Discuss the Current Episode

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Originally posted by Pythagoras What if what he really fears is finding out the truth about himself and about his world?

Then he would have been blubbering on the floor next to Angel in Act 25, and done a whiny, fearful Alex Rosewater imitation in Act 26.

Roger find memories of unknown origin and validity to be disorienting, but he handles ugly truths with aplomb.

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Originally posted by A Clockwork Tomato quote: Originally posted by Pythagoras What if what he really fears is finding out the truth about himself and about his world? Then he would have been blubbering on the floor next to Angel in Act 25, and done a whiny, fearful Alex Rosewater imitation in Act 26.

But he surmounted them that time so that didn't happen.

I'd be lying if I said that I loved this episode.
For me, it all went wrong in the first minute - especially if I watch #13 and follow immediately with #14.

That excitemint and tension I feel at the climax of R-D unfortunately doesn't carry-over to Roger The Wanderer , and following the story line of all the tomatoes, Roger asking, "Who am I?!", and everyone just acting a bit weird in general doesn't do it for me.
Hell, it seems that only good ol' reliable Dorothy is the only one keeping her pretty little head as all of this goes on, looking over at Roger while he starts hallucinating and babbling during the fight as if she's saying, "Roger - what the heck are you mumbling about? You've got to finish kicking ass on these foreign Megadeuses, not start swimming in a heap of tomatoes."

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But - then, again - Dorothy has her moment while on the stairwell in #23, going on and on as the scorpion robots approach. Ahh...it must have been the strain of putting-up with Roger for all those episodes.

Even Alex Rosewater is holding one of the red, squishy things.
Why?
It just doesn't look right to me, having this once-respectable bad guy go all methaphorical like that.
I get the idea, already.
Does everybody in Paradigm have to start-up with that?

Ahh, well.
#14 isn't lousy.
For me, it's just a case of #13 being such a hard act to follow.

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Originally posted by YZEtc That excitemint and tension I feel at the climax of R-D unfortunately doesn't carry-over to Roger The Wanderer , and following the story line of all the tomatoes, Roger asking, "Who am I?!", and everyone just acting a bit weird in general doesn't do it for me. Hell, it seems that only good ol' reliable Dorothy is the ony one keeping her pretty little head as all of this goes on, looking over at Roger while he starts hallucinating and babbling during the fight as if she's saying, "Roger - what the heck are you mumbling about? You've got to finish kicking ass on there foreign Megadeuses, not start swimming in a heap of tomatoes." spoiler (highlight to read): But - then, again - Dorothy has her moment while on the stairwell in #23, going on and on as the scorpion robots approach. Ahh...it must have been the strain of putting-up with Roger for all those episodes.

Well, YZEtc, they say when you live with someone long enough, you'll start adopting their characteristics!

From a purely technical standpoint, one thing that really impresses me about this series is the lack of wasted motion. Every second of screentime is put to use; even the establishing shots contain interesting and/or important details that reveal themselves at different moments and upon different viewings.

As many times as I've watched "Roger the Wanderer," I still noticed something new last night. Take, for instance, the shot of the eyes reflected in what looks like water in the intro section that has the VO about the foreigners who lost everything, too. Anyone make out the guy -- who can only be Michael Seebach -- whom we glimpse at the top of the screen, typing at a desk stacked high with papers?

(Undoubtedly someone has pointed this out in the past, but discovering it on my own lets me experience it in a very pleasant way.)

I noticed that Roger had what looked like an android eye in one scene. It could have been my imagination.

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Originally posted by Piano Black I noticed that Roger had what looked like an android eye in one scene. It could have been my imagination.

I noticed that too, actually. Schwarzwald's one eye is often the same way. Either they're both androids or it's a dominus thing. Or the artist just decided that swirly eyes looked cool.

And, Clockwork, yes Roger usually does handle stress better. But, like I said, he was in a bad way. Big O was losing, he was on the verge of unconcsiousness himself from blood loss and shock. He even needed Dorothy to steady his hand right from the start of the battle. That's not the best state of mind to fight off tomato-induced fits of memory and revelation.

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Originally posted by BigPrime quote: Originally posted by Piano Black I noticed that Roger had what looked like an android eye in one scene. It could have been my imagination. I noticed that too, actually. Schwarzwald's one eye is often the same way. Either they're both androids or it's a dominus thing. Or the artist just decided that swirly eyes looked cool.

A better explanation is that Schwarzwald is blind in that eye. Since he's suffered third degree burns it would stand to reason one eye would be damaged.

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Originally posted by Penny Century From a purely technical standpoint, one thing that really impresses me about this series is the lack of wasted motion. Every second of screentime is put to use; even the establishing shots contain interesting and/or important details that reveal themselves at different moments and upon different viewings. As many times as I've watched "Roger the Wanderer," I still noticed something new last night. Take, for instance, the shot of the eyes reflected in what looks like water in the intro section that has the VO about the foreigners who lost everything, too. Anyone make out the guy -- who can only be Michael Seebach -- whom we glimpse at the top of the screen, typing at a desk stacked high with papers? (Undoubtedly someone has pointed this out in the past, but discovering it on my own lets me experience it in a very pleasant way.)

Yeah, they really manage to pack things in without losing their sense of style and w/o screwing up the plot.

Something I noticed about Act 13 when I was watching it in preparation for Act 14 -- when the rain clears up, the first shot of the parting clouds has the darkness conforming to a rather conspicous shape,

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like that of the superdome that was revealed at the end of the series.

Hmm...

Unrelated point: Amen, Penny. In particular I find it amusing that Inuyasha and Big O run back to back on Adult Swim -- Inuyasha is loaded with moments of static images that the camera pans around for seconds at a time and other stationary displays, while Big O is a paragon of efficient directing. Not that I hate Inuyasha or anything, it's just amusing to see such contrary directing styles shown one right after the other.

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Originally posted by Penny Century Anyone make out the guy -- who can only be Michael Seebach -- whom we glimpse at the top of the screen, typing at a desk stacked high with papers?

He also has a tomato floating in the water next to him . Are they trying to hint that Seebach is a tomato as well,

spoiler (highlight to read):

just like Roger and Alex?

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Originally posted by Little Fau Something I noticed about Act 13 when I was watching it in preparation for Act 14 -- when the rain clears up, the first shot of the parting clouds has the darkness conforming to a rather conspicous shape, spoiler (highlight to read): like that of the superdome that was revealed at the end of the series.

That's the dome of Ailesberry. It really is big; it must cover most of present-day Brooklyn.

Pygmalion

This isn't a bad episode at all.
I like the snippy little scene as the Three Omigos cruise back from Old Man Wayneright's estate, the introduction (and unfortunate quick end) of the elegant Megadeus Glinda, and I thought the first real scene with Alan was a good one.

Good Times: Taking time out from your busy schedule - through the goodness of your heart - to sit yourself down at the piano in an effort to rouse your employer's butt out of bed before the day's half-done in the hopes that he might be able to accomplish something constructive.

Bad Times: When he not only shows not a single grain of appreciation for the gesture, but projects a sense of disgust about the work clothes you are wearing from helping maintain his Megadeus, starts babbling nonsense about rules, traditions, and a person's actions, and only hints of clamming-up upon hearing that there is a guest waiting.

* * *

Good Times: When your employee follows your residential Bank rules about allowing women guests passage through your front door.

Bad Times: When said employee omits the crucial part about those freely-entering women guests being both young and beautiful.

* * *

Good Times: Cruising beneath the dim glow of the mid-evening Dome with your handsome employer while taking an exciting visit to the mansion of the brilliant scientist that brought your digital consciousness into being.

Bad Times: Ending up (once again) spread eagle with your back against a giant electromagnet while you helplessly watch the sultry opposition steal the moment with a dramatic entrance, and then proceeding to trade flirtatious lines and eye gestures with the same guy that drove you there in the first place.

* * *

Good Times: Leaving said mansion in your big, black limo with twice as many pretty young ladies as you arrived with.

Bad Times: Before you can even lift a finger, your two passengers start trading verbal barbs, and when you try to end it with a bit of diplomacy, you are rewarded with a stinging line that touches a very sensitive nerve.
Then, while sitting there wishing that the interior of your huge luxury car were suddenly even bigger while trying to shake-off the effects of what was just said, the same blonde minx delivers another blow just to make sure you know she didn't appreciate your siding with the girl in the back seat - daring you to call on your Megadeus in a mock, sensual voice.

* * *

Good Times: Viewers at home seeing a very curvacious Megadeus appear that looks fantastic and moves with a unique poise and grace while making cool sounds.

Bad Times: Having the fight end all too soon as Glinda meets the wrong end of the new O Thunder.

* * *

Good Times: Seemingly having the case all sewn-up after braving all of that.

Bad Times: Forgetting about the psychotic toothpick cyborg-in-facepaint on the prowl, and losing yet another satisfied client as well as the disk he was about to hand-over to you.

I liked Negotiation with the Dead because it established clearly that androids and humans could (and did) love.

An eye opener for both Roger and Dorothy if they would let themselves think about it for a little while.

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Originally posted by Zola I liked Negotiation with the Dead because it established clearly that androids and humans could (and did) love. An eye opener for both Roger and Dorothy if they would let themselves think about it for a little while.

I don't think Dorothy was in any doubt about it after this episode. The trick was to bring Roger around to this idea. Dorothy is always very careful about Roger's feelings. She didn't answer Laura's question "...you've felt that, haven't you?" because she didn't want to betray Roger by sharing something to a third party.

Pygmalion

i've always wondered about Angel's quote

"Who appeciates Wayaneright legacy more than anyone?" (i think thats exact)

at first, i thought she was talking about Roger, but imo, she was talk about Rosewater and why not?

it seems that of all the Memories present in paradigm, Waynerights would be considered the most (or at least among) valuable, considering what he could do

I've come to the conclusion that I really haven't rewatched "Negotiation With the Dead" enough to catch everything that's going on. Obviously, it moves the arc forward in significant ways (the murdered 20-somethings from "R-D" having been implanted with the memories of former government officials, for one), but there's a lot more just beneath the surface.

You gotta keep wondering what Tim Wayneright got up to before he died, and why it drove him to build a room-size copper cage in his own home. "Afraid of something"? How about the fact that all but one of his creations turned out homicidal?

And on that note, we see that Roger's attitude toward Dorothy has shifted palpably, and not for the better, as he learns more about her late "father" (whom, tellingly, she has stopped referring to as "Father" in favor of the much chillier "Dr. Wayneright"). His sudden distrust of her can be cut with a knife in this episode. I do like it that he didn't just get over being shot nearly to death by her double a few episodes ago. Someone has issues to work through.

Great episode.

This is the first episode in which Angel doesn't bother to offer an excuse for why she's showing up and saving Roger's bacon. Apparently, she has no ulterior motive other than a desire to keep him alive.

I hope everyone appreciated her fancy shooting. Roger was in her line of fire and everything.

Dorothy distances herself from her father in this episode. Partly, I think, because Roger annoyed her, once in the car and again in the house, which made her snappish, but maybe also because she's beginning to figure out that some of his projects are not going to reflect well on his character.

Angel and Dorothy in the same scene. Woo-hoo!

Roscoe was unnecessarily cryptic, and so I'm not sure I understand anything he said. I can't even puzzle out whether they mean "memories from BEFORE 40 years ago" or "memories STARTING 40 years ago" half the time.

Note that Dorothy reports that one PAIR is still alive, and that Roscoe never had an alter ego (and thus wasn't part of a pair). I must assume we're talking about Gordon and Alex Rosewater here.

Glinda and the android in Wayneright's house were similar. Both were lightweight acrobatic models; very unlike Dorothy and Dorothy 1.

We never do figure out what (or who) activated Glinda and what she would have done if Big O had not appeared. Nothing good, but what, exactly?

This is the episode where we see that other people have made a go of human/android love and marraige. It's nice to give Roger a role model.

Personally, I think that Dorothy understood that her love for Roger was real from the very beginning (the end of Act 2, roughly). I don't believe she was unaware of or in denial of her emotions at any point. Roger was always the sticking point.

Can anyone tell me the name of the song that played at the end of Act 21 during the final scene when the camera pans to reveal

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The destruction caused by Big Fau

I know it played during last night's episode, but I don't remember the exact scene.

While I'm at it, what is the song that plays in the background of http://www.paradigmcity.com called?

Thanks.

Is it the same one that plays when Act 26 is starting up and when Big O blows the wrappings off of Big Duo and Schwarzwald's whole laughing thing? I really want that badly.