History of Horrors and Other Tales starts with a phenomenal opening sequence.
Walker has had some very innovative directing and editing choices and this is a reminder of how stellar the show's signature style can be.
For me, the sequence intentionally underscores a problem with real life--that we are back to everyone going along with their own concerns rather than continuing to give needed support to their friend and family member who is flailing.
Happy for our roster of characters overall, but sorry for our hero, Cordell.
It was masterfully aggravating.
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I had assumed the writers were reserving Geri to come in and realize the texts she'd received were false and see the extreme change with Cordi. Sometimes it takes the shock of measuring the full change all at once, rather than over time.
So while I dislike her as the current girlfriend, I can see they've been trying to roll back the character baggage and place her in a better, more competent and caring light. This might have helped.
Apparently, however, I was wrong about that plan.
Instead, we get Geri judging and pushing him (the snarky term of "boy listening;" talking about the opportunity for "us" in the expansion, when it was her choice to do it on her own before; eye rolls instead of concern or support) Later on, we get her unilaterally having heart-to-hearts with his children to smooth things over, rather than waiting for them to do it together (which was her complaint last time, that he needed to make the move first, now we've skipped far past that to her doing it her way.)
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As an aside, very dicey the whole "Aunt Geri, new name pending" reference--very inbred hill vibe that was already hinted at by the plot, but never plopped right out on the table like that.
In addition, "You are so like your mom. I miss her, too" was a seemingly heartfelt moment ruined by the knowledge Geri is soon to shack up with her dead bestie's man and trying hard to take her place.
Timing is everything and these get a rating point knocked off for pure squick.
Ironically, having now made it through a re-watch, this is perhaps the best acting by Odette Annable (Geri) of the entire series as she sells her concern to the two young Walkers. If not for the set up and character baggage, she'd have the perfect emotional tone and motherly compassion.
Of course, Annable's acting has never been an issue here.
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Meanwhile, back to the build:
Liam is now concerned with his parents more than either Cordell or his own relationship. Keegan Allen portrays a very believable "hero child," caught once again trying to save the day.
I share his feelings, actually: Bonline at odds, after being our most dependable couple.
Abby having the right reasons to ask Liam for help, but doing it wrong. (Also, what's with the "favorite" son jab that puts him even more on the spot?) I do appreciate that she's talking about her dreams upfront, however. That part is the strong, self-aware Abby actress Molly Hagan has created.
But she's not listening to Bonham and pushing away the plans they'd talked about, which is frankly unfair to him.
On the other hand, he's not entirely using his words well either.
I had to laugh at him deciding to focus on a boat, seeing it as a symbol of romance without explaining it to her. He saw it as giving up some of those dreams and finding a middle point.
Mitch Pileggi plays this unwavering love and commitment gently and, thus, it hits hard.
She saw it as an entanglement, but to Bonham, "love is a verb." My poor romantic star-crossed retirees. I love them so, but now is really not a great time to be nattering about port-a-pots and Italy.
There's a crisis afoot of a more dangerous sort.
Remember Cordell?
---
You'd think his colleagues would.
I spent a good span of time saying, "hey, where's Cordell?" at the screen as almost everyone just brushes on by.
Larry does ask. I appreciated him doing so. Later he is the one who makes a solid effort to check on Walker, but by then of course it's too late to change the path he's on.
Coby Bell has been adding layers to the friends' back story all season with bits of acting large and small.
So great job to Larry, even if not entirely effective, which is why my major disappointment is Cassie.
From the top, we see her do a full eye roll of her own and a "wouldn't count on it" about the man who's been her partner and mentor. I realize she's both frustrated at his lack of work productivity and hyper competitive for her promotion, but is she going to realize that her actions are contributing to his fall?
She's concerned, but she later attacks rather than helps. In spite of a very passionate delivery by Ashley Reyes, and a great scene between her and Padalecki, it just added to my aggravation as a viewer.
I hope if something bad happens later--as anticipated--Cassie won't think it's his fault after he was "warned." (You don't help someone with mental health issues by warning them to suck it up and fly right. Even if you've done it before. Using a hammer again and again doesn't make it more effective.)
---
All of this cluelessness, of course, builds us up to the double mystery cliffhanger.
It was a solid hour of nothing but raising tension to the absolute, frustrating peak. We get Cordell further and further out on his own, and we get Stella discovering that Joanna is actually Hoyt's missing mother.
And we get the baseless condemnation that when confronted they both "run." Usually this means someone who runs away, which was minimally true of both characters in season one.
But Cordell and Stella aren't running away, they're running toward something. They're running to help and solve and protect those they love.
Or at least that's what their fixation is telling them.
Amazing juxtaposition of the two characters as portrayed by both actors. Violet Brinson gets the nuances of Padalecki's Cordell down and you can see the two as father and daughter both perfectly on the edge.
---
And that's why I'm guessing all of this was absolutely intentional and that the cast and writers are building to something explosive to come.
Coming back again for a final polished finish as we stylistically add back the side-by-sides and see where the characters are at the moment we end the episode--all seemingly as in a state of upset as we viewers are.
Walker has had some very innovative directing and editing choices and this is a reminder of how stellar the show's signature style can be.
For me, the sequence intentionally underscores a problem with real life--that we are back to everyone going along with their own concerns rather than continuing to give needed support to their friend and family member who is flailing.
Happy for our roster of characters overall, but sorry for our hero, Cordell.
It was masterfully aggravating.
---
I had assumed the writers were reserving Geri to come in and realize the texts she'd received were false and see the extreme change with Cordi. Sometimes it takes the shock of measuring the full change all at once, rather than over time.
So while I dislike her as the current girlfriend, I can see they've been trying to roll back the character baggage and place her in a better, more competent and caring light. This might have helped.
Apparently, however, I was wrong about that plan.
Instead, we get Geri judging and pushing him (the snarky term of "boy listening;" talking about the opportunity for "us" in the expansion, when it was her choice to do it on her own before; eye rolls instead of concern or support) Later on, we get her unilaterally having heart-to-hearts with his children to smooth things over, rather than waiting for them to do it together (which was her complaint last time, that he needed to make the move first, now we've skipped far past that to her doing it her way.)
---
As an aside, very dicey the whole "Aunt Geri, new name pending" reference--very inbred hill vibe that was already hinted at by the plot, but never plopped right out on the table like that.
In addition, "You are so like your mom. I miss her, too" was a seemingly heartfelt moment ruined by the knowledge Geri is soon to shack up with her dead bestie's man and trying hard to take her place.
Timing is everything and these get a rating point knocked off for pure squick.
Ironically, having now made it through a re-watch, this is perhaps the best acting by Odette Annable (Geri) of the entire series as she sells her concern to the two young Walkers. If not for the set up and character baggage, she'd have the perfect emotional tone and motherly compassion.
Of course, Annable's acting has never been an issue here.
---
Meanwhile, back to the build:
Liam is now concerned with his parents more than either Cordell or his own relationship. Keegan Allen portrays a very believable "hero child," caught once again trying to save the day.
I share his feelings, actually: Bonline at odds, after being our most dependable couple.
Abby having the right reasons to ask Liam for help, but doing it wrong. (Also, what's with the "favorite" son jab that puts him even more on the spot?) I do appreciate that she's talking about her dreams upfront, however. That part is the strong, self-aware Abby actress Molly Hagan has created.
But she's not listening to Bonham and pushing away the plans they'd talked about, which is frankly unfair to him.
On the other hand, he's not entirely using his words well either.
I had to laugh at him deciding to focus on a boat, seeing it as a symbol of romance without explaining it to her. He saw it as giving up some of those dreams and finding a middle point.
Mitch Pileggi plays this unwavering love and commitment gently and, thus, it hits hard.
She saw it as an entanglement, but to Bonham, "love is a verb." My poor romantic star-crossed retirees. I love them so, but now is really not a great time to be nattering about port-a-pots and Italy.
There's a crisis afoot of a more dangerous sort.
Remember Cordell?
---
You'd think his colleagues would.
I spent a good span of time saying, "hey, where's Cordell?" at the screen as almost everyone just brushes on by.
Larry does ask. I appreciated him doing so. Later he is the one who makes a solid effort to check on Walker, but by then of course it's too late to change the path he's on.
Coby Bell has been adding layers to the friends' back story all season with bits of acting large and small.
So great job to Larry, even if not entirely effective, which is why my major disappointment is Cassie.
From the top, we see her do a full eye roll of her own and a "wouldn't count on it" about the man who's been her partner and mentor. I realize she's both frustrated at his lack of work productivity and hyper competitive for her promotion, but is she going to realize that her actions are contributing to his fall?
She's concerned, but she later attacks rather than helps. In spite of a very passionate delivery by Ashley Reyes, and a great scene between her and Padalecki, it just added to my aggravation as a viewer.
I hope if something bad happens later--as anticipated--Cassie won't think it's his fault after he was "warned." (You don't help someone with mental health issues by warning them to suck it up and fly right. Even if you've done it before. Using a hammer again and again doesn't make it more effective.)
---
All of this cluelessness, of course, builds us up to the double mystery cliffhanger.
It was a solid hour of nothing but raising tension to the absolute, frustrating peak. We get Cordell further and further out on his own, and we get Stella discovering that Joanna is actually Hoyt's missing mother.
And we get the baseless condemnation that when confronted they both "run." Usually this means someone who runs away, which was minimally true of both characters in season one.
But Cordell and Stella aren't running away, they're running toward something. They're running to help and solve and protect those they love.
Or at least that's what their fixation is telling them.
Amazing juxtaposition of the two characters as portrayed by both actors. Violet Brinson gets the nuances of Padalecki's Cordell down and you can see the two as father and daughter both perfectly on the edge.
---
And that's why I'm guessing all of this was absolutely intentional and that the cast and writers are building to something explosive to come.
Coming back again for a final polished finish as we stylistically add back the side-by-sides and see where the characters are at the moment we end the episode--all seemingly as in a state of upset as we viewers are.
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