Last week, Lawrence surprisingly returned, hopefully putting the Lawrence hive to rest, and this episode picks up by updating viewers on what he’s been doing since we saw him last. And he’s been doing a lot. He’s exceeding expectations at work. He has his own place and his couch has been plenty useful as he’s engaged in frequent casual sex with numerous women. To top it off, he finds out he has chlamydia! Of course, he now must make multiple calls warning his past sexual partners (very Lovesick-esque) and is met with unpleasant responses. His recent health history obviously isn’t great, but, other than that, he’s doing pretty great post-Issa – as he should be. The former lovers’ reunion at Tiffany’s baby shower is perfect because they acknowledge and praise how much they each have grown without opening any romantic doors. I hope we don’t see anymore Lawrence storylines simply because his time in the story has passed, but it’s nice to see he’s doing okay.
It’s the episode viewers have all been waiting for: the girl group is back and ready to conquer Coachella together. In preparation, Issa completes a few Lyft rides, which mostly go smoothly, runs a few errands for Molly and officially disappears from her responsibilities as a property manager. This weekend is supposed to be Issa’s big chance to forget about her real-life problems and to absorb the glory of Beyonce in the festival reality. But after quitting her full-time job at We Got Y’all and not hearing from party Lyft Nathan since their “eating tacos and kissin’ on the lips” impromptu date last week, Coachella might not be enough of a distraction.
This week, Issa moves into her new place, leaving Daniel behind in his apartment. Of course, it’s crazy that she stayed there for so long, but at least she came to make the right decision on her own rather than be thrown out. And what better way to consummate a new journey in a new apartment than a few housewarming gifts from your best friend. Though, the property manager job that’s attached to her place is sure to provide more laughter for viewers. Back at We Got Y’all, Freida gets their boss to let Issa go back into the field. Issa may have been happy in the field before, but this news doesn’t offer her dissatisfaction any resolution.
If Issa and Daniel’s romantic status was unclear in last week’s episode, it’s even more messy this week. Now sleeping in the same bed, the boundaries are expectedly blurred and even has Issa consider staying at Daniel’s longer. Thankfully, this doesn’t stop her from working to get out on her own. Issa finally gets the opportunity to work outside of the office at a local job fair. Instead of being enthusiastic about the potential applicants, Issa finds more intrigue in a different non-profit organization, The Beat Crew. We’ve seen Issa with We Got Y’all for two full seasons now, and the first time she’s seen to be truly inspired is when watching a rivaling organization. To make the issue more clear, she doesn’t express any particular interest in her company to a hopeful candidate. She’s stuck but her financial situation makes the risk of quitting her job of 5 years to possibly find another position she loves too great. On the bright side, Issa is offered a property manager position at an apartment complex, giving her the option to leave on her own.
This week, we’re back to see how the doomed situation between Issa and Daniel is underway. Issa has definitely overstayed her welcome, mostly after multiple awkward conversations in the season premiere. She does her best to keep in touch with her former flame, but that proves to be difficult since he avoids coming home. He even goes as far as claiming that his “girlfriend” Vanessa doesn’t like Issa around all the time. Instead of communicating with each other about what they want and need, they constantly walk on eggshells around one another.
Issa Rae’s hit show, Insecure, is back and we finally get to see what Issa and Molly have been up to. In season two’s finale, we found Issa moving in with ex-boyfriend Daniel after losing her apartment. The beginning of this season’s premiere confirms the awkward situation living with Daniel creates, as we see him having excessively loud sex with someone who’s not Issa. Issa’s sheer disbelief while listening on the couch is so real I had the same loss for words expression while watching. The awkwardness between Issa and Daniel doesn’t stop there. Daniel is so clearly being petty when expressing that he “didn’t know” Issa was home when he had a visitor. In his defense, Issa’s wishy-washiness over her feelings for him would irritate anyone, especially if he’s allowing her to stay at his home. But, he also could’ve told her she couldn’t move in, for both of their sake.
Here at Much Ado About Cinema, the focus tends to be on films – which is great, but that’s not all cinema amounts to. 2017 was also a great year for television, and there’s a lot of arguments to be made concerning the prestige of the format; with the popularity of netflix and the prominence of many highly-regarded directors flocking to the small screen, television is experiencing something of a resurgence in reputability. With this in mind, Much Ado will be incorporating more coverage of the medium as we head into 2018, and we thought we would begin with a look back on our favourite shows of 2017, from the surprising, to the disappointing, to the consistently brilliant.
To most, American Gods might seem no different than many other fantasy series that are on cable TV, or even the network: it has cool visuals, is based on a book series, and written in hopes of captivating its viewers via carefully crafted plot twists. Built on the already complex premise of Neil Gaiman’s book of the same name, creator Bryan Fuller and his team of writers manage to succesfully carry a transition between two mediums of storytelling by doing that one wouldn’t expect from such a genre, and focusing on the people that fantasy world rather than what makes the world a fantasy one. Of course, the fact that people are mostly the main reason that this world is magic does provide help on this subject to them, but even the visual work here is always about what it tells of instead of what it might show. Fuller might be best known for his visual perfection of Hannibal, but his work here can be even argued to exceed that. Eight episodes, each not longer than an hour, work as book chapters of their own — and they all have their own prologues in most cases, little, thematically coherent cold openings that tell smaller stories with little to no consequence, but are still able to create an impactful parallel with the bigger picture. When looked from afar, American Gods is a masterpiece of filmmaking and production — and that might even be enough for it to be considered as one of the best outings of the year: but the real present opens itself up when one begins to examine the work closely, and finds themselves in a labyrinth of significant questions abot love, life, belief and fate.