EntropyFashion

Oh, Sweet Vitriol, you absolute slog of an episode-where do I even begin? If you're looking for a masterclass in how to stretch a paper-thin premise into an hour of aimless navel-gazing, look no further. This installment of Severance somehow manages to take its already glacial pacing and dial it down to a level that makes watching paint dry feel like a rollercoaster ride. Plot movement? What plot movement? We're stuck in the same existential hamster wheel, spinning endlessly with no discernible progress, just more cryptic stares and half-baked corporate metaphors that think they're cleverer than they are.

The presentation? Awkwardly confusing doesn't even cover it. It's like the writers threw a bunch of disjointed scenes into a blender, hit puree, and called it "artistic." Characters mumble through dialogue that's trying so hard to be profound it forgets to make sense, while the timeline jumps around like a caffeinated kangaroo with no clear purpose. Is this supposed to be mysterious or just sloppy? I'd ask for a refund on my patience if I could. And don't get me started on the Wellness Sessions-another round of pseudo-psychological drivel that's as insightful as a motivational poster in a dentist's office.

Of course, the cinematography's still gorgeous-because why wouldn't it be? This show's got a knack for looking like a million bucks while delivering a story that's bankrupt of momentum. The sleek shots and moody lighting are the only things keeping me from dozing off, but even that feels like a cruel tease: "Here's some eye candy to distract you from the fact that nothing's happening!" It's like putting a cherry on a mud pie and calling it dessert. Sweet Vitriol proves once again that Severance can frame a shot like nobody's business, but when it comes to moving the narrative forward or untangling its own mess, it's about as effective as a paper umbrella in a hurricane. Skip it unless you're in the mood to feel both bored and bewildered.

Title: **Dexter: Original Sin - A Sin Against Good Television**

Oh, where do I start with "Dexter: Original Sin"? I mean, if you're looking for a masterclass in how **not** to make a prequel, look no further.

First off, the acting? It's like they rounded up every soap opera reject in Hollywood and said, "Hey, want to play a serial killer who has more charisma than your last three characters combined?" Spoiler alert: they failed. Michael C. Hall's iconic portrayal of Dexter Morgan is now reduced to a performance that feels like someone trying to mimic a mime's interpretation of a psychopath. It's cringe-worthy at best, and at worst, it makes you question if everyone involved in this project forgot how to act overnight.

Now, let's talk about the effects. The term "horrible" doesn't even begin to describe it. The blood splatters look like they were applied with a paint roller from your local hardware store, and the crime scenes resemble a child's Halloween decoration rather than a grim tableau of murder. It's as if the special effects team was given a budget of 20 bucks and told to make do with what they could find in the clearance bin at Party City.

The set design? Oh, please. "Cheap" is an understatement. It's like they filmed this in someone's unfinished basement, with "Miami" painted on a backdrop that wouldn't fool a toddler. The whole show screams "low-budget indie film that accidentally got picked up by a network."

And the writing... my God, the writing. It's as if someone took all the cliches from crime dramas, threw them in a blender, and served up the resulting mush with a side of eye-rolls. The dialogue is so wooden, you could start a bonfire. The plot twists are as predictable as the weather in Arizona - hot, dry, and no surprises. They've managed to take a character who was once complex and intriguing and turned him into a caricature of himself.

In conclusion, "Dexter: Original Sin" is not just a sin against its legacy; it's an affront to anyone who's ever enjoyed a TV show. If you're looking for something to watch, do yourself a favor - revisit the original series, or better yet, watch paint dry. It'll be more entertaining and certainly less offensive to your intelligence.

With only two episodes remaining, Star Trek: Discovery had a chance to tie up loose ends and set the stage for an epic series finale. Unfortunately, "Lagrange Point" squandered that opportunity, leaving us with clichés, wasted potential, and a sense of disappointment.

Rushed Plot Twists: The episode introduces the concept of the Progenitors' hidden technology, and our crew quickly locates it near two intertwined primordial black holes. Sounds intriguing, right? Well, hold on.

The Breen dreadnought warps in, snatches the container holding the tech, and dashes our hopes. But how did they scan the area so swiftly and decide that this floating container was their prize? It's as if the show needed a challenge, and they threw it in without much thought.

The pacing feels rushed, leaving us wondering if the writers were racing to meet a deadline.

Lost Potential: The Progenitors' tech, a central mystery, remains shrouded in vague phrases. "Build the shape of the one between the many" is the key, but we're left hanging until the next episode.

Instead of diving into the rich lore and implications of this ancient technology, we get a heist plot. The Breen snatching the container feels like a cheap trick to prolong the story.

The show could have explored themes of discovery, legacy, and the consequences of meddling with advanced civilizations. Instead, it's a missed opportunity.

Character Underutilization: Tilly's actions exemplify the show's reliance on technology over human ingenuity. We need more moments where characters shine through their intelligence and resourcefulness.

The crew's plan to retrieve the container lacks depth. It's a straightforward "sneak aboard and get it back" scenario, devoid of creativity.

Saru's leadership, Burnham's strategic thinking, and the ensemble's chemistry could have elevated this episode. Instead, they're overshadowed by plot mechanics.

Clichés Galore: The Breen dreadnought's sudden appearance feels like a trope from a lesser sci-fi show. It's the old "snatch victory from the jaws of defeat" maneuver.

We've seen this before: the container is taken just when our heroes think they've won. It's a tired formula.

The gravimetric distortions caused by the black holes add tension, but it's a superficial obstacle.

In summary, "Lagrange Point" is a missed opportunity to explore the Progenitors' legacy and deliver a satisfying buildup to the series finale. Instead, it's a forgettable episode lost in the vastness of space.