also like how this is the beginning of a trend where Spike duels Vicious but the outcome remains a mystery. We don't see the effects of the explosion on him (or the other explosion at the end of #13) and he's always back to his 100% by the next encounter, yet we always see just how badly each encounter hangs on Spike. Adds to the sense that this guy is nigh invulnerable.
 
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Johnny Novgorod

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6/Sympathy For the Devil
In my mind the next couple of episodes after Ballad are always kinda weak. You're following Ballad, first of all. And they have a Monster of the Week feel to them. Sympathy carries over a little bit of darkness but we're also back to unwarranted weirdness again by having one of those bullshit This Kid is Actually 1,000 Years Old tropes from anime land. I give it a pass for at least tying up to the gateway explosion that the show keeps vaguely referring to and also letting our gallant hero shoot an annoying creepy kid in the face (twice!).

* This is probably the only episode in the show (that isn't a two-parter) to pick up where the last one left off by having Spike wake up from a nightmare/flashback about him having surgery after being maimed by Vicious. Considering the ending of the previous episode it gives the impression that the last encounter is still hanging heavy on him.

* I like the reappearence of the bounty hunter glasses from #4 in this one. I thought I remembered them being a one-off. I also like the added color of Jet having a water-cooler moment with a rival-but-friendly bounty hunter. Just a nice bit of world building.

* I understand Spike walking in alone on Vicious in the last episode. Jet's angry at him and Faye's captured. But that he goes off to face Wenn on his own in this one just feels like anime conceit. Especially since everyone treats it with the solemnity of a final goodbye. Why not back him up?

7/Heavy Metal Queen
Another filler episode about a one-off character. I guess you get a little bit more of world-building, and the show firmly establishes Spike and Faye as equally chaotic brats to Jet's nagging dad. Other than that this is entirely about VT, who opens and closes the episode (and it does end on a cute note). I like her a lot and it would be great if she became a recurring character. Just wish there was more to the episode itself. The bounty himself is irrelevant and the climactic scene where they have to escape a tunnel just isn't all that exciting. Also now that I think of it that whole scene where we're introduced to all the truckers doesn't lead anywhere. VT herself finds Decker (randomly) seconds after enlisting all their help.

8/Waltz For Venus
This is another great episode, and the first tearjerker. Rocco himself is another one-off character we get to spend a lot of time with and while not as interesting as VT he's better woven into the plot by touching on each storyline. I pretty much like everything about this episode. I like the world-building involving Venus as a glitzy vacation spot that has to deal with potentially blinding spore rainfall as a result from purely cosmetic terraforming. The show doesn't usually go too in depth into the science part of the sci-fi but here it works both as an important plot point as well as social commentary. And the look of the floating green islands over the desert is gorgeous.

I also like how Spike and Faye are once more characterized as being two sides of the same coin. Spike with his talk about being like water and relaxing his body and using excess strength against his enemies (which gives method to his constant apparent laziness) vs. Faye rushing the seedy underworld guns blazing in a series of disconnected vignettes that perfectly capture the idea of a wild goose chase. In the end both of them end in the same place at the same time. Different styles springing from different personalities and both give the same results.

* This is the first time the Bebop makes any money, at least onscreen. It can't be much at 1.5 million (they were scoffing at 2.5 in the first episode) but at least it's something. I guess they get the 500,000 for Piccaro at the end too.

* Never noticed before that Faye uses the same stunning spray on the lady bounty at the beginning that Hakim uses on Ein in #2. I figured ok, it can knock out a dog. But if it can also instantly knock out a grown adult why don't they use it more often? It's widely available enough, apparently.

* Jet is seemingly given less and less to do with time. Spike partners with Faye more often and Jet falls back on cleaning after them. He gets some scenes with Ein here and there but even that's gonna get taken away once Ed shows up.
 
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Old_Hunter_77

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Caught up to episode 5 of Peacemaker. Probably the best live action superhero TV show we've gotten since Daredevil (or The Boys, but I haven't watched that). I don't know anything about budgets, but the show looks several levels better than any Disney+ MCU show. The camerawork, the soundtrack, (some) visual effects, and the fight scene choreography are all very premium. John Cena kills it in the role, and the new characters they've introduced are great as well. I love Vigilante, the fucking weirdo. Eagly is such a refreshing change of pace from yet another fucking dog companion.

It is a very James Gunn feeling show, so if you didn't like GOTG or his Suicide Squad, then you definitely won't like this. The comedy doesn't always stick the landing, just like in his movies, but enough sticks to make it work.

Side note, John Cena has such an insanely ripped body, seeing him naked or at least shirtless kinda weirds me out. He's so impossibly huge at some point I had to wonder if he's wearing a muscle suit.
Oh man, I love The Boys. I think part of it is I just think all this superhero stuff is kind of stupid (even though I watch all the Marvel 'cause I like stupid stuff too). I just love watching The Boys take the piss out of the whole thing, it's wonderful and the cast is great.

I will certainly be checking out Peacemaker soon. I really like The Suicide Squad because I love Margot Robbie and of course enjoyed Cena's character a lot.
 
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Old_Hunter_77

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This is all made so much better by how the writers went on record saying their problem was that they just had so much good source material, they didn't know what to adapt. I guess they have a very different definition of "adapt".

I don't mind straying from the source material (for example Dandelion/Jaskier being more of a loser and comedic relief than in the books), but then you need to actually provide as good or better than what you changed. I was expecting this season to really cement Geralt and Yennefer's roles as Ciri's surrogate parents (something I felt was largely implied rather than shown in the books), but nope, both barely spend any time with her and one even outright betrays her. They were on the verge of something with Ciri getting closer to the other Witchers, but even that was mostly forgotten and messed up by the end.

The show ended up being some bizarre mashup of a Netflix and CW show. It had all the tiresome drama and despair of a Netflix show while having the shitty writing and CGI of a CW show.
Funny thing is, I agree with all of this and it's exactly why Iiked it so much. Perhaps part of it is that contrarian in me- all of the internet and redditt hate it more than Hitler and I just find that funny. More seriously though, I actually don't want the TV show to follow the books so much. I mean.. I read the books already, gimme something new. This whole fealty to source material sentiment confuses me, I don't know why anyone wants the same crap over and over, so boring. As long as the Netflix keeps the idea of who Geralt, Ciri and Yennefer are as people, they can do whatever they want with the rest.

The evil witch in season 2 for example, yeah, that is completely invented for the show. But I liked it because it's Baba Yaga, and isn't the Witcher about adapting folk tales into its world?

I respect your observations more than some others so here's what I think about two you raised that matter to me:
1- Ciri's relationship to Yen and Geralt. I see your point but I think what you're after will happen in season 3. The whole "betrayal" thing is a novel way to set that up. The show had a tricky thing to resolve: bringing in two characters that are introduced later by the source material while keeping them all equally important. The balance in season 2 was attempted by just focusing Geralt's relationship with Ciri re: the whole parenting thing, with Yennefer remaining on the outside and it ends with that resolved. I think moving forward if Yen were to betray Ciri or even Geralt, I would be the first one to complain because they've laid that groundwork effectively.

I do think though that having Yen kind of have her own separate adventures has hurt the pacing of the story to this point, though.

2- Jaskier
I actually showing him helping the elves did a lot to fix the problem of him just being comic relief. Certainly I hope in future seasons they lean into him being a spy and such, that's something I loved about him in the books and the Witcher 2 game. Either way I already I think it's a much better portrayal than the Witcher 3. As much of a fanboy as I am of that game, its portrayal of Dandelion is one of my biggest problems with it.
 

Bob_McMillan

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More seriously though, I actually don't want the TV show to follow the books so much. I mean.. I read the books already, gimme something new. This whole fealty to source material sentiment confuses me, I don't know why anyone wants the same crap over and over, so boring. As long as the Netflix keeps the idea of who Geralt, Ciri and Yennefer are as people, they can do whatever they want with the rest.
I'm not a stickler for following canon. Like I said, change stuff, sure. But a) don't go around marketing your show as a faithful recreation of the source material and b) make sure these changes are for the better. I wouldn't believe anyone if they said they think what they did to Eskel was an improvement over his game and book portrayals. Or Lambert and Coen. Seriously, I can't believe they went down the lazy route and made all the Witchers rude, gross, incompetent morons. And the worst thing of all, is that all three of those characters barely existed in the books and the games. There was so much room for improvement. It was such a pathetically small bar to clear and they still couldn't do it.

Plot wise I didn't mind the changes. The new ideas they had were fine, they just couldn't write well enough to back it up. For example, Yen losing her powers and not being able to teleport, arguably one of the most useful bits of magic in a world that uses and horses. And what do they do? Allow her to travel immense distances in no time at all. Fuck, I think they traversed the whole fucking northern realm in less than a day.

I respect your observations more than some others so here's what I think about two you raised that matter to me:
1- Ciri's relationship to Yen and Geralt. I see your point but I think what you're after will happen in season 3. The whole "betrayal" thing is a novel way to set that up. The show had a tricky thing to resolve: bringing in two characters that are introduced later by the source material while keeping them all equally important. The balance in season 2 was attempted by just focusing Geralt's relationship with Ciri re: the whole parenting thing, with Yennefer remaining on the outside and it ends with that resolved. I think moving forward if Yen were to betray Ciri or even Geralt, I would be the first one to complain because they've laid that groundwork effectively.
From what I've heard they're already planning to introduce the Rats in the next season, so I doubt there will be much time to make Ciri's relationships with the parents anything more than a "believe us, they totally love each other" thing. I'm not sure what you meant by "bringing in two characters that are introduced later by the source material", Yen and Ciri were suppose to have all their bonding time by the time the North becomes aware of Ciri's existence and importance. Because from here on out, it's all bad times for the poor girl. Unless they are planning on throwing out the whole plot structure from the books, which at this point they probably need to do. If they're going to make it that Ciri doesn't need to go through so much tragedy on her own, I wouldn't mind that at all.

2- Jaskier
I actually showing him helping the elves did a lot to fix the problem of him just being comic relief. Certainly I hope in future seasons they lean into him being a spy and such, that's something I loved about him in the books and the Witcher 2 game. Either way I already I think it's a much better portrayal than the Witcher 3. As much of a fanboy as I am of that game, its portrayal of Dandelion is one of my biggest problems with it.
Can't remember much about Dandelion in the Witcher 3, which probably says a lot. I think he was definitely one of the standouts of the season, but it's pretty clear he only gets that kind of treatment because he's very popular with the twitter fans.