"Some obligations can't be passed on": Watching A Place To Call Home

[Mel O'Drama]

The last scene of episode S4E7 is a flashback to James' vomit-reaction-to-the-male-physique-therapy (if you can call it a therapy).

This is the point in season 4 when he starts to remember Harry.

I checked the images used for the aforementioned therapy as shown in season 2, they are the standard images of posing athletes.

Now there's a lot of water under the bridge since I watched this, and I don't think I even commented on this scene at all, so it's hard to remember, but from my vague recollection, I think I viewed this not as a literal remembrance of the scene, but of James's mind putting two associations together. It showed the puke-therapy had been too successful, because he now mentally catalogued Harry in with the images that had made him so ill. It made sense to me because Harry was at the forefront of his mind at the time anyway, being the only man he'd kissed during Season One.

Furthermore, back in Ash Park, maid Amy Polson made James vomit because she reminded him of kissing Harry in the barn, so much for amnesia.

That, too, worked for me. Even with the amnesia, James's subconscious mind still knows and I can buy that there'd be something about the Polson looks (or even energy), or even just the suppressed association of Amy with Harry that would affect James. It's kind of like getting a specific feeling about someone we meet for the first time without being able to explain it. There's sometimes a reason that's subconsciously rooted in past experiences.

Gosh - this is all getting very Freudian, isn't it?

Doris looks so gutted and humiliated and I don't want that to happen to my favourite character. On the other hand I prefer her to be alone because she's the heart and soul of Inverness and she always has to be everywhere, doing a million things and keeping everybody informed.

It's great to see Doris getting a little storyline. I think the "town gossip with the heart of gold" is a tricky balance to get right. Not enough storyline and they're undervalued. But if they're overwritten and have too much to do, or if they undergo a significant personal progression such as marriage, they're not the same character. As a viewer, I root for them, but I know that finding happiness means the end of the character as I know it. Mrs Mangel had to move from Ramsay Street once she married. Likewise, Rosie Andrews could never play the same role after she married Doug Palmer.

Regina has often been so one-note predatory it's easy to overlook the moments when she's genuinely at the end of her tether.
She would rather die than give up George because she's trapped in her adolescent obsession, but now, being married in name only, she's starting to crack up.
The need for morphine is exactly what it is and it's funny that I always take everything at face value but this time I didn't.
I was looking for something extremely twisted and complex, but it's not.

Oh great. I'm glad your worries about the storyline weren't realised.

 

[Willie Oleson]

I think I viewed this not as a literal remembrance of the scene, but of James's mind putting two associations together

That makes perfect sense to me.

That, too, worked for me. Even with the amnesia, James's subconscious mind still knows

They showed James' vision of him and Harry kissing just before he threw up, but since I'm not a doctor I don't know where exactly a subconscious association ends and a memory begins.

As you probably could guess, I have watched my fair share of soap amnesias and it doesn't always look very realistic, to put it mildly.
Even though I did reply to your question about a possible retcon, it's probably not the technicalities that make these amnesias work or not.
But it is very much about how characters react to it, and I think in this particular case there's something funny about the timing.
It lacks the relevance it could have had in season 2 but that never happened because Eve and Harry moved away after Bert's death.
Of course it could be argued that a delayed experience (depending on Harry's whereabouts) also has reason to exist, but then I feel I have to ignore James' personal development in season 2, 3 and the most part of season 4.
Which is exactly why Olivia's bombastic plea doesn't make much sense to me, not to mention her disgusting presumption that the "treatment" had actually achieved something.
Using her logic, an encounter with William would be far more dangerous since there's the association of James and William's affair and the fact that James tried to kill himself coming fresh out of that relationship (*).
Would he spontaneously return to that state of mind, or spontaneously dump Henry and fall in love with William again? (don't answer the "dump Henry" part).

Oddly enough, this whole thing started from Harry's point of view because he didn't want to be seen by James, but that feeling didn't go anywhere, narrative-wise.
Perhaps they realized they got the wrong angle.


(*) It should be noted that James didn't have a vomit reaction to his wife, whose - quoting - resemblance to her brother was the reason James thought the marriage was doable.
Perhaps the treatment was William-proof?

But enfin and anyway, it's been discussed now.
And welcome to page 15, us APTCH fans. Will we surpass the discussion of that other Aussie Hit Show thread?

 

[Willie Oleson]

(*) It should be noted that James didn't have a vomit reaction to his wife

Come to think of it, I'm not 100% sure this is true. I'm beginning to forget, or so it seems.

 

[Mel O'Drama]

it's probably not the technicalities that make these amnesias work or not.
But it is very much about how characters react to it, and I think in this particular case there's something funny about the timing.
It lacks the relevance it could have had in season 2 but that never happened because Eve and Harry moved away after Bert's death.

Ah yes. I see what you mean. And you're absolutely right.

While I do like that the trauma from the "therapy" is shown to still be affecting James negatively all this time later rather than being forgotten or quickly overcome, it does feel less relevant than it would have done earlier in the series.

It should be noted that James didn't have a vomit reaction to his wife, whose - quoting - resemblance to her brother was the reason James thought the marriage was doable.
Perhaps the treatment was William-proof?

Ooh - great point.

Come to think of it, I'm not 100% sure this is true. I'm beginning to forget, or so it seems.

And if you feel like this while you're watching, you can imagine what my memories of it are like some two years on.

 

[Willie Oleson]

The baby is coming a little sooner than expected except that it refuses to be born.
Sarah, in turn, refuses every kind of pain relief because she needs to feel it. It's one of those things that kick-ass heroines do.
It all looks very horrific, as if she's giving birth to a calf.
The remainder of the episode is mostly about waiting for the baby to start breathing on its own, anxious hospital visits, doctor-patient arguments etc.

Our modern painter Lloyd Sophie Ellis Bextor breaks off the relationship, long-distance. (hallelujah!)
I sympathize with Olivia because it sucks, but in APTCH it has to suck a little harder and that's why Olivia runs out of the mansion and into the woods.
So far, James and Olivia have developed the most, or maybe I should say the most interestingly.
Starting out as the troubled newlyweds with juicy secrets and soapy meltdowns they have developed a relationship that looks quite unique to me.
It's not a bond between spouses or lovers, not even friends, but more like a bond between humans. I feel they belong together but I can't explain exactly why.
The idea that the baby isn't really theirs should make things easier but it has only intricated their relationship.

I feel anything is possible when it comes to Rose O'Connell

She's having her own little character development when nobody's watching. Maybe she should have it all: George, Ash Park and all the babies. And Regina as her maid.

This episode also made me re-appreciate the Mr. Sandman song. It's been used so many times already I had not expected it to sound so lively, and it works great for the episode's opening montage sequence. Not too flashy, not too emotional but with just (little) enough quirk.

 

[Willie Oleson]

The last 3 episodes...

I'm getting the idea that George and Regina have "made it" and when they return to Ash Park - Rose in the front seat - it has a touch of royalty to it.
Considering the restricted time frame and the people involved (and their whereabouts), the plan to close the net on Regina goes surprisingly well. But because it really needs to end here I'm willing to overlook the convenience of predictions-come-true.
Thankfully, Regina goes out with a bang: she attacks Elizabeth, slaps Anna (again!) and kills Sergeant Taylor after he finally put two and two together.
Her screams of anger and agony when she's shipped off to the loony bin are more satisfying than to watch her die.
Jenni Baird pulled out all the stops and the result was absolutely riveting.

Watching Gordon Walsh observing Sarah indecisively makes these last episodes even more stressful.
In the meantime, Harry is introduced to the gay scene by James himself, It's primarily set up as a fish-out-of-the-water experience for Harry but it's the reaction of everybody else that makes it interesting.
Regina's blackmail puts a strain on James and Henry's relationship and it's not just the ordeal of the blackmail itself but also Henry's feelings of failure and guilt over getting trapped into that one situation he's always managed to avoid.
It's explained in a few sentences and yet it perfectly describes how much he's suffered.

Initially, Anna and Gino were doomed to be the most isolated and therefore least interesting part of this story and I'm glad they proved me wrong. Every character is important.
Now that Carolyn is acting more like her mother (Jack will never replace George) it's interesting to see Carolyn's modern ways of approaching various problems, with the emphasis on choices. Support, not smothering.
There hasn't been any compromise or emotional makeover for Gino and I'm glad they've included a character like that without demonizing him.
Understanding both sides of the problem made the end of their marriage all the more harrowing.
I would have liked to see more of Rose but I think she's also written out.

What an intriguing rose garden.

As for Sarah, Elizabeth and George, the story appears to be completed.
Sir Richard Bennett's unknown but undoubtedly shady plans for the future is the only thing that adds a bit of cliffhanger to the end of series 4.
I know Regina will be back to play a part in his ultimate downfall but apart from that I have no idea what to expect or even what I hope to see.
Perhaps now the time has come to lower my expectations? We'll see and que sera sera.

 

[Mel O'Drama]

Our modern painter Lloyd Sophie Ellis Bextor

Tee hee.

So far, James and Olivia have developed the most, or maybe I should say the most interestingly.
Starting out as the troubled newlyweds with juicy secrets and soapy meltdowns they have developed a relationship that looks quite unique to me.
It's not a bond between spouses or lovers, not even friends, but more like a bond between humans. I feel they belong together but I can't explain exactly why.

Oh yes. There's something almost visceral there, like they couldn't be separated if they wanted to. It's almost like twins that have chosen one another. It's fascinating.

This episode also made me re-appreciate the Mr. Sandman song. It's been used so many times already I had not expected it to sound so lively, and it works great for the episode's opening montage sequence.

How wonderful. It's great when this happens unexpectedly.

Thankfully, Regina goes out with a bang: she attacks Elizabeth, slaps Anna (again!) and kills Sergeant Taylor after he finally put two and two together.
Her screams of anger and agony when she's shipped off to the loony bin are more satisfying than to watch her die.
Jenni Baird pulled out all the stops and the result was absolutely riveting.

Oh yes. It was a terrific and satisfying end to this part of the story. And she was so unhinged I really did fear for baby David's life. All very effective.

There hasn't been any compromise or emotional makeover for Gino and I'm glad they've included a character like that without demonizing him.
Understanding both sides of the problem made the end of their marriage all the more harrowing.

Yes. He's expressed some unpopular opinions, and there's something uncompromising about the character in that it doesn't feel his attitudes have been anachronistically polished to fit in with 21st Century viewers' expectations. Even better, we're shown his point of view. He's not there to be Devil's advocate or pilloried by other characters. He's another character with his own life experience trying to find his way with as much dignity as possible.

I would have liked to see more of Rose but I think she's also written out.

I've thoroughly enjoyed your fandom of the character this season.

What an intriguing rose garden.

Isn't it? If I remember, this might not be the last we see of it.

Perhaps now the time has come to lower my expectations?

Well... perhaps.

 

[Willie Oleson]

Series 5 starts with a time jump and one could actually believe that it was filmed 4 years after the series 4.
Apart from Richard Bennett's plan to get Regina out and Olivia's new purpose in life (which had yet to be revealed) there wasn't much going on that warranted a continuation.
But since there is a continuation, that thought is no longer relevant.

It has written "A New Beginning" all over it, kinda like PEYTON PLACE's final, near-seventies instalment, and there's even a next generation couple: Larry Grey and Leah Gold(berg?), the Marilyn Monroe fan and one of Sarah's patients from the first or second season.
Apparently it hadn't registered with me that young Leah was living with her uncle and aunt (now deceased).

Having dealt with homophobia and antisemitism they're wasting no time introducing new social issues: racism and male chauvinism.

It's almost like twins that have chosen one another

What a beautiful way to describe and yes, that's exactly what it looks like.
I guess there's not much difference between being inseparable at Ash Park and being inseparable somewhere else (wherever they are right now) but the departure itself - and after Henry had agreed to practise in Inverness - is definitely the missing piece in this time jump.
Henry also struggles to adjust to the countryside-policy and lack of hierarchy in Inverness Memorial. This causes some tension between him and Jack and Sarah.
Tension is good, tension is juicy.

Anna has become a chain-smoking, slightly embittered and disillusioned writer (so much for Olivia's optimistic prediction) and it's interesting to see how her failed marriage has contributed to that.
But even Carolyn hints at a feeling of restlessness after having played the country doctor's wife for four years.

Probably the most important part of the time jump is that we know that Regina has been locked up all this time in her tiny little room.
Now it seems she's on the mend and she even grants George a divorce, taking the blame for everything.
This image made me think of THE EXORCIST.

According to the Blighs it remains to be seen if she's really succeeded in exorcising her demons.

Frank Gibbs is a good painter and Larry Grey is a good singer. Doris wasn't exaggerating when she told then aspiring author Anna Poletti that Inverness had become such an artistic community.
All in all not a bad start, and let's not forget that the big 80s soaps always introduced new characters and storylines at the beginning of a new season and they didn't even have a time jump to justify it.

 

[Mel O'Drama]

All in all not a bad start, and let's not forget that the big 80s soaps always introduced new characters and storylines at the beginning of a new season and they didn't even have a time jump to justify it.

I'm glad you're enjoying it. I found it difficult to adjust to the changes in Season Five, and it took me three or four episodes before it clicked with me.

A few comments I made about the first couple of S5 episodes:

the overarching story was somewhat tied up by the conclusion of Season Four. There were no major loose ends, and little outstanding friction. This means that much of the drama in these first two episodes feels a little forced and manufactured. There’s the sense of a series trying to start over and find new ways to interest.

Season Five has seen the most significant changes to the cast since the series began.

not only is James conspicuously absent as a regular, but so is Olivia. This threw things off-kilter for me even going in, as I consider them two key characters who both bring something very special to the series.

Little Leah Gold - formerly Goldberg, and recast due to the time jump - is living with Sarah while Isaac - formerly Itzaak - is overseas. And she’s dating a wrong ‘un with a perfect singing voice. We did at least see Isaac briefly, but I was most unhappy that Miriam has been unceremoniously killed offscreen.

Roy is now apparently married to that woman Dawn who was hanging around in Season Four. There go my hopes for a Roy/Doris pairing.

The best news of all is that Doris is now a series regular. And there’s a gorgeous new furry addition to the cast in the adorable form of Sarah’s ginger tabby.

We’re now expected to believe that James and his wife have left, but James’s gay lover is not only still on the series, but living at Ash Park in James's absence. This is real “why are you still here?” stuff. It makes no sense. With Berry and APL gone, there’s no logic to Draxl remaining.

 

[Willie Oleson]

Mel said: With Berry and APL gone, there’s no logic to Draxl remaining.

I guess with so many departures Ash Park would be too empty without him, and at least he's not a new character - but new enough to explore different dynamics with the people of Inverness.
But where did Harry go, after all the hoo-ha to bring him back?

 

[Willie Oleson]

It's funny that the second episode feels more like a "bridge" episode than the first one.
Things are happening in the now, but it's all about the future - well, the next episodes - and even though it's not the most exciting episode I think it's very cleverly written.

I can understand Sarah's emotions in relation to the war but sometimes her religion feels too abstract to derive "Inverness" drama from it.
But, since that's how she's written it is also impossible not to use it.

The drama with Leah and Isaac Gold isn't very original, not even that interesting, but it's just enough to make Leah more of a character. And even Isaac himself gets a dramatically dignified exit.

If Miriam was still alive it probably would have gotten more screen time, and if the plan was to "spin-off" Leah from the Golds it makes sense that she wasn't there anymore.

Richard Bennett is such a great character, there's something treacherously harmless about him and maybe that's why I find him more Texan than Australian.
Old Ma Bligh, as Roy Briggs likes to call her, is now Lizzy Goddard doing Beryl Palmer stuff - but the most impressive transformation is Anna. Like I said in my previous post one could actually believe it was filmed four years later.
It's really everything, the way she talks, moves and looks. I guess she's become her mother now.

I enjoy the new set-up in Ash Park. Elizabeth and Olivia and James were great but their stories have been told, for now at least.
You'd think Carolyn and Jack would want to have their own place, but no, they rather bicker with Henry. They're doing this for me.

I have no reason to believe that Regina hasn't changed, however, the flashbacks of the various sadistic treatments makes me wonder if she believes that she has changed. Like James almost believed he was cured from his homosexuality.
Nevertheless, she's out.
I absolutely loved the score in this final scene.

It's partially a droning sound but it doesn't feel relevant to what is going on in this scene. It's more like sound-framing the size of the scenery, it sounds the way it looks.
Really amazing, I've played it at least 10 times.

 

[Willie Oleson]

I have a bit of a pain in the back and that makes me extra emotional, so now I'm constantly crying because of everything that's going on.
My tissues with APTCH, indeed.
I even feel sorry for Regina...but wait! She calls Richard's office in Sydney and she talks as if they're still in cahoots.

Sarah tears up Regina's letter and to be honest that pissed me off a little bit because I wanted to know what was in it.
I hope Leah isn't going to accommodate herself to Sarah's saintly world view because there should be more trouble, not less.

 

[Willie Oleson]

Stan O'Rourke follows in Bert Ford's footsteps as this season's racist and wife beating Hick Villain.

He's described as a popular guy who has a lot of influence on the younger male population of Inverness including, of course, Leah's Larry.

Jack Duncan was the perfect country doctor before The Henry arrived, but now that lovely old-fashionedness starts to catch up with him especially when it comes to moral dilemmas that is still a vague subject in 1950s hospital policy.
There have been a few telling close-ups of bottles of liquor that teases the viewer with the "will he or won't he" scenario.

Anna's writing career (if she ever gets the chance to publish anything, I get the idea that she's a one-hit wonder) becomes a matter of conflict yet again.
I wonder where Gino and Rose are...

George and Sarah (and their perfect little boy David) are now in Cranberry Canberra and they're staying in that same fabulous bungalow.
Prime Minister Menzies reprimands George for bringing his unlawful partner into the political spotlights even though he kinda blames the Americans for his point of view.
You'd think the situation would be tense enough as it is but then something unexpected happens! Sarah spots a former guard of Ravensbrück amongst the female attendees.
The story continues to play with the ambiguity of Regina's reformation. This is one of those occasions that I wish I didn't know.
Either way, there's a lot of stuff going on and I plan to finish season 5 this weekend. That hideous red phone in Commissioner Gordon's office keeps ringing, louder and louder.

 

[Mel O'Drama]

I absolutely loved the score in this final scene.

It's partially a droning sound but it doesn't feel relevant to what is going on in this scene. It's more like sound-framing the size of the scenery, it sounds the way it looks.
Really amazing, I've played it at least 10 times.

This scene really bowled me over when I watched and I think I'd put it all down to the aesthetics and cinematography. But I probably did that because the music fitted it so well.

Stan O'Rourke follows in Bert Ford's footsteps as this season's racist and wife beating Hick Villain.

I'd forgotten all about him until you helpfully posted the image, name and description.

The story continues to play with the ambiguity of Regina's reformation. This is one of those occasions that I wish I didn't know.

Here's hoping there are some details that you've forgotten. And perhaps some that you didn't even know about...

Either way, there's a lot of stuff going on and I plan to finish season 5 this weekend. That hideous red phone in Commissioner Gordon's office keeps ringing, louder and louder.

Sad as I'll be to leave APTCH hanging just ten episodes away from the close of the series, I'm very excited at the prospect of more Batmania.




Hope the back's on the mend, Willie.

 

[Willie Oleson]

Sad as I'll be to leave APTCH hanging just ten episodes away from the close of the series

Holy continuation, Batman! You think we could skip it?

If you don't finish what you've started...then there's no point in starting anything at all.

GOSH, Batman! I think you're right, it makes more sense to watch season 6 first!

Yes.

! !! !!!

 

[Mel O'Drama]

It sure gives a fella a good feeling to know the dynamic duo are out there with their profound box-set wisdom.

 

[Willie Oleson]

If the first 4 seasons are a mix of Dynasty and Knots then the fifth season feels a bit more Dallas, maybe even TNT Dallas.
I also that think Regina's story arc is representative of this season's tone as a whole. It's more grim, less optimistic and kinda no-more-Mr-Nice-Inverness (and that goes for all characters).
And there's so much plotting and counter-plotting going on.

Elizabeth thinks she has the perfect solution for Frank Gibbs and "his" people but then story rejects it schmaltzy potential by resolving precisely nothing. It almost makes Frank look ungrateful but at the same time that attitude emphasizes the fact that a band-aid solution isn't going to work no matter how lovely the intentions are.

I didn't remember that Douglas had two sons and at first I assumed that Matthew was a back from the dead character as a result of the post-war chaos, in other words: René #2.
Of course, Matthew looks too clean and chirpy to be that kind of character and he literally and figuratively sticks out in the Aussie crowd because of his XXL Dutch/German/Scandinavian physical appearance.
He's sort of a surf tycoon (aren't we all "tycoons" in our own special way?) with a taste for modernized expressions that throws Elizabeth off balance, albeit in a light-hearted way.
I found it such a nice detail that they acknowledged this, it kinda compensates for the peculiar gay six-packs.
That said, I'll always be a sucker for Doris' statements such as "I'm all a-puff" and "a-shimmer with anticipation".

I have mentioned Donna Summer's I Feel Love but in another recurring composition I hear Air Supply's All Out Of Love. It's almost the yin and yang that was meant to be.

Even with all the respectable writing and high production values, APTCH can't escape the sheer soapiness of their hospital scenes.
It looks more like a private clinic for the Bligh family and now that Sarah has become much more of an Ash Park character it sometimes makes me chuckle when she "reprises" the role of her alter ego Sister Sarah Adams.
Speaking of Marta Dusseldorp, is it just me or does her voice often sounds studio-dubbed to make it sound softer? I'm surprised that everybody always understands what she's saying.

Dawn Briggs is pregnant and I wish we had seen a bit more of this character. Not sure if it was possible to fit in a Dawn storyline even if they wanted to, it's just that I always enjoy her appearances.
Perhaps I should appreciate it as one the many details that makes Inverness such a lively and enjoyable community, in the same way that the many interesting guest stars in early DALLAS enhanced the scale and atmosphere of the eighties Texan soap.

The pre-penultimate episode, written by Bevan Lee himself, is heart-poundingly exciting. The fake election campaign, Regina's double-crossing and Sir Richard dropping his guard by exposing Jack's intimate secret.

A "papers to prove it" moment for the Dynasty fans.

The "three months later" cliffhanger of the pre-previous episode (this starts to feel like a backwards review) could be considered spoiler-ish. Even Jack's concern regarding the pressure of Regina's scheme before he decided to do it told us the inevitable.
However, Jack's problems are simply too important to be ignored only to be presented as The Cause in the aftermath of a linear story-telling.
This was meant to go wrong and that makes the "how" more important than the "if".
As if all of this wasn't wonderful enough, it cleverly pre-intertwine's with this episode's shocking cliffhanger twist.

 

[Mel O'Drama]

Of course, Matthew looks too clean and chirpy to be that kind of character and he literally and figuratively sticks out in the Aussie crowd because of his XXL Dutch/German/Scandinavian physical appearance.

I'm not sure if you know this, or even if you want to know this (and I'll spoilerise it in case you don't), but as a small behind-the-scenes factoid, the actor who plays Matthew is the real-life son of the actor who plays Douglas. Art imitates life.

I have mentioned Donna Summer's I Feel Love but in another recurring composition I hear Air Supply's All Out Of Love. It's almost the yin and yang that was meant to be.

Oh yes. I can't place the exact track (though I'm sure I have it on the soundtrack), but I'm playing an instrumental of AAOL in my head and it does sound very APTCH-ish.

Even with all the respectable writing and high production values, APTCH can't escape the sheer soapiness of their hospital scenes.
It looks more like a private clinic for the Bligh family and now that Sarah has become much more of an Ash Park character it sometimes makes me chuckle when she "reprises" the role of her alter ego Sister Sarah Adams.

All very true indeed.

The pre-penultimate episode, written by Bevan Lee himself, is heart-poundingly exciting. The fake election campaign, Regina's double-crossing and Sir Richard dropping his guard by exposing Jack's intimate secret.

A "papers to prove it" moment for the Dynasty fans.

As if all of this wasn't wonderful enough, it cleverly pre-intertwine's with this episode's shocking cliffhanger twist.

I'm so glad you're enjoying this era of the series. I feel it's one of the best the series did, and I found that pleasantly surprising because when S4 ended I really thought the best days would be over (and I was kind of OK with that).

 

[Willie Oleson]

I feel it's one of the best the series did, and I found that pleasantly surprising because when S4 ended I really thought the best days would be over

There's something less pleasing about it and I like to interpret it as if the characters are indeed very affected by everything that's happened before, just like the war did.
It has a bit of a sequel-ish tone, especially the first episodes, but there's certainly no rebooting going on.

I already start to forget what happened in what season, but I do remember liking season 2* very, very much. But I don't think I'd be able to rank them from best to least-best.

I'm not sure if you know this, or even if you want to know this (and I'll spoilerise it in case you don't), but as a small behind-the-scenes factoid, the actor who plays Matthew is the real-life son of the actor who plays Douglas. Art imitates life.

Gosh!

*I must remember to watch the original season 2 finale. And after that I'll seek out all the APTCH interviews on youtube.

 

[Mel O'Drama]

There's something less pleasing about it and I like to interpret it as if the characters are indeed very affected by everything that's happened before, just like the war did.

That's a good way of looking at it, yes.

I already start to forget what happened in what season, but I do remember liking season 2* very, very much. But I don't think I'd be able to rank them from best to least-best.

It's the same here. I remember liking the first two seasons very much and I think they're hard to beat. After that, for some reason, I feel I remember the fifth as one of the more solid one. It could have been mainly on the basis of the arcs with Regina and Richard, etc, but something about it excited me.

*I must remember to watch the original season 2 finale.

Oh yes, You'll be in a similar position to me of watching it very close to the actual series finale.

And after that I'll seek out all the APTCH interviews on youtube.

Oh my. I'd already forgotten they were there, but I sought out quite a few of these after watching.