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Patrick Ball as Dr. Frank Langdon The Pitt, S01E08 - 2:00 P.M.
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Ask the most sensitive person you know what’s the one thing countless people have said to them regarding their sensitivity. Ask them what words make them flinch and how hearing it can sometimes cause such a visceral reaction that it makes the whole thing worse. The people who hold a plethora in because they’ll do anything to avoid those words, so instead, we do everything in our power to prevent them. If you haven’t guessed by now, the words are some variation of “You’re too sensitive.” And yet, in The Pitt Season 1, Episode 14, “8:00 P.M.,” the opposite words are used when Dr. Robby tells Mel King that she’s awesome.
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My notes for this episode are largely comprised of every positive adjective I could momentarily come up with. Beautiful, magical, breathtaking, gorgeous, extraordinary, sensational—a masterpiece, an inimitable work of art. Severance’s “Chikhai Bardo” is the type of episode that, years from now, filmmakers will be studying to understand the versatility and depth of storytelling. It’s the type of episode that’s a testament to the undeniably perfect performances, Dan Erickson and Mark Friedman’s screenplay, and Jessica Lee Gagné’s breathtakingly brilliant directing and cinematography.
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It’s hard to say whether it’s fully over for Peter and Rose after The Night Agent Season 2 finale. What isn’t hard to say is that what we get in their last conversation is an unmistakable love declaration without the three words being uttered aloud—it’s more than that even.
The story begins because Rose Larkin calls Night Action, and Peter Sutherland picks up. They’re bound by trauma, yes, and that’s not always a positive thing, but sometimes, it’s still tremendously meaningful, and this is especially the case for the two of them because neither has nor would they ever harm the other. At the same time, Rose and Peter don’t have much outside of their relationship either. They’re both alone and even while they have maybe decent coworkers, they don’t have true friends or a familial unit. Their trust was, first and foremost, established by an unlikely friendship that later led to a relationship, which is where so much of the loyalty lies.
Hi friends -- longest time no see, it's a rough rough world out there, and I hope you're all being extra kind to yourselves during this awful era we've entered.
I'm popping back in after a hiatus to say that surprise! I have another romance novel out in the world. A CERTAIN STEP is a best friends to lovers Broadway workplace romance that's set on the backdrop of a spicy Pride and Prejudice musical called Midnights at Pemberley.
The book is available on Kindle Unlimited, e-book form, and paperbacks wherever books are sold!
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The arranged marriage, and in some cases, the marriage of convenience trope, are two of the more challenging things to get right on TV. It’s also one that doesn’t always work in romance novels, but when it hits—nothing hits harder. Prime Video’s My Lady Jane gets much right with its hilariously charming adaptation, and the arranged marriage trope is at the top of the list.
In some cases, especially in historical pieces, couples are forced to consummate the marriage to add legitimacy, which sometimes (read, most of the time) robs the woman of her agency. But My Lady Jane works because Guildford never forces that (they fake it initially), and the two start their relationship as equals. This decision allows them to get to know one another through a working partnership, which then adds to the bickering and banter with the type of problem that makes their eventual collision more earned.
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Conversations matter significantly when establishing relationships, and Prime Video’s My Lady Jane is especially great at them thus far. They don’t just give us heated and simultaneously tender sex seasons, but they allow the characters to rest in their intimacy—to open up and share parts of themselves that they’ve been holding in for far too long. Such is the case with Jane and Guildford’s moment of vulnerability in “Another Girl, Another Planet.”
He comes to rescue her, but when she gives him the space to talk about his mother, she saves a part of his soul, too. In having this conversation about their past and the demons that consistently terrorize them, Jane and Guildford grow closer as husband and wife. There’s a trust that the two establish when she starts with the intention of finding a cure, but it’s so much more when we (Guildford especially) realize that she will love him as he is. With this in mind, even in the silence, they exchange so much of their hearts with one another that it’s gratifying to see as a romance fan.
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Directorial debuts for actors within the show they’re also starring in are always tricky because there’s often far more judgment than there needs to be. The critiques are more elevated, and everything is questioned, even when there’s the most minor misstep. Yet, it’s hard to imagine that there could be even a single person who’d have something negative to say about Ayo Edebiri’s compelling and intimate vision in The Bear Season 3, Episode 6, “Napkins.”
The Bear creators and team excel at creating standalone episodes that cater to the character journeys in a way fundamental to the plot’s development. Like the third season’s motto, every second counts, and that’s especially the case for Liza Colón-Zayas’ Tina Marrero and how she finds herself working at The Beef. With this uniquely beautiful pairing, “Napkins” results in what might unquestionably be one of The Bear’s best episodes—thoughtful, intimately moving, and significant in showing a relatable story through which audience members could also find a profound connection.
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challengers (2024) dir. luca guadagnino / robertszombie / challengers cast and director explain that intense ending: 'everyone's right and everyone's wrong', sydney bucksbaum