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TV ratingAll our TV reports in one place. When I read a text that deals with a woman's very personal medical condition and the treatments around her, there is always something I long for. "Wow," I said to myself, "I'd like to have the prospect of the guy this girl is dating for 15 minutes."
In an excellent episode of The bold type, the main story is so wrong at so many levels that it threatens to make the whole thing enjoyable. Had the series focused on the part of the story that mattered – Jane's reluctance to let a loved one into a scary part of her life and made her feel vulnerable and exposed, with the reasons who was behind it and if she decided to leave it in … it could have been a good time. Instead, the ongoing intrusion of Mr. Balance Ball basically makes the whole story unbearable. Jane, yes, it's a bit worse, but here she has reason to be. The resulting implausibility and frustration fuel almost the rest of "Plus It Up", and that's a shame, because the other stories of the week – Kat Queer Prom and the emerging militancy, Sutton's work for Oliver scattered and his struggle to find the right bounds with Richard, and (briefly and deliciously) the badist, age-old bad of Balance Ball – are good to excellent.
We'll come back to the ridiculous and inappropriate layered layers that make up Jane's fictional story, and start with Kat's, which, like her dress, is just what's needed. This is not the first time Kat is forced to take a stand – in a memorable way, in the first season, an altercation with the cops led her to spend the night in jail, a plot with potential that the show has somewhat failed. Here, she is trying to end the questionable closure of one of the city's only homobadual bars by hosting a party. Even if it's a little funny that a character established as a powerful social media chooses to make it play mainly in IRL, with paper money, it is an event incontestably happy, and it is just as happy to see Kat speak and fight not only for her community. but for a place that greeted it as it came out.
More importantly, this story seems to be used to bring Kat to the last beat of the story, in which she finds the first challenger of his city councilor. AOC pair of glbades (that, to be honest, I'm pretty sure we've already seen it wearing) It makes perfect sense that The bold type would like to tell a story about the increase in the number of young women running for office or campaigning, and that the woman in question would also be Kat. But The bold type Here the speech is deafened, the city councilman says, "I admire your pbadion, and the bar … $ 20,000? Nevertheless, it is an engaging scenario that makes sense for the character and the series in which she lives.
The same is true of Sutton's story, just about everything works. The episode begins with the day of the move and quickly leads to two sticky situations, adjacent to Richard. First, she realizes she is not comfortable with the fact that her housekeeper (now also his housekeeper) does his laundry. Secondly, she realizes that she does not really know what she can talk about her professional life and what she can not. What is so clever in both cases is that they are both linked to existing points of tension in their relationship, each one immediately accentuated since they shared a living space. The story of the laundry is simple (also linked to the other) and ends beautifully, while Sam Page destroys the last memories of the terrible husband of the violator Joan Holloway while boasting of his talents launderer.
Oliver's story once again looks like a montage, but it's well managed. If nothing else, it's a great stage work for the great Stephen Conrad Moore, he reinforces the strength of his mentor / boss relationship with Sutton and offers Richard and Sutton a new opportunity to compete with each other. Does Oliver's adoption continue as a scenario? It remains to know. I guess so, and that Sutton will be forced to choose between other interests (as shown in the preview of next week) and his continued efforts to establish it as a successor. -But it is effective anyway.
This brings us back to Jane's plot, which is hogwash.
The problem here is not that it's ridiculously unrealistic …The bold type demands a major suspension of disbelief, especially in the media, publications and money, and it is easy to imagine a story in which Jacqueline attributes to Jane a unique personal story. The problem is that it is unrealistic and bad narration, because no one seems to react to anything that makes sense, until the last act. Take the example of Jane who decides to talk to her boss about the loss of her virginity at a party in the middle of a story that apparently talks about her difficulty in getting open to his partner. and about his boss crossing all kinds of boundaries by badigning him a story with his loving partner without his consent. Why? Why does this happen? Jane's share-sharing is absolutely in the character. Jane tell this story to this guy in this environment does not follow at all, and it's hard to see what this adds to the story.
To poach Jane for the Web half of the publication without accepting a new role makes no sense, but suppose that is the case. Jane being openly hostile to her new boss without any consequences makes no sense, but suppose that is the case. Jane is told that she needs a sharper angle on her piece actually makes sense (though we do not do "more" one thing), but Balance Ball engages her boyfriend to write this piece with her – and in a circumstance where Balance Ball has no idea of the nature of their relationship or what she thinks to involve her in her medical decisions – this has no meaning. Pinstripe accept without checking with it makes no sense. The idea that history then becomes about his desire to exclude it, and not that huge exceed, it does not make sense. The idea that a "digital world" would not realize that all this could explode in the figure makes a lot of sense; the fact that The bold type does not seem to see that does not do.
Of course, when the story finally focuses on what really matters (Jane closed Pinstripe for that part of her life), the situation has become clearer again and Katie Stevens and Dan Jeannotte are both doing a great job. But the damage is already done. It seems that unbelief becomes more and more difficult to suspend when the fantasy becomes less attractive and that the confusing overstepping, so common to Scarlet become much more difficult to ignore when they come out of the mouth of a balance ball.
Observations lost
- I can not promise his nickname will not change next week, but if I had to bet, I'll bet I'll call him Balance Ball forever.
- No disrespect for Peter Vack, who seems much more willing to make the Balance Ball unbearable than the show. He plays this role perfectly.
- There is no question that Sutton, Sutton practices, waiting to pack his luggage until his movers appear. None of these movers move boxes that are not registered. It is out of the question that she herself moves one of these boxes, this is part of the deal. What a strange scene.
- The best time of the season for Jane: "Jacqueline's friends with everyone. "
- Do we like or hate 'Zambronis'?
- If you also like Sasha Velor, there was once this publication that allowed me to write a lot, many words about its brilliant quality. It's here.
- Look of the week: Kat's ball gown, of course. Richard's silly bowtie, also excellent. And really, it's actually Sasha, but it's unfair.
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