I haven’t seen yet Seth Rogan’s apparent attack on Pixar movies, Sausage Party, but (an-apparently-sabotaged?) ad campaign makes its premise – talking food literally ripped to shreds – vomit-inducing. Despite the good reviews and Internet chatter calling the movie funny but mean-spirited, and for all the complaints about how implicitly anti-Christian the movie supposedly is (Canadian tax dollars at rest, people), I’m wondering how soon until reports start surfacing calling the movie sickeningly gross.
Cat’s real problem is that’s she’s given Kara (why not Linda, writers?) no reason to trust her (not part of Clark’s inner circle, abuses the staff, sees Supergirl as a scoop). The writers’/studio’s/network’s problem is that they’ve given the viewer no reason to apply “The fewer who know [superhero’s identity], the fewer who get hurt.” CBS may be at fault, too: likely angry at Warner Brothers for letting Person of Interest’s writers run that show into the ground and rely on crazed fans to silence the network, probably wanted to go to superhero-comics cliches as a means of making the show “better,” and to avoid PoI’s descent from sci-fi cop drama to nihilistic trash (IMHO; mo on that later).
Kara, meanwhile, is scared of her boss anyway, and essentially works two high-tension jobs already, and so probably is incapable of conceiving of Cat as anything but a weight.
Or the whole thing is misapplying our reality’s version of human nature to the show’s version of sapient nature: real-world human interactions and relationships may not apply to a world of high-powered people/weapons/equipment/events at every turn. But who’s misapplying what to which, dear reader?
Person of Interest started on CBS in 2011 as a cyberpunk twist on police dramas.
By 2014 it turned into sexist and racist trash (both women of color are brutalized on-camera – and replaced by women not of color; practically all the women on the show are written as unprofessional and self-righteous anyway). In a new misreading of comic books as both story and art, the writers think that we could sympathize with brain-cell Harold “renamed Ben Linus” Finch being written as a sniveling coward – when his actor, Michael Emerson, not only can’t sell that to the viewer (or at least this viewer), but brings to mind Ben Linus’ self-servitude and -justifications instead with that material.
Then there’s the supposed good guys accepting a raving-lunatic opponent of theirs (another sterling example of the women on this show, and one of the women-not-of-color-replacing-a-brutalized-on-camera-woman-of color) as a partner and not as a marriage-of-convenience in the face of a common foe.
Said common foe, the second of the show’s two hacking-into-computer-feeds-for-vigilante-work-computer-systems, sees anybody not on its team as a threat – and denies the supposed heroes successes in saving people whom the first system wants saved.
And then what fans the show has left EXCUSE this with “It’s really cyberpunk darkness that had to be sold as a cop show.” And CBS can’t complain without pissing off the show’s fans, supporters, producers, and writers – and can’t let back past actors or get rid of the crazy lady mentioned earlier without a lot of hurt feelings somewhere.
I hope you’re happy, “fans.”[Note: Post subject to change this weekend.]