I bet that is Elena on the other end, telling Damon she needs him to come back. The synopsis says that the brothers leave town together (I forget why) until Elena calls one of them back when she needs their help. Damon to the rescue! Although I actually think she is going to choose no-one, one of the brother's going back (I think Damon) is the reason I think there is the slightest chance she might be turned into a vampire. Which would be interesting if she can become human again with one of the brothers down the line, but the ratio of humans to vamps is starting to get way too uneven...
I think on the other side of the photo and on the receiving end of that evil, evil stare are Bex and Damon on the floor, as we saw in another picture from the finale...
@Bored Now:
I'm pretty sure she was wearing a cheerleader uniform...
@Em, I agree that she likely chooses herself and taking care of her and Jeremy. I actually thought these pictures looked like Stefan compelling her or something...like, maybe he compelled her after he saved her in the wreck and this is a flashback? You are right, they wouldn't reveal this information in photo...In regards to your other comment, I actually hope she does become a vampire for a while AND that she can become human with a Salvatore at series end...
I think Evilaric is actually lifting up storage units to search for Bex and Damon, who are hiding from him..and I think that picture we saw a while ago with Bex and Damon scared on the ground is when he finds them...
to this strange teacher-friend role. Now, there are so few songs in each episode as the PSA of the week is shown. Sure, there have been some worthwhile issues, but the stakes are rarely high, the consequences not significant enough to have an impact, and the stories (much of the time) are solved in one episode. I still keep watching for the musical moments, but I usually feel like Ryan Murphy is trying to shove some sort of agenda down my throat.
I think we all know that the problem here is Ryan Murphy. I think he originally planned to create a show that was more or less a musical that chronicled, through song, the lives of very different students and their teacher who brought them together. The, Kurt's character was introduced and it created a dialogue for gay teens. Well, this was so well-received and viewed as ground-breaking, Murphy decided he'd try to get that reaction from his show all the time by stuffing it full of hot-button issues like bullying, suicide, transgender equality, teen pregnancy, texting and driving, even abstinence....and, the occasional story line has been successful. But, along the way, Murphy forgot the show was supposed to be about singing and music. He forgot that the heart of the show was the characters and the bonds they were forming. He turned the teachers into creepy adults that can't seem to get along without their students...he started ignoring Matthew Morrison's talent and relegated him to this strange teacher-friend role. Now, there are so few songs in each episode as the PSA of the week is shown. Sure, there have been some worthwhile issues, but the stakes are rarely high, the consequences not significant enough to have an impact, and the stories (much of the time) are solved in one episode. I still keep watching for the musical moments, but I usually feel like Ryan Murphy is trying to shove some sort of agenda down my throat.
I didn't think it was that bad, I guess. But the show is, as I have said all season, one PSA after another. In fact, I concur completely with the reviewer's comment:
But I still want to know who in the writer's room decided we needed a weekly message? What happened to cohesive story lines and build-up that made sense? What happened to good story telling?
I thought the Puck storyline was good, and I think it may have been mentioned that his dad is a deadbeat at some point..
The domestic violence thing, while an important issue, was out of left field for sure. At least they showed the real situation in which victims return to their abusers much of the time...
And that's my synopsis of that interview, lol! Sometimes I wish I could just talk to Julie Plec myself and tell her to chill with all the plotlines, keep the mythos/family trees/talismans in order and remember to have continuity, and try to make the least amount of illogical choices (as much as possible for a supernatural show). Also, I want to tell her that, just because they love an actor that plays a character, it's not worth sabotaging a story line to allow them to return (hello, ghost episodes). The story being told is more important than a love for the actors or a desire to allow a guest start to stay longer. Personally, I prefer organic stories that make sense and show continuity, emotion, developed plots and that don't defy all logic.
Weird...the first five episodes are what hooked me. I liked the mystery and tension and character...
HitFix: Do you ever look back at those first handful episodes and do you ever miss the crows and the fog and the vampire football?
Julie Plec: [Laughter.] No, we don't miss the crows and the fog, for sure. It's funny, because in hindsight, Kevin and I have both read a lot of people in the press and bloggers and fans alike who say that the show didn't really click in for them til about episode six. Yet for us and the actors, we always look back at the first five episodes of the series and say, "Gosh, that was a time when things were simple and clean and very, very based in tension and mystery and character and didn't have to rely so much on frills and action and stunts and visual effects and witch craft." We get very sentimental, as storytellers, for those early episodes. But then I remind everybody that nobody actually liked them very much, so it's OK that we've moved on.
No, Julie Plec, we don't need to be shocked and awed at every turn. Sometimes, confusing mythos and underdeveloped stories are not a good thing. Let's remember that, k?
Julie Plec: When Kevin [Williamson] and I first started the show, we didn't have any time to think globally about the series. We just dove in and started. When you have six act breaks and a teaser -- which amount to seven act breaks over 41 minutes -- you've gotta burn through story, because you've got impress and you've gotta wow and you've gotta shock the audience with twists and turns every four-and-a-half minutes.
And don't worry shippers, Julie says this seasons choice isn't endgame..but she does confirm the triangle is alive and well for many more seasons:
This show can, and probably will, go on for many more years. This show is a journey of a teenage girl finding her way back to life through the love of one vampire and discovering maybe other elements of life through the love of another vampire, growing up, graduating high school, moving on. There's a whole road for her still to travel and our brothers are in the middle of their journey as well. For us to say that this is the one and only choice and no other choice will ever be made would be premature. We're just in the middle of our journey and I hope ultimately that people who ship one way or the other can understand. In the same way that we had to convince Ian Somerhalder that Damon being a good guy was part of a long road that he was traveling and that it was OK, you want to convince the fans that this is the midpoint of the story.
it's where she is right now in her life and it's where we've been leading to all year for her. So we shall see, but it is not going to be pretty, I'll tell you that.
Aaaannd, cementing my belief that she chooses herself and caring for Jeremy:
HitFix: You've talked about how there's a big choice that Elena has to make in the finale. How totally are you guys bracing yourselves for what's going to come from certain circles when we get to May?
Julie Plec: I might have to leave the country. [She laughs.] No, the choice that Elena has to make and the choice that she does make, for us it's really, really important that we took a good, strong look at Elena, at her character, at her wants and her needs, where she is in her life and that the way that she makes the decision after everything she's been through and the way that she expresses that decision to others, that it's honest and pure and real. Hopefully people who are fans of the show and fans of Elena and fans of real human behavior will understand and respect the choice that she makes, in spite of a percentage being very sad and another percentage being happy, it's where she is right now in her life and it's where we've been leading to all year for her. So we shall see, but it is not going to be pretty, I'll tell you that.
So it makes us think more. It makes us really dig deeper into character more, which is a good thing. And then when we make decisions that we know are not going to be popular, we just sit in the writers' room and stare at each other in horror knowing what's in store, knowing that certain things are not going to go over very well with certain people and that we just might need to stay off Twitter and avoid the death threats for a while.
Amie, this one answers what you are saying about being influenced by the fans:
HitFix: OK, so I desperately don't want to ask you to insult the shippers here, but how overly cautious have you had to get about the central love triangle? And has it become sorta a more delicate creature over three seasons than you might have originally planned or hoped for it to be?
Julie Plec: You know, it's funny. I think the answer is "Yes and No," weirdly. I can't lie and say that we aren't completely embedded in the shipper culture, just by nature of being on social media and being Twitter whores ourselves and not being able to tear ourselves away. So there's an influence and a passion that gets directed at us very, very aggressively that you can't ignore. But in a way it makes our jobs a little bit harder because we have to try to separate: Are these our creative instincts? Are these the instincts that are right for these characters? Or are we being influenced without even realizing it? So it makes us think more. It makes us really dig deeper into character more, which is a good thing. And then when we make decisions that we know are not going to be popular, we just sit in the writers' room and stare at each other in horror knowing what's in store, knowing that certain things are not going to go over very well with certain people and that we just might need to stay off Twitter and avoid the death threats for a while.
love and I think that there's something so bittersweet about seeing them again, knowing that they're never gonna be part of the day-to-day life of our heros, but that they're still out there somewhere. Certainly there will be stakes attached to the end of this season wherein there are characters that we might not see again when all is said and done. That will always be true.
This is another that answers one of the things that annoys me about that show right now...the lowered stakes of death due to returning dead characters. I still think that dead should be mostly dead on the show..maybe there in a flashback, but NO ghosts. But, as least it's addressed:
HitFix: Excellent. Now back to the real questions! When you approach a "big" finale, obviously viewers will be waiting for some characters to live, some characters to die, etc. How hard is it for you guys to create stakes -- pun, unfortunately intended, I guess -- for characters on show where anyone who's dead can return if the circumstances are right?
Julie Plec: It's a question that we debate a lot in the writers' room. There's the argument to be made of, "Seal up the other side, never go back to ghosts, never have flashbacks with older characters," because you want the stakes of death to be that powerful. But then there's something so emotional and profound about revisiting a character that you love and I think that there's something so bittersweet about seeing them again, knowing that they're never gonna be part of the day-to-day life of our heros, but that they're still out there somewhere. Certainly there will be stakes attached to the end of this season wherein there are characters that we might not see again when all is said and done. That will always be true.
Well, according to the interview, Julie Plec didn't say anything as stupid as "Elena doesn't need to go to school because she has an IQ of 150"...she said:
Julie Plec: She's actually got an IQ of 140 and she doesn't need to study.
I mean, obviously, that sounds like something she pulled out of her a** for the interview (seriously, when was THAT established?), but at least it's not as dumb as the misquoted comment.
One thing does confound me a bit is that the fairy somehow knew just want land Regina was sending the characters to? A land without magic (which just happens to be where Rumple's son went).... Perhaps it's implied that ours is the only one without magic? Also, who came up with the exact idea of the curse? Was it Rumple's curse...is that why he wanted to go the land without magic...to find his son? What did the fairy have to do with it's creation?
I really enjoyed this episode. The one thing I love about Once is that I can always trust the writers to eventually answer questions that I have...at least at some point. And they have a great sense of continuity in the story telling. The way the writers stick to the basic fairy tale while further illustrating back stories is brilliant. Currently, this show is flawless to me in terms of writing, so I hope the writers keep it up!
Also, @nij, agreed. They really let that one go, didn't they? It could be because Stefan forced Klaus to send all the hybrids out of Mystic Falls. I'm telling you, they are trying to do too much with TVD lately, too much mythos and convoluted spell crap. I liked Season 1...when the storylines were a bit slower and better developed. The Esther return thing was ridiculous...I don't know..I just want the writers to take their time and make everything more logical...not all the "shockers" are necessary..just a few are fine.
Doctor Who
Comments by Allison Berry Barbieri (Page 8)
Flashback to Jenna
TVD Season Finale Picture
Jenna and the Gilberts
Dark-laric
The Vampire Diaries Season Finale Photos: What's in Storage?
I'm pretty sure she was wearing a cheerleader uniform...
@Em, I agree that she likely chooses herself and taking care of her and Jeremy. I actually thought these pictures looked like Stefan compelling her or something...like, maybe he compelled her after he saved her in the wreck and this is a flashback? You are right, they wouldn't reveal this information in photo...In regards to your other comment, I actually hope she does become a vampire for a while AND that she can become human with a Salvatore at series end...
I think Evilaric is actually lifting up storage units to search for Bex and Damon, who are hiding from him..and I think that picture we saw a while ago with Bex and Damon scared on the ground is when he finds them...
Glee Review: When Good Shows Go Bad
Glee Review: When Good Shows Go Bad
Glee Review: When Good Shows Go Bad
But I still want to know who in the writer's room decided we needed a weekly message? What happened to cohesive story lines and build-up that made sense? What happened to good story telling?
I thought the Puck storyline was good, and I think it may have been mentioned that his dad is a deadbeat at some point..
The domestic violence thing, while an important issue, was out of left field for sure. At least they showed the real situation in which victims return to their abusers much of the time...
The Vampire Diaries to "Reboot" Klaus, Call Villain to Arms
The Vampire Diaries Review: Raging Against Death
The Vampire Diaries Review: Raging Against Death
HitFix: Do you ever look back at those first handful episodes and do you ever miss the crows and the fog and the vampire football?
Julie Plec: [Laughter.] No, we don't miss the crows and the fog, for sure. It's funny, because in hindsight, Kevin and I have both read a lot of people in the press and bloggers and fans alike who say that the show didn't really click in for them til about episode six. Yet for us and the actors, we always look back at the first five episodes of the series and say, "Gosh, that was a time when things were simple and clean and very, very based in tension and mystery and character and didn't have to rely so much on frills and action and stunts and visual effects and witch craft." We get very sentimental, as storytellers, for those early episodes. But then I remind everybody that nobody actually liked them very much, so it's OK that we've moved on.
The Vampire Diaries Review: Raging Against Death
Julie Plec: When Kevin [Williamson] and I first started the show, we didn't have any time to think globally about the series. We just dove in and started. When you have six act breaks and a teaser -- which amount to seven act breaks over 41 minutes -- you've gotta burn through story, because you've got impress and you've gotta wow and you've gotta shock the audience with twists and turns every four-and-a-half minutes.
The Vampire Diaries Review: Raging Against Death
This show can, and probably will, go on for many more years. This show is a journey of a teenage girl finding her way back to life through the love of one vampire and discovering maybe other elements of life through the love of another vampire, growing up, graduating high school, moving on. There's a whole road for her still to travel and our brothers are in the middle of their journey as well. For us to say that this is the one and only choice and no other choice will ever be made would be premature. We're just in the middle of our journey and I hope ultimately that people who ship one way or the other can understand. In the same way that we had to convince Ian Somerhalder that Damon being a good guy was part of a long road that he was traveling and that it was OK, you want to convince the fans that this is the midpoint of the story.
The Vampire Diaries Review: Raging Against Death
The Vampire Diaries Review: Raging Against Death
HitFix: You've talked about how there's a big choice that Elena has to make in the finale. How totally are you guys bracing yourselves for what's going to come from certain circles when we get to May?
Julie Plec: I might have to leave the country. [She laughs.] No, the choice that Elena has to make and the choice that she does make, for us it's really, really important that we took a good, strong look at Elena, at her character, at her wants and her needs, where she is in her life and that the way that she makes the decision after everything she's been through and the way that she expresses that decision to others, that it's honest and pure and real. Hopefully people who are fans of the show and fans of Elena and fans of real human behavior will understand and respect the choice that she makes, in spite of a percentage being very sad and another percentage being happy, it's where she is right now in her life and it's where we've been leading to all year for her. So we shall see, but it is not going to be pretty, I'll tell you that.
The Vampire Diaries Review: Raging Against Death
The Vampire Diaries Review: Raging Against Death
HitFix: OK, so I desperately don't want to ask you to insult the shippers here, but how overly cautious have you had to get about the central love triangle? And has it become sorta a more delicate creature over three seasons than you might have originally planned or hoped for it to be?
Julie Plec: You know, it's funny. I think the answer is "Yes and No," weirdly. I can't lie and say that we aren't completely embedded in the shipper culture, just by nature of being on social media and being Twitter whores ourselves and not being able to tear ourselves away. So there's an influence and a passion that gets directed at us very, very aggressively that you can't ignore. But in a way it makes our jobs a little bit harder because we have to try to separate: Are these our creative instincts? Are these the instincts that are right for these characters? Or are we being influenced without even realizing it? So it makes us think more. It makes us really dig deeper into character more, which is a good thing. And then when we make decisions that we know are not going to be popular, we just sit in the writers' room and stare at each other in horror knowing what's in store, knowing that certain things are not going to go over very well with certain people and that we just might need to stay off Twitter and avoid the death threats for a while.
The Vampire Diaries Review: Raging Against Death
The Vampire Diaries Review: Raging Against Death
HitFix: Excellent. Now back to the real questions! When you approach a "big" finale, obviously viewers will be waiting for some characters to live, some characters to die, etc. How hard is it for you guys to create stakes -- pun, unfortunately intended, I guess -- for characters on show where anyone who's dead can return if the circumstances are right?
Julie Plec: It's a question that we debate a lot in the writers' room. There's the argument to be made of, "Seal up the other side, never go back to ghosts, never have flashbacks with older characters," because you want the stakes of death to be that powerful. But then there's something so emotional and profound about revisiting a character that you love and I think that there's something so bittersweet about seeing them again, knowing that they're never gonna be part of the day-to-day life of our heros, but that they're still out there somewhere. Certainly there will be stakes attached to the end of this season wherein there are characters that we might not see again when all is said and done. That will always be true.
The Vampire Diaries Review: Raging Against Death
Julie Plec: She's actually got an IQ of 140 and she doesn't need to study.
I mean, obviously, that sounds like something she pulled out of her a** for the interview (seriously, when was THAT established?), but at least it's not as dumb as the misquoted comment.
Once Upon a Time Review: Destiny Calls
Once Upon a Time Review: Destiny Calls
The Secret Circle Preview & Sneak Peek: "Prom"
The Secret Circle Review: Did You See The Forest?
The Vampire Diaries to "Reboot" Klaus, Call Villain to Arms