( Read more... )General observations: I've usually found that highly hyped season finales don't live up to their potential - the writers, the actors - everyone tries too hard and goes over the top. Not here - it was all pretty much pitch perfect.
This is a show about beautiful people who generally are wearing too much clothing ...the guy at the Italian Consulate, now I wouldn't mind getting language lessons from him. Yum, yum.
This was the fastest hour on television...I could not believe how quickly it went. I gave up early on following the #whitecollar Twitter feed, it was just a bunch of nonsensical flailings. Was much happier once I closed my laptop and relaxed.
B-Roll needs to be updated. FYI - B-roll is footage used for cut scenes, location establishment scenes, and set ups. TV shows reuse the same b-roll over and over - it helps to set the mood and tone, particularly if a show has a certain feel to it. But, sometimes using the same b-roll is distracting, particularly when it's out of sync/season with the rest of the episode. JE needs to get more, seasonally appropriate b-roll in the can, because all of the b-roll of New York city is summertime footage. A little jarring.
Just need to get this off of my chest. I understand that television and movies are shifting to in-show product placements instead of traditional commercials, but the scene with
Tim Peter and Jones in the Taurus and them using the on-board computer system to route around traffic was too stupid and jarring for words. The Ketel One placement was less disruptive - like the Pink placement in Front Man, and would have actually worked - if Neal had taken a sip of his drink, like it was something he wanted.
Other than that, this episode was was one big ball of awesomeness.
Opening Scenes - USA posted three clips last week - the Neal and Alex in the pool scene (gack - no wet nekkid Neal), the Neal and Moz talking about the Italian embassy scene, and the Peter and El pre-stakeout scene, and I was really pleased (for some reason) that all of these clips were taken from the first five minutes of the episode.
Who's Alex, and Who Cares? Am I the only one who finds the character of Alex a bit badly written? She comes across as femme fatale most of the time, but there's definitely an element of little girl lost as well, which is annoying. I get that she's really just a tool to move the story forward, and I hope we don't see to much of her next season. (FWIW, to me, she's so bland and I've been reading so much fic that whenever I see references to Neal and Alex, my brain goes immediately to some of Ursula's amazing x-Files/White Collar crossovers - Alex is Alex Krycek).
Shirtless Neal Sculpting - wowowowowowow. Completely gratuitous and wholly delicious. Before the safecracking scene, I almost got the feeling that the WhiCoWriters had written in a sculpture simply to create a legitimate reason for Neal to be shirtless in daylight. Can't wait to get home and start on the screen caps tonight. Still waiting for a shirtless Peter scene.
The Wrath of Peter - Peter staking out Neal's meet with Fowler was a great bit of plotting - and I almost thought that Neal knew that Peter was there as his backup (and I expect much fic to flesh this idea out). Also loved how he descended on Neal and his crew at June's like the wrath of god (great touch that June was a bit complicit in the scheme as well).
Not one, but two Bad Ass MoFu Peter Scenes - Fowler getting Peter out of the way by going through Elizabeth was also stupendous - I was worried that Fowler was going to resort to violence. I fully expect that all of the charges get dropped and the arrest record disappears - or that El hires a kickass attorney and sues the FBI for harrassment and false arrest. Peter punching Fowler (BAMF scene 1), and Fowler standing there with a bloody mouth, grinning like the devil. Jones refusing to take Peter's badge and gun just proves that Jones is the alpha dog we always knew he was. An incredible depiction of pack dynamics - the new leader asserts dominace over the old/ousted leader by humiliating the old leader's right hand. "I've taken your woman, your position and now your people." Very, very barbaric. See lots of fic opportunities here, friends.
BAMF scene 2 - Confronting Fowler in the garage was absolutely aweome (I've really got to stop with these flailings - sorry) - Diana revealing her second piece, giving Peter the opportunity to grab it. There's probably a very interesting psycho-sexual metaphor there, but I'm just too tired to figure it out. Peter shooting Fowler - pops two right into his chest. I really thought that he killed the asshole, and was quite surprised when they revealed the vest. I was even more astonished that Peter admitted to Diana that he didn't know Fowler was wearing a vest! Way to GO, Killah!
Now, it's time to break for a word about how great it is that JE has brought Diana back - I was really shocked when she disappeared from the series after Pilot, particularly since the writers took the time to give her a backstory and a fleshed-out character. While I liked Cruz, and will be sorry to see Natalie Morales go from the show, she was never really convincing as an FBI agent. Maybe she just was too young.
The Goodbyes Scenes -
Neal and Moz - my heart was breaking for poor Moz. It's not like he wouldn't exist without Neal (I have definite ideas about Moz's backround, and will be playing with them as soon as time allows), but his relationship with Neal has brought him into a completely different circle - Parcheesi with June, jousting with the Burkes.
Neal and Elizabeth - Again, heartbreaking - but you can tell how Elizabeth's words really put questions into Neal's mind - "There is the difference between loving the idea of someone, and actually loving who they really are." (No, I didn't memorize this - it was posted by JE on his
twitpics page)
And of course - the climatic scene between Neal and Peter. I need to watch this many, many times tonight. One of the things that struck me was the way Peter held himself - at an angle to Neal, head turned slightly aside, but still looking squarely into Neal's face (and what a face - with the tears pour down). I don't have the dialog down exactly, but Peter telling Neal that he's given Neal something wonderful - the chance to make a life for himself - it's like Peter sees what he does as something more than just a job - it's a calling almost, and he can't understand why Neal doesn't want to share it. If White Collar was an RPG, Peter is the Paladin character.
The Explosion - I kind of knew this was coming, but I also didn't see it coming. (I did pop back onto Twitter as credits were rolling, and there were immediately 100+ tweets saying that Kate wasn't on the plane. Nah - that's just silly talk). The best analogy I can find is the final scene of Farscape (the series), when John and Aeryn are turned into bits of shattered crystal - and I felt the exact same way. Like I had been broken into a million tiny little pieces. Am I glad they've killed off Kate - yeah - and ... no. I think the series has to turn quite a bit darker now - Peter's faith in his job has to be shaken (okay, we know that's coming), and Neal is going to be grieving (h/c writers, start your engines).
I haven't delved into most of the awesomeness packed into the Finale - too tired, too emotionally worn out. Maybe more later.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif){kind=small}
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif){kind=small}
