Boink
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Post by Boink on Mar 25, 2021 19:24:53 GMT -5
This season 5 shipper's order has been established to reorganize the episodes to show any emotional disconnect between David and Maddie in this season to be their manner of coping in the immediate aftermath of the loss of Baby Hayes, and then have them grow closer again as the season progresses (without breaking continuity in the plots of other characters, other details, etc). Little did I realize upon beginning this project that the end result also makes a whole lot more chronological sense than the original broadcast order ever did. PLEASE NOTE: Posts by me which number the episodes have been updated to discuss the shipper's order in its final, fully realized state. Other posts made by me and others while it was a work in progress remain mixed in for posterity, but should not be allowed to confuse things. The shipper's order presents the first episode on its own as expecte before grouping the remaining twelve into four themetically-related groups of three episodes each. We begin with an initial, high-level summary...
COME BACK LITTLE BABY 1. A Womb With a View - Maddie loses her baby. David is at her hospital bedside and tells Maddie that she is not alone; he will be there for her.
THE PTSD NIGHTMARE ALWAYS RINGS THRICE 2. When Girls Collide - Privately grieving the loss of her baby, Maddie suffers her first "nightmare" setback when she "loses" David (dressed all in black, as he has only ever appeared in case-related disguises or Maddie's dream sequences; see photos below) to her younger, also-blonde cousin (a "simpler" Maddie substitute?). 3. Eine Kleine Nacht Murder* - After she is nearly murdered in a parking garage, a safe, by-the-book, "real detective" (a "simpler" David substitute?) swoops in to protect her. He also provides the first "real lead" in the Anselmo case, whose ongoing casework (we will learn when Maddie awakens in BAYAAHP) has made it easier for David to avoid her. Maddie "loses" her home when it is damaged to the point that she must live elsewhere. 4. Lunar Eclipse* - Having already let her "substitute David" slip away, Maddie is rained down upon by Bert and Agnes' engagement announcement champagne and shoved into a pool at their wedding. Blue Moon is dismantled shortly thereafter, the Anselmo case is "never solved", and in spite of/because of David and Maddie's dispassionate "efforts", all existence is lost.
MADDIE'S TURN TO WAIT 5. Between a Yuk and a Hard Place* - Maddie wakes up from her "nightmare" in tears, and her healing begins. Although David presumably kept his promise to be there for her after AWWAV, he explicitly at some point became frustrated with Maddie leaning on business, rather than on him, to "work" through (or around, as he sees it) her pain. Feeling shut out again, he uses the Anselmo case to justify distancing himself from her, both inside and outside of work (thus explaining elements of her "PTDS nightmare"). The two are unknowingly forced by Agnes and MacGilicuddy into sharing a brief, cathartic moment before being swept into another, literally "uplifting" case. 6. Those Lips, Those Lies* - Maddie reminisces about David's back rubs and finally vents her frustration with his continued, all-consuming focus on the Anselmo case. David's resistance to Maddie only increases when she pulls him into and uses a "case" involving his brother Richie to justify labeling David "detached, remote, and unfeeling" in all of his relationships. 7. Perfetc* - Maddie continues to keep herself and the staff running full-throttle at work, while at the same time tolerating David's now almost complete withdrawal from her in every regard. ("If you love something, set it free...") When a case she rejects with the potential for fame and fortune lures him back, however, she again can't resist using her understanding/opinion of the "client" to call out more character flaws she sees in David. Could it be that he is not the only one she is trying to convince? MY RETURNING DAVID 8. In 'N Outlaws - David seems more professionally present (Anselmo case solved?) during his and Maddie's brief appearance in this Bert and Agnes adventure, which provides a well-placed passage of time and bridge to better days. 9. The Color of Maddie** - Just as she has managed to find a sense of peace with her life (and an acceptance of "detached David") "as is", Maddie suddenly rattles him (intentionally or unintentionally?) by labeling them "pals." This motivates him to relax his distancing a bit, and the two finally start speaking constructively with each other. 10. Plastic Fantastic Lovers - A near-kiss happens as the gradual warming of David and Maddie's relationship continues.
INSEPARABLE WE STRONGLY SUSPECT 11. Shirts and Skins - At long last, David and Maddie achieve a relaxed equality in their relationship, both personally and professionally. 12. I See England, I See France, I See Maddie's Netherworld - Good conversations about matters of life and death; Waking up from another nightmare in which David is dressed all in black (this time as the grim reaper; see photo above), Maddie once again finds him reliably at her hospital bedside and finally overcomes her last subconscious fear of him. 13. Take My Wife, For Example - Comfortable, honest conversations continue, followed by extravagant gifts and actual kissing.
* This episode contains references to the Anselmo case being in progress or still unsolved. ** Maddie hands David a bonus check and explains that, "We finally got the rest of the money on the Anselmo case. That was your share."
Coming up next: A deeper, grouping-by-grouping discussion of the role each numbered episode plays in the shipper's order...
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Post by Marlena on Mar 25, 2021 21:35:52 GMT -5
Hi Boink, thank you for putting together the Season 5 "Shipper's Order". It shows a logical progression of M and D's relationship starting with the dark days after AWWAV through the healing days of ISEISFISMN and S&S and on to the more promising days of TMWFE and TCOM. This line-up is the best way to make any sense of Season 5.
I like how you put all the PTSD nightmare episodes up front. Knowing that Maddie is not only grieving the loss of her baby, but also David sleeping with Annie, and the damage done to her house makes her tears and sadness in BAYAAHP so much more devastating to see. It also makes her emotional release in the elevator and David's quick response to comfort her so much more satisfying. A brighter future is in store for them! An enormous weight has been taken off their shoulders! And maybe, just maybe, we the viewers can finally forgive David for his affair with Annie.
Like you said earlier, Season 5 gave us the characters, but not the heart. This is such an accurate statement, but your "Shipper's Order" helps to bring back a little of the heart.
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Post by sandra on Mar 26, 2021 2:29:07 GMT -5
Thank you, indeed, Boink. Season 5 instantly looks better. After much digging around in my own brain why I can't be on board with the final season, you've practically spelled it out for me: season 4 is the heart without the characters, season 5 is the characters without the heart. This is why I was still so much invested in Maddie and David during the gutwrenching heartache that was season 4. In season 5, they lost me. The heart of the matter was gone and I found it difficult to care beyond BAYAAHP. They practically destroyed me with those first two episodes, and then, things almost felt cold and detached after that. So this re-arranging of the episodes, to me, makes sense of what was once senseless.
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marta
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Post by marta on Mar 26, 2021 7:04:34 GMT -5
Boink, my sincere congratulations on your achievement!
This is so great and so simple. I am almost jealous that it was not my idea! ‘Almost’ because if it were I would be torn what to do with it, as I do not think that this is what ML is about, as you all very well know.
I can see that it makes you guys happy and I will not poke holes in it. It serves a higher purpose of allowing you to watch the whole show and not missing out on great episodes with a lot of humour and a lot to say about people and human condition.
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Boink
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Posts: 174
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Post by Boink on Mar 26, 2021 8:46:34 GMT -5
Thank you to everyone for the kind words. Observations as I scrutinize season 5 in the shipper's order...
COME BACK LITTLE BABY
1. A Womb with a View David and Maddie appear to be on very warm, friendly (if not explicitly romantic) terms at this point. She holds his hand as it rests on her "baby bump", they arrive and sit at her baby shower together, and they are all smiles as they dance at that event. When she loses her baby, David is at her hospital bedside and tells her that, "You're not gonna be alone. I'm gonna be right here with you." I will come back to elaborate on this one, but moving on for now...
Coming up next: THE PTSD NIGHTMARE ALWAYS RINGS THRICE
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Boink
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Posts: 174
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Post by Boink on Mar 27, 2021 14:23:32 GMT -5
Continuing on...
THE PTSD NIGHTMARE ALWAYS RINGS THRICE
2. When Girls Collide The episode opens with Maddie talking to a therapist who we never hear speak, and much of what follows "happens" while Maddie is sleeping, with cuts to her tossing and turning in bed. Are scenes of David and Annie carrying on across town through the night real, or is this all in Maddie's mind? WGC is the perfect window into her concerns about how she might lose David. She tells "the therapist" that she is in a better place, but her moment of self-celebration (Did Maddie really bring a hat and party favor to a therapy session?) is immediately interrupted by a shift to David fixating, to an uncomfortable degree, on Demi Moore. Later, David is uncharacteristically dressed all in black when he takes Maddie and Annie dancing, and he shows no hesitation in starting something with Annie - Maddie's younger cousin. The only other times we ever see David dressed entirely in black (beyond case-related disguises) are (1) during Maddie's dream in TOMT, and (2) during Maddie's nightmare in ISEISFISMN, when he appears as the grim reaper and does not hesitate to push her into an open grave. The single continuity error created by placing WGC here in the shipper's order (before SAS) is David's reference to Maddie having offered him the role of "equal partner." This is not really an issue if WGC through LE are all in Maddie's head and she has considered - but so far held back from - actually doing so (perhaps due to envisioning potential arguments like the one it causes here). Interestingly, the first time Maddie introduces David to a client post-"PTSD nightmare" (in BAYAAHP), she says, "I am Madolyn Hayes, and this is my... This is David Addision." Could this be because she has been pondering his role at Blue Moon and isn't sure at that moment exactly what to call him? She has, of course, referred to him as her "partner" (minus the "equal") many times (such as, "I'm glad your my partner, partner.") and would do so again in TCOM (two episodes before SAS in the both the original broadcast and shipper's orders) when asked if she'd ever been to Mardi Gras. ("No, but I'm sure my partner has.") All this aside, the "equal partners" reference in WGC is much easier to explain than the more significant continuity errors created by their original broadcast order. More on that later...
3. Eine Kleine Nacht Murder Maddie is nearly murdered in a parking garage (Did she really happen to find, on her first try, a car with keys in the ignition and windows down?), and her home is damaged to the point that she has to stay elsewhere while it is being repaired. Within the "PTSD nightmare" episodes (shipper's order or otherwise), she never sets foot in her home again. Another "anchor" in her life is lost. Also, is Donnigan "a real detective", as Maddie describes, or just a safe/"by the book" David alternative/figment of her dreams who inexplicably departs as quickly as he first arrives?
4. Lunar Eclipse Imagine Maddie describing the following to David somewhere down the road, "Bert and Agnes were getting married, and you flew a radio-controlled helicopter into their wedding. Then we tried to get married because the show was ending, but the priest wouldn't let us." Sure sounds like dream/nightmare to me, with the collapse of Maddie's business and end of all existence to conclude it.
Coming up next: MADDIE'S TURN TO WAIT
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Post by Marlena on Mar 27, 2021 15:21:14 GMT -5
I appreciate everything you are doing with this "Shipper's Order", Boink. Not to be dramatic, but my life is already so much better because of it. The way Moonlighting ended has always been such a depressing heartache for me, but the "Shipper's Order" leaves Maddie and David in a good position to have a happy future together. I love it!
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Post by sandra on Mar 27, 2021 16:13:14 GMT -5
I agree with Marlena; your time and effort into making season 5 a healing experience is very much appreciated. Heck, I might even watch WGC again after this, and let me tell you: I haven't watched that episode in a long time! Next to AWWAV, I still call it the monster of all episodes. Ha!
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essed
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Post by essed on Mar 27, 2021 23:33:37 GMT -5
Inject the Shipper’s Order directly into my veins because this is the cure! Thank you, Boink!
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Boink
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Posts: 174
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Post by Boink on Mar 28, 2021 7:49:43 GMT -5
Thanks again, everyone. I need this as much as anyone, so continuing on...
MADDIE'S TURN TO WAIT
5. Between a Yuk and a Hard Place Whether she has been awake, asleep, or both in doing so, Maddie has endured her "PTSD nightmare", a deep, dark introspection on loss that, via the shipper's order, serves a higher purpose in the Moonlighting universe than simply to end it. She now finds herself in her own bed, in her own intact home, with the clock on her bedside table still "ticking." She is in tears and Baby Hayes is still gone, but the world hasn't ended, even though for a time it surely felt like it. Like everyone else who has faced tragedy, Maddie must now find a way to move forward. She hasn't seen much of David since some time after AWWAV, which I will elaborate on in my commentary for TLTL (the next episode in the shipper’s order), and the warmth with which they approach each other when first reconnecting here is in stark contrast to what the "PTSD nightmare" visualized. In particular, Maddie's tenderness towards David now feels so pronounced (as if she is relieved by the knowledge that he is not, in fact, the man of those three episodes) that it actually made me question, even moreso than ever before, how such an icy, cold delivery of the line, "It's not yours," could have been possible in TOMT. Observing the care in her eyes and tone in her voice in BAYAAHP from a new perspective, it occurred to me for the first time that Maddie lied to David in that season 4 heartbreaker because she had some level of concern, even if slight, that Baby Hayes "might not make it" - a fear she knew David would also harbor, given his history. Until this baby was born, happy and healthy, she would convince David that he was not the father, so that anything that might go wrong could not possibly be "his fault." Yes, Maddie caused David much heartache in season 4, but she was at least trying to spare him the potential anguish of suddenly feeling responsible for the loss of not one, but two women's babies over time. Sure, her "absolutely sure about that" lie also simplified her distancing herself from David at the time, but the Maddie Hayes I now see here in BAYAAHP (and recall from seasons 1-3) could never have lied to him about something so significant for that single, cruel, selfish reason. Such a theory is also possible without the shipper's order, but not until I experienced season 5 this way (which gives far greater consideration to the emotional implications of having and losing a baby) did it ever suddenly make so much sense to me like this. Finally, another detail of BAYAAHP is made more meaningful by having it follow the "PTSD nightmare." Now, after just dreading the idea of David moving on from herself to Annie, Maddie hears a female client utter the words, "I've just been a substitute, a replacement for the woman he really loves." The delivery of this line is followed by an unusually long period of silence between Maddie and David in her car, where perhaps it is starting to sink in for Maddie that anyone else with whom David could theoretically attempt a "relationship" - particularly her own, also-blonde cousin - would be a mere substitute for herself... Maddie Hayes... the woman he really loves. The cases in Moonlighting usually have an underlying connection to what is going on with David and Maddie, and now this one does, too.
6. Those Lips, Those Lies After the loss of Baby Hayes in AWWAV, David told Maddie, "You’re not gonna be alone. I'm gonna be right here with you." Unfortunately, her leaning on business rather than on him to "work" through (or around, as he sees it) her pain once again shut him out of her heart (as both Chicago and her "buffer husband" did in season 4) and finally frustrated him to the point of "checking out." David has distanced himself from Maddie, both in and out of the office, and he has used his ongoing work on the Anselmo case as a convenient excuse for avoiding her. "He's been serving those papers... the Anselmo case," Bert explained in BAYAAHP, to which Agnes replied, "Oh, c'mon. For two weeks?" Although a covert intervention by Agnes and MacGilicuddy brought David back from the brink of using his in-hand plane ticket for Virginia, and he was swept by unplanned timing into working a single case with Maddie, their resulting time together largely failed to reconnect them. While on the road mid-investigation, David told Maddie, "You seem quiet," and she likewise observed, "So do you." They verbally sparred about denial, and then, when they finally declared it time to "bear our souls," and she suggested he "go first", he pulled over and picked up a hitchhiker. A brief display of affection from Maddie on the balloon at the end of the case only momentarily thawed him, and that brings us to TLTL, which feels like such a natural follow-up to BAYAAHP in the shipper's order that it is hard to believe it wasn't written to be so. Maddie begins her day encountering a couple passionately kissing in the elevator where she had just poured out her emotions to David. She then finds Bert and Agnes "involved" on her office couch, because, as Bert explains, "This 'round-the-clock surveillance on the Anselmo case (which he is working with David) is really beginning to take its toll, forcing me to snatch affection wherever and whenever I can get it." Bert may as well be speaking for Maddie at this point, she having demonstrated a warming inclination towards renewed physical contact with David at the end of BAYAAHP. Shortly thereafter, when she mistakenly believes that she is massaging David in his office, Maddie reminisces about his back rubs and then all but drags him into working another "case" with her. This time, David's reluctant interaction with Maddie involves his brother Richie, and David does not respond well to the situation. In fact, he gets extremely angry at Richie later on, pushing him around physically and declaring, "You really are a piece of work. It's just fine with you for me to drop everything to help you when you get in a jam, but you can't even be straight with me." He conveniently misattributes his anger to Richie's lack of honesty, but it is entirely reasonable that Richie would want to keep certain aspects of Carla's life private. David is clearly more upset with having been pulled from his ongoing Anselmo getaway and forced into more one-on-one time with Maddie. In a seamless continuation of their in-car interaction in BAYAAHP, Maddie now comments to David, "You're awfully quiet," and, "Maybe we've just run out of things to say, like some old married couple." He expresses his annoyance with wasting time on Richie when, "We could have been bringing home the bacon on the Anselmo case." Maddie's frustration comes to a head later on, as she finally blurts out, "The Anselmo case! The Anselmo case! I'm so sick of hearing about the Anselmo case! The Anselmos can solve their own case!" All told, the overall premise of TLTL is that Maddie's desperation to vicariously experience a show of emotion from David for Richie is a thinly veiled plea for the same to be directed towards her. "You are detached, remote, unfeeling about a very important part of your life," she cries out, to which he responds with unrestrained bitterness, "You can't just chew over the past and stay close to somebody. Hell, look at me and you."
7. Perfetc "If you would come to work instead of hanging out with your deadbeat cronies on company time, you'd hear for yourself," Maddie answers David when he asks about a would-be client whose meeting he just missed. She has given David the proverbial inch by allowing him to continue focusing on the still-lingering Anselmo case outside the office, and he has taken the mile. No longer content to occasionally arrive late in business casual attire after a long night of surveillance, David now shows up for just a few afternoon minutes in his bowling team uniform before saying, "I'll go to lunch... again." Immediately after convincing Maddie to follow a lead for the would-be client whose case she had flatly rejected, he skips "off to the dentist" instead, sending Bert with her to get the job done in his place. Although her official, for-the-record advice to David has unraveled to the point of, "Do whatever you have to do to make yourself happy," it is clear that total communication avoidance is not what she has in mind. What was once good for the goose may no longer be, now that it's good for the gander. Maddie at long last has much to say to David, and in both the latter half of TLTL and Perfetc, she uses the few private moments they are together to push past the earlier awkward silences and corner him with concerns and accusations. In TLTL, she all but dragged him into a "case" involving Richie, whose kinship with David promptly became the example through which she aired her own David-oriented relationship grievances: "You're the one that has a problem," she declared. "Oh, I see, this is all my problem." "I think maybe it is. Richie's found somebody who makes him happy, and all you see are the obstacles." "Well, you're a fine one to talk about that." "You're jealous of him, David!" "I am not jealous of my brother!" "You can't stand the fact that he's capable of doing something that you're not." "What? Collecting unemployment in three states at the same time? Or is it the ol' Dave's afraid of intimacy mantra?" He began chanting in a thick, mocking accent, "Dave's afraid of intimacy. Dave is afraid of intimacy. Dave is afraid of intimacy." "Good night, David." "Good night, Maddie Hayes. Dave’s afraid of intimacy..." And now, in Perfetc, it is the would-be, rejected client/"scuzzball" whom Maddie uses to draw David in with even further accusatory parallels: "I have yet to see you lift a finger to lay a foundation for anything past tomorrow," she unloads. "I've seen your M.O. a million times, in the office, in the field, in a relationship..." "A what?" he scoffs beneath the sound of her ongoing dialogue, "You call that car accident we had a relationship?" "…and never once,” she continues, "have I seen you invest anything of yourself." "Oh, and you have?" he asks with disbelief, undoubtedly wondering how or what she ever invested in him while he tried to reach her through Chicago, Walter Bishop, and her "all work and no David" approach to coping with the loss of her baby. "Now why," she snaps back, "would I want to invest something in a relationship that you're not willing to invest in?" "Word, words, word, words...” is all he can muster. "Granted, you probably think that you were the one who didn't wait to not invest first, but...” Her words have gone off the rails at this point, and David has reached his limit. "Words, words, words, words!" he finishes, "That's why it didn’t work, Maddie. We talked it to death." A moment of silence falls between them. "Yeah, I guess we did," she says softly and sadly, her head sinking. "We still do." "It doesn’t matter if the topic is..." Maddie starts back up again, listing subject after subject before arriving at her point, "It always turns out to be a post-mortem on us." "That's right," he wonders if she has really caught on to what has primarily been her habit. "So, let's not do it anymore," she suggests... ...but he is skeptical that she is even listening, "Yeah, let's not." The shoe has been on the other foot since BAYAAHP, but at this point, David may as well be in Chicago, with Maddie, the one unable to let go, leaving unreturned messages on a heartless, unfeeling machine.
Coming up next: MY RETURNING DAVID
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Post by sandra on Mar 28, 2021 10:15:47 GMT -5
Boink, I almost want to stand up and applaud you for writing this in such a delicate, carefully thought out way. It suddenly creates a whole new universe, and you describe it in beautiful detail. I can't wait for what's next. Keep it up!
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Post by notjuanjones on Mar 30, 2021 15:32:17 GMT -5
Let me just add to everyone's salutations at the work that went into this, Boink-and the willingness to undertake the academic exercise of trying to make S5 make any kind of sense. Without raining too much on the parade, a couple of qualifiers: one, I do sort of agree with Marta -this is becoming a pattern!-that I'm not sure "herding cats" (to use her phrase) in this context is the healthiest thing, emotionally, for us to do. Believe me: I understand the rationale. Having said that, I get the idea, and in that spirit, may I offer one small adjustment?
TCOM can't be number two (or, if you like, number 12) on the list, for one reason, and one reason only ... "pals."
This may have been ML's nadir. David and Maddie, whose lust for one another grew and grew through almost three full seasons, and was finally consummated in joyous rapture, pleasing everyone who watched...were reduced to 'pals' by one of the protagonists. Pals. Pals. Just typing it makes me nauseous. That it came out of Maddie's mouth brings the nausea to its logical conclusion. Look: I didn't date a whole lot of women before I got married, but I dated some, and I promise you: none of them are 'pals' of mine. I will never be 'pals' with them. And that phrase, alone, disqualifies TCOM, as enjoyable an episode as it was.
Respectfully, I would swap TCOM in your order with SAS-which I figure you all know by now is one of my all-time favorite episodes, and very underrated.
In SAS, Maddie makes David her full, legal business partner. This is an enormous step in her trust of his judgment and abilities-not to mention an acknowledgment by each that, no matter the status of their personal relationship, they are and will be there for one another for a good long time. That is, to use a phrase tossed about in other contexts on this board, a fairly large commitment on David's part. There is, also, the backstory. Robin Fuller is smart, talented and ambitious-not unlike another blonde we know-but in her case, subordinate to Neil Fass, who makes sleeping with him a condition of her making partner at their ad agency. Of course, Robin shoots Fass in the foot, and goes to prison, and Maddie volunteers BM's services on her behalf. David takes Fass' side, and off we go-with David quitting in a fit of pique after discovering that Maddie had broken into his office.
The denouement comes with David discovering Fass was a serial scuzzball, and making him drop the charges against Robin. What's important is why. As Maddie confronts him:
D: You just don't get it, do you? Let me ask you a question: do you really think that I would withhold evidence, that I would cheat-just to beat you? M: No. D: Well, you're wrong. I did. I cheated. I shredded Anne Pines' affidavit. And I don't care whether Robin Fuller was vindicated or not. I didn't care anything about it, until I saw her standing there crying, and broke my little heart. But I don't care about that. I don't even care about this case. You know what I care about? You, every time you look at me, thinking you see Neil Fass. M: No, I don't! D: Oh, yes, you do. You think- M: Neil Fass came on to someone who didn't want him to. (smiles)
Remember: Maddie's the boss. The roles are reversed. The woman is in charge. David is subordinate. But he still is hurt that Maddie would think he'd harass her for advancement-even though she's okay with him doing so. And, soon after, she offers David a full partnership in Blue Moon. I consider this a huge evolution in their relationship. Maddie isn't making a decision based on her attraction or feelings for David; she genuinely believes he deserves, and will help grow, half of the business. Which is how women, correctly, believe they should be judged by their male bosses. I think that level of mutual respect is huge for their potential growth together. And as a coda, in the final scene, Maddie brings David the papers-which include the "price" of the buy-in for his half of Blue Moon. That price is not specified verbally, but Maddie says, smiling, that she's "quite willing to discuss the terms." And it's clear that David is quite pleased with the conditions of sale, if you get my meaning.
Which follows, smoothly, into "Perfetc"...and Paris.
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Boink
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Posts: 174
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Post by Boink on Mar 31, 2021 9:19:53 GMT -5
I am 99% sure the season 5 shipper's order is now complete! Please see the updated first post in this topic for a brief summary. I will continue to post more detailed commentary on each episode, and how it actually fits quite nicely into the shipper's order, shortly.
Thanks to NJJ for your suggestions (TCOM does indeed belong before SAS), and to everyone for your encouragement!
Marta, Thank you for inspiring me to give seasons 4-5 another look. I still have to consider them "separate" from seasons 1-3 (whose TRUE ending, for me, will always be "Boink to the Future"), but I can now at least appreciate them on terms I know you don't agree with.
Sincerely, Boink
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Post by Marlena on Apr 5, 2021 21:30:15 GMT -5
Boink, this is an amazing amount of work you're doing. When you are done I plan to watch Season 5 in this order. I am so looking forward to it. 😁
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Post by sandra on Apr 7, 2021 12:24:25 GMT -5
Hey Boink, am I missing an installment? I thought there had been another piece.
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