"Oh, my God, I understand. I understand."
Sometimes words fail.
I sit here, looking at the computer screen after the first preview of the last episode It's always sunny in PhiladelphiaSeason 13, "Mac finds its pride" and I'll need a minute.
Okay, I took 21 minutes, the length of this episode. So it goes.
"Mac Finds His Pride" is the final referendum on the joke about the fact that Mac was torturing denial of his homosexuality. And for the first 15 minutes, "Mac Finds His Pride," it's really lucky. The setting sees Frank, who crashed into Mac and Dennis's apartment (horrifying whanging his nose in the process) and unsuccessfully hectoring a depressing Mac in that the symbolic dancer is a homosexual on Paddy's pride in the float parade. If you try to pull Mac to help "gay rope" with an incoherent commercial gay thinking, Frank takes Mac into the underground gay S & M club and towbar before asking Mac to finally get out to his frightening, fortunately still Father, Luther. (Gregory Scott Cummins, who can never stand anymore.) When this fails, Luthor takes on the Mac's guiding atmosphere, meaning that Luther will almost become a grandfather, and Frank gets a leather cricket that will fill a lot of what Charlie and Dee Hard,. Frank, his face terribly scared of his inadvertently automatic nose-wearing techniques (the glass fiber insulation ceiling is not the worst), decides it's enough, and Mac once again rotates when he told Luther.
Then we get to the minute 16.
Some things work in such a profoundly unexpected level to dissect them for someone else, it feels like a crime or a sin. That's one. So, insofar as I maintain that the evidence of critical head injuries is verifiable, you can read an overview of the subject under review then he complains about spoilers, I'll go ahead and hit the big old SPOILER WARNING here.
Through all the episodes, Mac struggled to explain Frank why he was not all-in-dancing in a dance of pride. "I never caught you," Frank admits to disappointment at one point and explains that Mac's homosexuality is finally recognized as confusing to Mac. Luther says the same thing, even if he does not know gay things and says to his son: "I never really got you." Frank, who shot him at a club where Mac explains his inner struggle in terms of the vision of dancing during a stormy storm with a hot girl who is actually a god, can only estimate: "The Catholics screwed you up." And they did it, Mac's need for love and acceptance from literally everyone in life, who turned it into a comical twisted cabbage, do not know that it is a Protestant way, too much in his quest to bow to the god (and father) who He taught him, he thinks about him little if they even think about him.
Sunny the whole "scorched" comedy goes into the line, that is, the sarcasm of sordidness, injustice, misogyny and ignorance, while mining with these behaviors for the belly, are laughing. Mac's gradually revealed closed homosexuality has never been a joke about homosexuality, but about unjust and sexual oppression – and what they can change into people. Moreover, the comic film of the film gives Frank tonight a cover for blurting the worst old school offensive shit. As when he decided on Mac, which states that no-one in the clubs Frank does not want to know what's going on in it, they torture him as "five or six super-viruses that scare them." Or, when Frank continuously warns Mac, his back "so that" fairies "do not" fall " [him] full of holes. "Frank is an old jerk, so it's ridiculous to laugh at the terrible things he says, even if he's joking Sunny She is so naughty, so she let him tell them. Later, when she uncovers a suspicious well-made float for Mac to attract these "high-spending gay men", Charlie is seriously talking about how the shower system that he installed will allow Mac to do its "homosexual dance or something else "the show deals with the sexuality of the Mac as just one more thing about him, which the rest of Ganga finds experimental and funny.
The whole episode (up to 16) is such – a kind of tired in-jokes, on the side and repeated bits that "Mac Finds His Pride" feel as if they suffer from a kind of impulsive syndrome that hits the last two episodes. Everything seems like a kind of desperate, self-imitating, tired pigtail that you would expect from a performance in your 13th season. And this fact Sunny– which contradicted all expectations and precedents, which largely avoided such a collapse of the series, seemed to have subsumed that it was finally a real fall. Another discontinuity of Glenn Howerton is eliminated with one line. A triangular cricket, to show its care and malnutrition in a robotic tool, is just sad. Frank had already bleed before, so simple but far more imaginative. Charlie and Dee's signature ejections also feel forced.
In the meantime, Macrov's Moping Moping is heard for the first time thought-out and enlightened. Frank said: "I do not know where I like the gay man and is starting to get me," Rob McElhenney, from the beginning, makes the Mac an overly conscious, too much human if it makes sense. His predictable disintegration in the face of Luther's unusual enthusiasm for his grandson ("If he is not a boy, put him in this shit and try again!", Is furious in a warmer male rage) can not overturn the episode, Mac as someone who is too far from of what is allowed Sunny in terms of personal growth and self-awareness. Sunny he will give his five signs an occasional insight into how their dishonest, selfish, self-destructive life is seen from above, but can not be displayed in the air. They need to be dragged back, their blinking, egomaniacal prejudices and shortcomings that are re-established in time to re-establish SunnyStatus quo at the sewer level.
So, when Frank, who inspired a truly worryingly inflated pumpkin, his endeavors to sustain his interweaving nose, made the Mac's end time, that is. . . wrong somehow. The old pro Danny DeVito brings the brutal beauty of his appeal:
I was in agony all day, but I came to this realization that sometimes you have to let your blood flow begin to start treatment. Some pieces that you simply can not attach. And that's the same for you. You have this thing inside of you and you try to connect it, but you have to let this shit go, you have to let it flow. Otherwise you will experience agony for the rest of your life.
Where is that from? What is this? Frank does not get Mac and, like the rest of the Gang, largely despises what he understood. And Mac, who is seemingly willing to accept what he thinks Franck's tendency to monetize his gayness for Paddy's and his relationship with his father, seems to be ready for the pit until Frank stops him. When it comes to Luther, says Frank, he would have done it for the wrong reasons. When Sunny announced the title of the episode this week, it seemed that McElhenney and co-author Charlie Day would have this referendum on the comic book of Mac homosexuality. And when she played for the first 15 minutes, she sincerely looked like a poor assignment that shocked her with a hacky gay scarf and an atonal, surprising sentimentality. Until the episode reveals how masterfully founded us.
When Frank and Mac return to jail, "Mac Finds His Pride" really violates the show. Actually, it is so unexpected, so thorough and with such apparent irrevocability that I was and still is not convinced It's always sunny in Philadelphia he can continue in his already announced 14th season, as he showed that he was. The crowd that it shows here is so great, and so successful in what it is trying to achieve, to lose, by comparison. I mean a strange unexpected musical intervention Magnolia, maybe. But that's not exactly right. (The same applies to frogs.) Another critic Emily L. Stephens considered this to be like Sunny he dragged himself Louie (minus, know-how), which seems closer to the new definition of the expected form of the range. In the last five minutes, "Mac notes its pride" again and again, I'm still lost. I still do not know if it works as a part It's always sunny in Philadelphia, or if it really re-determines what the play will continue. I know they leave me in fear every time. I know this is the most striking and impressive sequence I've seen on TV this year. I know it's magnificent.
Mac comes to father in dancing. A five-minute, excellent choreographic part of the interpretative narrative of the story through the movement as impressive as anything I see. (Of course, I'm almost not an expert in this field, but I will agree with this.) With the wealth of Franco's assets, which made it easy for the silly, supposedly compulsory closing in prison, along with the raining machine, the episode went as one of Charlie's floating improvements , Luther sits in front, and the center for visual and acoustic expression of the inner color of Mac has tried and failed to articulate the entire episode. Storm inside. A beautiful woman who is an angel or god. The need to come to your most frightening and distant father (see: God) in the way he really wants them, and he himself worked for what is obviously a long, long time.
The robbing McElhenney's new scarred body is paying out here, revealing that it's not just another "turning change" like sixty years, but the need for a complete physical expression of the cut, ideal, but tortured figure Mac wanted to show. With a partner who had previously taken Frank, Mac struck to meet Luther's need for a child (extremely gifted Kylie Shea), Mac expresses his life of conflicting feelings and in the dreadful physical, but graceful two-month-old balloon Sigur Rós "persecuted" Varúð. " Shiha in the series "of the two previous Gang-written, mighty victorious musical sequences that Gang's innocent, lunatic self-punishment subjugates in the fact that the carpet is never dragged here. It's not a joke. Different from Frank's applause, besides the prisoners around him and his posters, "Oh, my God, I understand. I'm thinking." There's no punchline at the dance show, where after the horrifyingly beautiful realization of Mac's battle with who is it, the wonderful A woman turns Mac into a rugged Greek statue in her hands at the irrigation stage and repeats itself "It's okay. It's okay. It's okay. "There is no wink, no irony. The above is in the global interpretation of God's blessing, applause from a stone room full of brutal men (though not departing Luthor), and the honoring blessing of Frank to end the episode and the season.
I do not know if It's always sunny in Philadelphia after that the same exhibition. For McElhenney and Day to complete the 13th season of their creation with such a devastating, unprecedented honest and redeeming arc for one (and possibly two) "worst people in the world", they show that they intend to completely shift their performance in a different direction. I assume that we could return something similar to the old Mac (and perhaps Frank), as they largely followed the similar emotional departure of Dennis at the end of the last season. I assume that it would not be too much,Sunny remains one of the only successful practitioners of his kind of high-wire dark brilliance brilliance on television. But I will not forget this Mac (and perhaps Frank), whose exile of repressive forces that have deformed Mac's life into a long, painful joke is so feasible and magnificent as anything I can see.
Observations with dolls
- Like Jodie Foster v Contact, vomiting, "Send a poet" after first glance at the endless universe, a dance expert should have cracks in explaining the nuances of Mac performance. (Choreography by Alison Faulk and Leo Moctezum.) But I'll take care of the shot.
- The Mac's trip saw tonight that he literally came from all the other terms of his sexuality. Although he does not judge the choice of the lifestyle of people in the clubs that Frank opens, Mac rejects them simply because they are not finite that he is. Similarly, he rejects Gang's mercenaries, who accepted him for purely commercial reasons, subtly accumulate similar commodification of certain grubby and tasteful consent of LGBTQI.
- In a joke about how Padi needs a real gay man for dancing and not a straight guy who pretends to be gay, he may be too clever but wrap it around.
- He also had dancing choreography, so his father inevitably gave up acting as a turning point.
- Todda Biermann's headquarters, when Frank and Mac returned to prison, is absolutely stunning. If Sunny Emmy's ending ever ends, this can be an episode / category that does it.
- For me, Mac's brutal appearance, and graceful physicality with his partner, proceeded by the fact that his own pendant about his sexuality was seen by him in relation to women. There is a moment when, after splitting and slipping through the water at the opposite end of the section – Kylie Shea itself, the cross-body appears in a standing, brazen Mac, uttering a single, abominable sound in the impact when it turns around it, it always stopped.
- And this is the end of the season 13 It's always sunny in Philadelphia, gang. Gang-somehow he'll come back. And I will. Thanks for reading.