ALLOW IT
ALLOW IT
And dude, if you’re leaving put the tablecloth back on
So, where is the JSA headquarters anyway, why is it still standing/undiscovered, who’s paying the electric bill and who feeds the owl?
Some nice visual storytelling in this ep, with the flower drawings being a motif and the card sent flying at the crash being Courtney’s three of clubs.
As noted above, Earth-2 Lanterns can make their own rings.
Surprised she didn’t notice that it giggled.
There was some quick misdirection there, with the kid talking about how he thought his magic ability was improving.
Lasseter wasn’t the turtle in NEMO. That was Andrew Stanton.
I love that for all the silliness there are moments of legit awesome. The dragon-boat near the end is straight out of Mallory.
Awkward plotting to have Molly’s conflicting accounts of the Florida incident separated by only a single scene. Especially since the scene in between emphasizes a time factor, with Tiago having to account for his whereabouts after returning to town... following his night -with- Molly. Was there nowhere else to slot…
Utterly charming watch. I will forgive the dissing of JOE VERSUS THE VOLCANO, but just this once.
The squirrel sequence has always stuck with me.
No comment:
The thing is, Marty’s girlfriend, i.e., his -future-, is right there the whole time and his arc developing a mature perspective on his OWN relationship (following his evolved view of his parents) should have been a no-brainer. But Z&G were completely blind to the possibility of Jennifer becoming an actual character.
PENDING APPROVAL
I remember really liking it. It’s been years though and I don’t know whether it’s currently available or in what format.
I’m not quibbling. Any scene with Brad Garrett towering over someone by at least two feet is to be cherished and I hope his character returns.
The romantic domesticity of the dishwashing scene reminded me of Nancy Savoca’s HOUSEHOLD SAINTS.
Bill Murray. He’s the oldest.
The funny part is that the movie Brooks was making with Nick Nolte at the time was, I believe, I’LL DO ANYTHING, itself a studio-interference nightmare production.