"He said, she said" is an honest, fun and exemplary episode of Brooklyn Nine-Nine



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In terms of very fashionable Brooklyn Nine-Nine episodes, I'll admit that I dreaded "He said, she said." It was not necessarily that I thought Brooklyn Nine-Nine it would be screwed up – as it was billed as his "#MeToo episode" – but I was quite worried because "He said, she said" would lack a balance at a time in terms of the time. humor and news. It's the same thing I felt about the "Moo Moo" episode, and I'm very much aware that I'm still a minority in my opinion of this episode, even if it happens at some point in my (and my family life) when I had every reason to really identify with this episode.

Drive

To get a little into baseball with all of you, I was also worried when I saw the screenshot of the screen for this episode. It turned out to be a screenshot of the van driver attached to the hospital who fell in love with "Disco Strangler" (Richard Finkelstein), but when you read the words "difficult" he said "Affair" in the summary of the episode and see this image, your mind goes places. But these places have certainly not given Brooklyn Nine-Nine the benefit of the doubt, especially six seasons in. Perhaps it was the heart of this episode that seemed very atypical of the series; it may be the "fact" that the current NBC season has not been really good (so far); maybe it was just just the fact that it was on a new network in the first place. Eight episodes, and I confess I'm not quite clear on what it means to be NBC Brooklyn Nine-Nine against FOX Brooklyn Nine-Nine, at least not as intimately as the playwrights.

Last week's episode, covered by my dear colleague and friend, Kayla Kumari Upadhyaya, had an organizing plot that evoked the very concept of … all of Marie Kondo. To incorrectly quote the feature Zoolander, "This Marie Kondo is so hot right now." The reason I went with the Zoolander The specific reference is to note how much such a "timely" conspiracy can just as quickly turn into a dated reference. The #MeToo aspect of "He said, she said" is also a conspiracy that is timely, but I realized in this particular case that the very idea that someone is denouncing sexual harassment (at least) to be considered "timely" is such bullshit. (I apologize for being particularly personal during this article, but this episode calls for such an answer.) The very idea of ​​an episode like this should not be classified in the category "timely" or on a "particular trend". "Because it's such a real situation that it's happening all the time, and for that I'm going to defend" Moo Moo, "because the" trend "was of course" Black Lives Matter, "but still once, waiting for an elemental humankind should not be considered a "trend" at which a TV show jumps in. I do not say that Brooklyn NIne-Nine both of them, but when you look back at the episodes, they get the classification "it's the episode # MeToo" and "it's the episode Black Lives Matter". As if they could only exist at a given moment, when it's anything but true.

Now that I have recovered this forum, I can write about the episode. Part of why Brooklyn Nine-Nine it's a "series of cops" that does not put too much emphasis on victims and criminals, but it's a point that becomes particularly evident in an episode like this. This is an episode about Amy, Jake and just a little, Rosa. Keri from Briga Heelan is definitely a character on which you will focus in an episode because of Heelan's comic pedigree, but this has never been what this show is, and even though Brooklyn Nine-Nine will make an episode "problem", he will not change his perspective. This is also what explains the most important aspect of the case itself: it is never questioned, on the basis of what it is, that Keri is the true victim of the sexual assault of Seth (Jonathan Chase). The show itself does not ask if Keri is telling the truth, although it can be discussed – at least before the questions in the office – some open space for the public.

You see, although I'm curious about what this episode would have looked like if Keri had lied about her sexual assault, it's a curiosity that comes with the recognition that this is Brooklyn Nine-Nine and not Law and Order: SVU. (Or any version of Law and order, really maybe Law & Order: Los Angeleswhich was very bad. I watched all the episodes.) This is the same property that gave rise to "The Crime Scene", which at least suggested that Nine-Nines were not always right or not. were not always right. However, the very concept and execution of this episode worked hard to suggest that Jake (and then Rosa) would not be able to keep the promise of finding the murderer loving vegetables. This episode, on the other hand, is smart to present Briga Heelan as an objectively "cold" character. The series never calls it that way, but it's definitely part of the world of finance that Jake and Amy infiltrate. unfortunately, the best way to describe her and describe the female character, who could have lied. (This is not something that the series is pushing, but there is an infinitesimal chance that this is a possibility because of the talent behind it.Once, this chance increases on any other series .) The fact that Beefer's "feminist" moment (Matt Lowe) "It's actually a moment to try to climb the professional ladder. It's even the kind of thing that could have motivated someone like Keri.

Because Keri does not come from a world of emotions, just like Beefer, it's the self-evident reasoning in a TV show (and I guess in real life) that suggests that a story like hers is a lie. But Brooklyn Nine-Nine do not shame this character not to display the "good" emotions, because the NINE-NINE are always assiduous in their work, whatever their assumption. (By the way, the smartest choice of this episode is Holt's choice to send Hitchcock back for the week – it was really best not to take that risk here.) This episode does not deal with the character's trauma. invited after the fact (to be attacked or to be avoided), but it does not need to be – because it is not the show Brooklyn Nine-NIne is. But in being the show is, he always approaches this story very well. When Amy says, "That sort of thing happened literally to all the women I know. I just wanted to help make things better for this woman. And tells his story before the Nine Nine, it's not just an end-of-season trait. Many viewers will see in this episode, if not to Keri, then Amy or even Rosa. Or a mix of these characters. The "feminist" / "realistic" argument between Amy and Rosa is as honest as the end of Amy's episode, enthusiastic: "We can be different and always have the same cause!

This pause scene is also the best scene of this plot from a serious general point of view. Of course, Andy Samberg has the most opportunities for this to happen, but Melissa Fumero has long been the stealth MVP of the series, not just in terms of comedy. Amy telling Jake his harassment before the age of nine, hits like a ton of bricks without being too "too much". Because a lot comes from a place of truth. This was also the case for "Moo Moo", although I did not necessarily think that it had been run equally.

And with this particular moment, it should be noted that television is not particularly a filmmaker medium, but sitcoms in particular have very little to do. Some sitcoms opt for a constantly changing visual language, episode by episode, but honestly, this has never been the case. Brooklyn Nine-NineThe style This is neither a criticism nor an insult, but in general, it is always harder to criticize the directorial aspect of an episode, especially when there is a particularly remarkable director behind the lens. In this case, Stephanie Beatriz does not do anything special with this episode. But her work is certainly laudable during the Amy / Jake break room scene, where she knows that all you need is to take close-ups of Melissa Fumero and Andy Samberg and let them do their work. This is not a scene that will necessarily suit the direction and the comedy, but that is what the scene of Holt's manhunt serves. (As seen on the image of this review, the issues scene of the office also contains some gems in terms of direction.)

In terms of the general theme of the episode, there is also the "he said" talks often evoked by Holt about the encounter with the Strangler Disco. Again, responding to the very sad hopes of this episode, the synopsis troubled me about this plot: "Holt becomes suspicious after hearing that his old enemy of his life died in a transport accident in prison." For me, thinking of the A-plot of this episode, plot B was mingled with a conspiracy to death by the police. Thankfully, the episode went on with Holt's much more fun intrigue refusing to believe that the Strangler Disco was dead. (Again, NBC Brooklyn Nine-Nine goes to the bottom of its most enduring pieces for new viewers and long time.) This is surprisingly a very funny episode of Brooklyn Nine-Nine on both sides of the fence, but there is something particularly hilarious at every moment that Holt has to ask Terry and Boyle if they've ever heard this story in particular. (They have.)

It's also a small thing in general terms, but it's the rare Holt plot with Terry and / or Boyle who does not trust him to insult them for laughing. Of course, these insults are landing with Terry, but Boyle's slams have always felt like banging on Holt's side. This does not happen in this episode, and in fact, Terry and Boyle have fun at the expense of Holt "the old man reciting the glory days". It's not that I want every member of the Nine-Nine to be nice to each other – my favorite favorite comedies of all time include the art of making a good pile -but – there is really a time and a place when it is the eternal optimist Brooklyn Nine-Nine. "He said, she said" manages to find the perfect balance for this dynamic, which is the best way to describe Lang Fisher's scenario for the entire episode.

To return to plot A, the smartest thing she does is to recognize Jake's role as a support ally in this situation and not to accept the decision of the "leading man" of the to save. (An "ally" is better than a "lawyer", that's how the assailant Seth describes himself immediately when he talks about the very concept of woman. Of course Amy is the one who has the moment "Eureka!" after his positive and comprehensive response in the break room, and it's a choice that counts. Just as it matters – even at a miniscule level – that Scully is furious, Hitchcock was rightfully dismissed this week. It's important that this is also a hilarious episode, with plot A showing how you can actually make this type of story funny (Seth and Beefer's lyrics are hilarious, though disturbingly realistic) up) and the plot B giving Andre Braugher even more material for his necessary Emmy.

In conclusion: in more television shows, Briga Heelan should break the penis of the sexual stalker. There must be an FX series somewhere.


Observations lost

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