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John's Viewing Journal

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  • I watched the first episode of Dream Fes R just because it's technically a new 2017 series, but it's still basically a bishounen Aikatsu. And when the series' conflict is entirely celebrity pop stars struggling to become even bigger celebrities, the show just doesn't have characterizations, drama, or conflict that I can relate to or empathize with.

    Thankfully Knight's & Magic has strong characterizations and exciting action because the abrupt introduction of numerous new characters and even entirely new countries in episode 9, coupled with the whole concept of "demon beasts" largely getting cast aside and the entire concept of Ernesti's past life being forgotten really feels like the show is just jumping from one idea to the next with the barest minimum of continuity.

    Watched Kakegurui episodes 8 & 9.

    Watched Aho Girl episode 9.

    Watched Made in Abyss episode 9.

    Watched Tsurezure Children episode 9.

    Watched Sakura Quest episode 22.

    Watched Cheer Fruits episodes 5-8.

    Watched Dragon Ball Super episodes 105 & 106.

    Every now and again excellent anime films sort of slip under the radar and don't achieve the fan acclaim they deserve, such as Piano no Mori, Hells, and Majokko Shimai Yoyo no Nene. So I finally got around to watching the Neppu Kairiku Bushiroad movie in hopes that it would fall into the same category. It falls short by a long way. If I recall correctly, the concept was originally supposed to be a television series but was revised into a movie, thus explaining why the movie feels so much like a compilation movie. Large chunks of the film's development seem to be missing. I'll drop some spoilers because the film isn't good enough to warrant a lot of respect. Princess Ame seems to fall in love with Suo literally overnight, despite knowing virtually nothing at all about him. Suo's fighting ability alternates between superhuman and sub-par depending on what the narrative needs at the time. The princess' retinue are just cardboard figures that take up space. They serve zero purpose in the movie. The movie includes a literally obligatory heroic sacrifice strictly because these type of movies always contain a heroic sacrifice. In the case of this movie, there's no reason for it; it just happens because the trope is considered necessary. Half way through the movie a new country is introduced literally for just one brief scene. Likewise, half way through the movie the film introduces a major new character who is almost immediately ignored as irrelevant. So I don't understand why both plot developments weren't edited out as unnecessary distractions. The movie is weak through its first two-thirds, but when the third act hits the film just turns into crap. The villain reveals all of his powers, yet if his goal was to eliminate humanity, and he had such extensive powers, why didn't he wipe out humanity long ago? He reveals that he needed the “legendary holy weapon.” Except the holy weapon only functions with the princess piloting it, yet he was prepared to kill the princess. This is literally the same logic as, “I want the treasure inside the locked safe, but I'm going to destroy the key before I open the safe.” A piloted robot that doesn't respond to its pilot seems pretty darn useless. It makes no sense that weapons created to battle the same opponent yet created by different civilizations aren't compatible with each other until they suddenly are. During the climax the antagonists shout scraps of philosophy at each other that don't form a cohesive debate; they're all random fragments of entirely different ideas, so as a whole nothing the characters are saying makes any logical sense. Sadly, the movie is nice looking and fairly well animated, but narratively it's a complete failure.

    Read some comics. Creator Daniel Warren Johnson's fantasy war comic series Extremity was initially promoted as, “the beauty and imagination of Studio Ghibli meet the intensity of Mad Max.” Having now finally read the first issue, I'm not convinced that either implication in the comparison is valid. Apart from the most superficial similarities, including soldiers wearing armor and bulky flying ships, I don't see any overt similarities between this comic series and Ghibli anime. Moreover, the violence of Mad Max has always been more psychological than graphic. The violence is explicit yet not visceral. The gory, graphic violence of Extremity seems more comparable to Game of Thrones or even outright horror movies than the exhilarating yet bloodless Mad Max films. Thanks to a brisk pace that doesn't sacrifice characterization, the first issue of Extremity is exciting and interesting. Sex Criminals issue 20 by itself isn't particularly remarkable, but the issue exhibits every characteristic that makes the series so acclaimed. The 3-D fantasy sequence within Hillbilly issue 7 is pretty neat, but I'm disappointed that the comic didn't ship with a pair of paper 3-D glasses. Seven to Eternity is based fundamentally on the theme of betrayal and uncertain loyalty, but issues 7 & 8 contain so many betrayals and shifts in allegiance that the story is starting to feel like a parody of itself. Writer Justin Jordan's Savage Things issues 5 & 6 continue to feel like a very tightly and deliberately structured action thriller. The story seems ideally suited for cinema, but at the same time it's much more grounded and “realistic” than the wildly imaginative stories I expect and prefer from Jordan. Read Black Magick issue 7. Read Mother Russia issue 2. Motor Girl issues 7 & 8 are fascinating because they structurally invert the series internal psychological fantasy with its external “real world” fantasy. Black Hammer issues 11 & 12 continue to dive deeply into character psychology and the mystery of the setting, proving once again that the series earns its Eisner award as best new comic series of 2017.

    Watched the Vikings beat the 49ers with the final play of the game in pre-season week 3.

    Finished off the last episode of Game of Thrones season 7.

    At last, Twin Peaks episode 16 really feels like Twin Peaks once again.

    Defenders episodes 4 & 5 ramp up the action and feel distinctly more exciting and satisfying than the prior episodes.


    • In Knight's & Magic episode 10 it's nice to see that even the supporting characters can step up when necessary. However, Princess Eleonora is tremendously annoying because she carries herself like a princess, but she has no sense of the responsibility and weight of her position. How can she be so well educated yet simultaneously so stupid?

      I noticed two details within Precure A la Mode episode 28. I wonder if the first scene was animated by a different key artist because all of the girls looked just a bit pudgier than usual, resulting in them looking a little bit cuter than normal. And in episode 28 Cure Gelato directly punched the Noir Inflation monster of the week. I'm pretty sure that's the first time in the TV episodes that one of the girls has punched a monster instead of using a magic attack. Also watched episodes 29 & 30.

      The most I can say for the Rakuen Tsuihou ~ Expelled from Paradise movie is that it's okay. The film wants to be a thoughtful drama about philosophical ideas including the debatable advantages of human evolution, the nature of freedom, and the definition of humanity, but the movie does very little more than merely introduce its ideas in passing because it also wants to be an accessible, conventional anime sci-fi action film despite containing relatively little action. The narrative is thankfully cohesive, but it feels like a first draft that hasn't been refined and focused. Protagonist Angela Balzac is depicted as a capable adult woman, and she acts as such during her introductory scene. Yet as soon as she “downloads” her consciousness into a teenage body, throughout the remainder of the film she suddenly behaves like a pouty, spoiled teenager instead of the demure, sophisticated adult she was introduced as. Much of the film is sadly just a bit boring because it's a detective search for a criminal who's not trying to hide. So the conflict is minimal and easily solved, and lack of action further drains the film of excitement. Furthermore, while the film's partial goal is to be an intelligent conversation about abstract ideas, much of the film revolves around sadly believable errors in judgment like an elite special agent failing to fully research and prepare for the rigors of her mission and, oddly, battle mecha that aren't built to withstand civilian small arms fire.

      After New Game S2 episode 8 devoted so much attention to the new characters, I didn't think we needed another episode that did the same thing, but episode 9 did exactly that.

      Aho Girl episode 10 is exceptionally funny, particuarly with its motorcycle race and Licca-chan gags.

      Watched Tsurezure Children episode 10.

      The 2013 promotional Ark IX OVA based on Yasui Kentarou's light novels is totally 80s. More literally, the short is most comparable to the tail-end golden age OVAs including Midnight Eye Goku (1989), Cyber City Oedo 808 (1990), Ninja Ryukenden (1991), and the 1993 “Double X” music video that began to merge 80's style action with 90's visual design. For God's sake, the protagonist is a private detective ninja who battles supernatural monsters and cyborgs! The action clearly adheres to the philosophy that looking cool is more important than having any common sense or even being physically possible. The major flaw of the production is that since it's just an eleven-minute sizzle reel, it provides no introduction, no context, and only the barest minimum of comprehensible narrative structure. The concept and entire execution are laughably excessive. The protagonist appears to have an infinite number of ninja techniques at his instant disposal to accommodate absolutely any circumstance. Yet the sheer absurd audacity of the promo reel makes it fun.

      Watched the first short episode of the Nui Nui Hinobori San Kyoudai web anime series. I'm excited that I was able to understand all of the spoken dialogue, which actually just proves that the show is very simplistic.

      Watched all three episodes of the Shirotan web anime.

      The Asagao to Kase-san promotional music video is a sweet & pretty introduction to Hiromi Takashima's manga about two high school girls whose friendship deepens into something close to love.

      Watched Aggressive Retsuko episodes 60-72.

      I watched the first episode of Ninjaman Ippei to see what the show is like. Its combination of slapstick humor with oddly adult sex references and comical violence are very similar to other early 80's precocious kids shows such as Gallat, Ranpou, and Maichingu Machiko-sensei.

      Watched Sakura Quest episode 23.

      The 2013 short film Hinata no Aoshigure is mostly a charming slice of life romance, but it really pays off during its climax when the animation turns toward fanciful flights of fantasy.


      • Production I.G's Phantom of the Kill OVA has better production values than the typical one-shot video game adaptation, but it suffers the standard narrative problems. Namely, nothing makes sense. It's unclear whether Zero is one person or one of many clones. The “ancient arms” swords are supposed to be super powerful, but if they're so strong, why the need to create superhumans to wield them? I don't comprehend the hypocrisy that seemingly it's blasphemy to create organic hybrids, but creating cyborgs is okay. And if creating cyborgs is both acceptable and possible, why don't the scientists just create more cyborgs instead of trying and failing to create monster/human hybrids? Authorization and funding to continue genetic experimentation is a big part of the story, but I can't fathom why because the society doesn't seem to have any shortage of either electricity or human volunteers, and the society doesn't appear to use money. I have no clue what the “Elisium gods” are that are introduced in the closing minutes of the episode.

        Watched the Brave Witches: Petersburg Daisenryaku OVA, which is technically unbroadcast TV episode 7.5. Since it's a pretty uneventful and unnecessary episode, I see why it was relagated to being a supplemental OVA.

        The 2014 CG anime short film Nemure Omoi Ko Sora no Shitone ni has an interesting concept and effective tone, but it still feels just a bit undercooked. The film hinges on its characterizations but too many plot developments occur without adequately establishing character personalities or relationships. Character behaviors seem to turn abruptly because viewers don't know enough about what kind of people the characters really are and don't know anything about their backgrounds or interests. At only 50 minutes long, the film would have benefitted from a slightly longer length to allow the characterizations to be better fleshed out and better illustrate the way characters' attitudes evolve and change.

        Made in Abyss episode 10 is certainly grim, but its impact is unfortunately limited because viewers already know for certain that the characters will pull through somehow.

        I watched the Eiyuu Kaitai OVA a year or more ago, but since someone finally translated it, I watched it again. Translated dialogue makes it far more comprehensible, but it's still not especially interesting.

        Just because it was a bit of a novelty, I watched the Monster Strike side-story special “Zenritsu no Lucifer: Tada Hitotsu no Hajimari no Uta.” It's pretty nice looking but narratively is strictly conventional. I'm bothered by the official English subtitles, though, because the episode's main character is Lucifer, whom the subtitles strictly refer to as “Lucy.” Her cousin is named “Satan,” but the English subtitles insist on calling him “Lucifer.”

        After getting used to Kakegurui moving at such a brisk pace, it's startling to watch episode 10 do so little to advance the story.

        Watched the short Chuuko Video-Ya no Onna Tenin X web anime.

        The Red Ash -Magicicada- pilot film is pretty impressive because it manages to pack a tremendous amount of characterization and personality into a relatively short film. Furthermore, the action isn't unique, but its direction and editing manage to make it exciting nevertheless.

        Watched New Game S2 episode 10.

        Watched Tsurezure Children episode 11.

        Knight's & Magic episode 11 is interesting because it clearly depicts the tragedy of overconfidence then proposes the possibility that the protagonists are now falling into the very same psychological trap.

        In one respect, the fifth and final issue of writer Matthew Rosenberg's Black Mask published comic series 4 Kids Walk Into a Bank reminds me of his prior Black Mask series, We Can Never Go Home. Both series now make me wonder if Rosenberg simply has a weakness for writing endings. We Can Never Go Home had a strong first and second issue, amazing third and fourth issues, then a train wreck fifth issue. 4 Kids Walk Into a Bank had a very entertaining four issues of build up leading to the climax, denouement, and epilogue all getting jammed into roughly half of one final issue. The series' final issue doesn't leave any plot points hanging, but it offhandedly dismisses some of the story's most important plot points. And as much as I want to like the final issue, it's a telling statement that the comedy issue's best gag is merely a Star Wars homage. I don't want to over-praise the first issue of the Ghost Money comic series because the first issue is entirely just character and basic scenario introduction. But the writing is intelligent to the extent that it doesn't feel the need to bluntly spell out plot points which should be obvious from context. The art design is handsome and commendable for its very believable speculative futurism. Read the seventh issue of Savage Things. I'm a bit surprised by how subtly and casually it drops a major new story revelation. Heathen issues 2-5 remind me of another current female-created fantasy adventure comic series. Rather than say that Heathen doesn't have the epic, expansive world-building that Monstress does, it's more fair to say that Heathen as “typical” story scope while the depth and scope of Monstress is unusually exceptional. While the graphic art in Heathen is a little bit uneven, the writing has a lot of personality while the plotting demonstrates an effortless deliberation.

        The first Norman graphic novel by French comic artist Stan Silas reminds me of a cynical and aberrant contemporary sibling to Charles Schulz's Peanuts, particularly in the respect that the lead character is actually the least interesting and lesser developed character in the story. The cynical satirical humor is comparable to animated series including The Simpsons and Family Guy. It picks on predictable targets including the privileged sense of entitlement, alcoholism, and the wealthy versus the poor. Predictably, it also makes obvious horror icon references that it thankfully doesn't feel the need to explain. However, the titular Norman distinctly feels like a supporting character in the series named for him. Perhaps most frustrating, the story entirely lacks explication for Norman. Why is he psychotic? Was he abused? Was he taught to be a killer? Does he hate the world? Was he born mentally unbalanced? Furthermore, the book doesn't explain why he kills. Does he enjoy it? Is it a psychological compulsion? Does he do it to punish his victims? Furthermore, frustratingly, the story references plenty of interesting details about Norman's life, but the story doesn't both to explicate any of them. Norman volume 1 is certainly amusing, but it also feels as though it has weaknesses as prominent as its strengths.

        Read the concluding third volume of writer Scott Snyder's illustrated prose comic A.D. After Death. While not overt spoilers, I will broadly discuss the story's ending. The story revolves around a functionally immortal man who decides to escape from his mountaintop community and descend the mountain to find the surviving remnants of mortal mankind. He has a nebulous intention to somehow help mankind. Furthermore, the story never clarifies exactly what his motivations are, whether he's altruistic or trying to fulfill a personal dream or trying to prove something to someone. Since the story is written largely as a disjointed series of the protagonist's fractured and incomplete memories, the storyteller simply doesn't explain fundamentally important aspects of his story. Ultimately, volume 3 seems to reveal that the story's theme is the idea that life is what we make of it, and the protagonist of this story desperately wants to do something substantial with his extended lifetime because he believes that he's wasted his life doing nothing. The writing demonstrates research and deliberation, but ultimately the story feels tremendously unfulfilling because it revolves around grand literal & philosophical ideas yet ultimately has very little to say about any of these concepts. The story is arguably open to interpretation, but it's open to interpretation not because it has a lot of subtext but rather because it lacks explanation and development.

        I'm not sure that I like Defenders episode 6 because I'm not at all certain that any of it's multiple plot twists actually make sense.

        The final two episodes of Twin Peaks season 3 left me speechless, and sadly not entirely in a good way.

        Watched the Steelers beat the Browns, the Panthers beat the 49ers, and the Cowboys beat the Giants. On Monday night, watched the Vikings outplay the Saints, and the Broncos defeat the Chargers.


        • Sakura Quest episode 24 surprised me because after several episodes of preparation and build up, the show breezed over most of the festival in a montage scene.

          Back in '98 I really enjoyed Cardcaptor Sakura, but I only got around to watching up through the very first few episodes of the Sakura Card arc, so I've long felt some confusion over who the newer characters are. I was reminded that I'm not entirely familiar with the second story arc when I watched the new Clear Card Arc Prologue OAD. Although uneventful, it does feel like a necessary transition to introduce the next story arc. One point about the production that bothered me, though, is the fact that the animation for the OVA's first scene looks very strange to me. It has a weird, washed out color and a sort of parallax depth that make it resemble Flash animation.

          One can argue that Princess Principal episode 10 adheres to a predictable narrative structure, including even its episode-ending cliffhanger, but the execution still deserves praise.

          Watched Made in Abyss episode 11.

          Aho Girl episode 11 isn't quite as good as its predecessor, but its willingness to fully embrace absurdity still makes it one of the best episodes of the series. Episode 12 makes the same odd narrative choice as shows including Kobayashi-san chi no Maid Dragon and Kiniro Mosaic to end on a depiction that feels like it should have been structurally placed much earlier in the storytelling. As a result, the final installment of the series feels a bit like a step backwards rather than a satisfying ending.

          Watched the doujin Tohou Gensou Mangekyou 2-4 OVAs.

          I respect and I'm fascinated by Re:Creators after having watched episodes 14-22. The series' first ten episodes are a breathtaking whirlwind only hampered by the fact that Souta is a bit of a drag. Unfortunately, the series' lengthy second act slows the pace nearly to a crawl, and the third act, both by necessity and design, aren't quite as thrilling as the earliest episodes. However, the very fact that the series is a meta illustration of the creative context of pop-culture entertainment makes it fascinating. Naturally a de facto crowd-created creation analogous to a real-world example like Hatsune Miku, will be more powerful, dynamic, and variable than anything composed and controlled by the limitations of a single artist. I respect the way the show acknowledges the theoretical goal of the artist's intent as well as the constant principle that the artist is his or her own worst critic. I'm thrilled by the way the show literally incorporates the concept of left-field characters & plot twists that threaten to break suspension of disbelief. But, in doing so, the show itself unavoidably threatens to break suspension of disbelief. This show fascinates me because it's yet another example, like Evangelion and Madoka Magica, of an anime that extends a figurative, philosophical, academic concept to its utmost projected end.

          Watched Ballroom e Youkoko episodes 6-8.

          Kakegurui episode 11 is interesting, but it strains to fill its running time.

          Watched Dragon Ball Super episode 107.

          Knight's & Magic episode 12 remains enjoyable, but knowing that it's the penultimate episode more strongly highlights how many concepts the show introduced then discarded.

          Watched New Game!! episode 11.

          Tsurezure Children episode 12 is a little bit disappointing because it's quite a bit more subdued than typical. It wraps up some lingering plot threads, but it feels a bit heavy handed about doing so.

          The theater at which I saw the theatrical screening of Lupin III: Cagliostro's Castle had roughly 20 people in attendance. I'm a bit disappointed that the film print wasn't especially sharp, and the frame rate on pan scenes was especially bad. I'm also particularly bothered that not only did the subtitle translation literally translate the name of Goeman's zantetsuken sword to “steel cleaver,” the translation isn't even precisely correct as it should be “iron cleaver” or “iron cutter,” rather than “steel.” However, seeing the film again was a treat since I haven't watched it in many years. And the lengthy (arguably over-long introduction) by John Lassiter and the epilogue commentary by creator Monkey Punch and animation director Yasuo Otsuka were a pleasant bonus. Seeing the film again reminded me of how much the film is praiseworthy for its restraint. So much of the film's action and characterization is front and center but never heavy-handed. For example, in every one of her scenes, the film allows viewers to recognize for themselves how experienced and capable Fujiko is. Zenigata's televised “discovery” of the counterfeiting operation is clearly staged, but the film allows viewers to recognize the fact. Lupin's effort to eat and heal himself, and even more so his literal pain when Clarisse presses herself against his injured torso yet Lupin quietly suffers rather than embarrass the girl are moments that the film allows viewers to comprehend and appreciate on their own. In effect, the movie has a charming intelligence. I'm also highly pleased that as I walked out of the theater, following behind two young men, I overheard one of them say to the other that he'd entered the film knowing nothing about it and departed surprised by how good the film is. On a side note, if we count theatrical “Ghibli films” from Castle Cagliostro through Omoide Marnie, I've now seen 13 out of the 22 films on the big screen, and seeing Nausicaa next Monday will make 14.

          Watched the Texans beat the Bengals. Watched the Bucs win their season opener against the Bears. Watched the Broncos handily beat the Cowboys. And watched the Falcons outplay the Packers. Also watched the Lions easily outplay the Giants.


          • After watching Sakura Quest episode 25 I'm conflicted over how to critique it. On one hand the show does a commendable job of illustrating the ups and downs of life, including situations that arise then evaporate just as quickly, and good intentions that just don't come to fruition. At the same time, as a work of fiction, the story simply feels unbalanced and incomplete because it introduces so many plot points and characters that ultimately just get abandoned. The series introduces the two woodworkers but never really does anything with them. The series devotes a lot of focus on the “dragon statue” storyline but ultimately does nothing with it. Professor Suzuhara appears then vanishes pretty abruptly. The repurposing of the school never gets substantially addressed. Kume offering to broadcast the Mizuchi festival ends up feeling like a plot point introduced to pad time rather than actually add anything of substance to the show. Manoyama possibly creating a sister city relationship is brought up, but the idea never gets developed. The show has a pleasant tone and good characterizations, but especially through its second half the story feels like it just drifted from whatever idea the staff thought of onto the next idea without any concern for developing or sustaining those random plot elements.

            Watched Princess Principle episode 11.

            I've long respected the way the Symphogear franchise respects its history by maintaining continuity to even minor plot points from multiple seasons past. And as much as the show constantly introduces new left-field plot developments, they always somehow seem to just barely seem logical and plausible. However, the antagonists of the AXZ season seem the weakest so far in terms of their logical motivation. The Pavarian Illuminati claim to want to eliminate class and status oppression within humanity, yet they don't seem to fight or oppose anyone or anything that actually propagates such oppression. Furthermore, they fail to recognize the very clear fact that they themselves are employing the same ruthless inhumanity and the exact same logical justifications as the “villains” they claim to oppose. Watched episodes 4-11.

            Wait a minute. In Made in Abyss episode 12, what happened to Reg's need to power down after using his incinerator?

            It's a bit of a sad truth that the final two episodes of Defenders reaffirm the traditional status of Defenders as the second-rate step-child in the shadow of the Avengers. The series' concluding two episodes are adequate but despite being heavily action-oriented still just don't feel very substantial or impactful. On a side note, I think it's ironic that within the MCU the Avengers seem to do a lot of “defending” while the Defenders seem to strictly “avenge.”

            The most concise and simple critique and summary explanation of Kingsman: The Golden Circle is that the film is an exact expansion of its trailers. Viewers completely satisfied by the film's trailers will be satisfied by the movie proper. Viewers that have higher expectations may be somewhat disappointed. Since the sequel is no longer an origin story, it's free to proceed at a brisk pace without the shifts in style that marked the first film: from domestic crime comedy to training film to spy action. However, despite a brisk pace, “The Golden Circle” does feel a bit bloated. Especially early in the film, edits and scene transitions are very nicely done, but the film arguably contains more scenes and more narrative explication than it actually needs. The film's tone also differs a bit from its predecessor. While the first film largely always felt self-serious and had a sense of gravity and consequence, the sequel feels more cartoonish. Its violence is still just as plentiful, but it's now a bit less graphic, and it feels a bit less brutal and less definitive. In fact, tonally and stylistically, Kingsman 2 is comparable to Kingsman 1 in exactly the same way that Guardians of the Galaxy 2 compares to its predecessor. In most ways it provides more yet feels like just a bit less.

            Watched the first half dozen episodes of Black Mirror. I'll certain credit the show for being intelligent and provocative, but I can't call it flawless by any stretch because nearly every episode contains numerous massive plot holes. The first episode fails to explain how an ordinary lone man was able to circumvent the princess' entire personal security detail. Furthermore, the episode fails to explain his intention. If he wanted personal revenge on the PM, the episode never explained why. If he wanted to embarrass, humiliate, or defame the PM, his “terrorist act” actually did exactly the opposite. Episodes 2 & 3 largely seem to work around the philosophy of characters too blinded to see the reality around them. The theme of episode 2 seems to be “nice guys finish last” while in episode 3 the protagonist is an insufferable lawyer who seems either ignorant of the law or impervious to the consequences of assault, DUI, and domestic battery, and who, again, insists on getting himself into the exact pitiful condition he seemingly wanted. Furthermore, the entire concept that the pinnacle of social interaction has become watching home movies seems actually rather dated & quaint instead of futuristic. And I don't understand how or why, if memories can be recorded and played back, why no one has hacked and modified that technology. Season 2 episode 1 again revolves around a character who willingly blinds herself to the truth then gets frustrated when she gets exactly what she wanted. The “White Bear” episode is so filled with logic holes that it requires a separate paragraph unto itself. And season 2 episode 3 revolves around a stunningly unprofessional professional who's too ignorant to realize that if he doesn't do his job, he's not going to keep his job for long. And the supporting characters are politicians who seemingly don't comprehend the most basic tenants of political publicity, among them, don't get into an argument that you know in advance you can't win, and don't lose sight of who your enemies are.

            The Rams win over the 49ers was a high-scoring, exciting game.