1000x yes.

When Fusco got his doctored papers when he was in the hospital, they included a new ID [a passport? I'm going from memory] for his son, but the picture was not of the actor we initially saw play his son. This mades me think we will see his son again, which of course would presume Fusco lives.

Makes me think of the LOST mantra: live together, die alone.

John and Zoe have definitely hit that.

Okay. I'm thinking about it, and this works. Please allow me to consider, and then adopt, your headcanon.

The 100 had a great, great second season, and has had some really good acting and setpieces throughout. But it's also ranged from uneven to teen-pandering to downright horrifyingly bad.

My god, you're right.

I did think John would have sent Shaw to the hospital and taken Finch towards the swarms of cops. [I said more about that elsewhere.] But I did really love how they called back to Shaw's first dealing with death, and her compartmentalization and way of dealing with feelings, and had her react by . . . not really…

It's not a Bury Your Gays thing, but I do have to say, if Root and Carter die while John and Finch live, it's . . . not at all a good look.

I do like that concept . . . I just wish we could have seen it / hoped we could see it.

Yes, I get that. i'm not arguing a linear, plot structure theory but a more personal one. I'm trying to say; I think Root wanted to defend *all* their - and especially her's and the Machine's - choices in his case. It's a retroactive and very human defence mechanism against any guilt, even if there is actually no real…

I just . . . it was so rushed. SO rushed. Root's theology had to be blurted between hails of bullets and during a car chase. She died alone, with Fusco trailing after. I know we have three episodes yet, and who knows what they'll do, but I felt her ending would have been much better served over a longer arc. I do…

I heart Agatha Christie, but have not read this one. I now intend to, so thank you much.

It was even more effective due in great part to the slightly mumble-y delivery The National always has. The lyrics "We're half awake in a fake empire" are so perfectly descriptive of both Fusco, almost everyone in Samaritan's world, and of course humans in the real world, that a crisp clear enunciated line reading…

"Real Root did what she always does: found the most dramatic way to prove her love to Shaw, while still managing to slightly annoy her."

*ugly cries*

In a longer season, I would have hoped for two or three episodes of Shaw badassery as she moved through different countries: getting into tight situations, helping random strangers in need. But we only have a few episodes, so I'm very happy she just had the one and we're supposed to know "all right she has just Shaw'd…

The director knew exactly what the hell they were doing with that framing of her putting on the hat while staring, steely-eyed, into the horizon. CLASSIC spaghetti western stuff. Loved it.

For me, it was the confrontation between Finch and The Voice which finally clarified why the writers brought a plot back.

I thought the whole plot arc would have been much better stretched out over two episodes (with a couple other B-plots in there), because the combination of convolution and rushed reveals (with accompanying exposition) was a clear tip-off. With a little more time to develop, the story could have been better done, but…