Nikki Baird

But I have felt this way in the past too, where there's like some people where I'm like, I can't talk to you about this thing because I know you're going to be on my side. And Sometimes I don't want that. But what was so sad about Rick was like, that's all he could do to the point where he couldn't even talk with his girlfriend, the one who loves him most.

But I have felt this way in the past too, where there's like some people where I'm like, I can't talk to you about this thing because I know you're going to be on my side. And Sometimes I don't want that. But what was so sad about Rick was like, that's all he could do to the point where he couldn't even talk with his girlfriend, the one who loves him most.

And then that makes him have this violent act of rage and all the things start to happen. Another thing, interesting things about this season is Belinda and Zion. Mike White has actually said that the ending with Belinda was one of the first things that he thought of for this season, which I think is why Zion is the opening character.

And then that makes him have this violent act of rage and all the things start to happen. Another thing, interesting things about this season is Belinda and Zion. Mike White has actually said that the ending with Belinda was one of the first things that he thought of for this season, which I think is why Zion is the opening character.

It's also this thing, this literary device that Mike White loves to use. I think it's called the Chekhov's gun, which is just this idea of, There was a writer named Chekhov who I think popularized what this terminology is in literary terms, but it's like when you introduce something into the scene that you know is going to have significance, but you try to do it very early on to plant the seed

It's also this thing, this literary device that Mike White loves to use. I think it's called the Chekhov's gun, which is just this idea of, There was a writer named Chekhov who I think popularized what this terminology is in literary terms, but it's like when you introduce something into the scene that you know is going to have significance, but you try to do it very early on to plant the seed

for that big payoff moment, right? So a great example of this in the Chekhov's gun thing would be like, let's say somebody's at a diner and a police officer walks in to get coffee and a donut. And in the writing, it just very briefly mentions that he's like, sets down his keys and his gun on the desk. And just that mention of the gun on the desk, you know, eight chapters later is when

for that big payoff moment, right? So a great example of this in the Chekhov's gun thing would be like, let's say somebody's at a diner and a police officer walks in to get coffee and a donut. And in the writing, it just very briefly mentions that he's like, sets down his keys and his gun on the desk. And just that mention of the gun on the desk, you know, eight chapters later is when

Some robber comes in and picks that gun up and uses it to, you know, shoot the guy or whatever, right? That is what the Chekhov's gun is. In this season, it was the blender. If you watch back to the early episodes, there's a lot of emphasis and conversation. Where's the blender? Why aren't you in my blender? Blah, blah, blah. And it seems, like, useless, right?

Some robber comes in and picks that gun up and uses it to, you know, shoot the guy or whatever, right? That is what the Chekhov's gun is. In this season, it was the blender. If you watch back to the early episodes, there's a lot of emphasis and conversation. Where's the blender? Why aren't you in my blender? Blah, blah, blah. And it seems, like, useless, right?

And kind of boring until the last episode, you really understand why that blender was so significant, right? Also, again, with the fruit, they talk about this very early on in the beginning. Also, Zion as a character acts as that, right? He's this character that we see at the beginning of the show.

And kind of boring until the last episode, you really understand why that blender was so significant, right? Also, again, with the fruit, they talk about this very early on in the beginning. Also, Zion as a character acts as that, right? He's this character that we see at the beginning of the show.

And until we know that, like, okay, when this guy is in the story, that is when the conflict will happen, right? And then when we cut to the beginning and see he's not there, we know we're in the exposition. We know that the climax is far away. And that also means that the episode Zion does show up is where like, oh, things are really heating up.

And until we know that, like, okay, when this guy is in the story, that is when the conflict will happen, right? And then when we cut to the beginning and see he's not there, we know we're in the exposition. We know that the climax is far away. And that also means that the episode Zion does show up is where like, oh, things are really heating up.

I think a lot of people that have complaints about this season is that it felt slow in the beginning. Whereas I actually think in order for the season to end as well as it did, a lot of these seeds had to be planted very early on. There had to be a lot of just these big dialogue moments between the three girls fighting. There had to be this showing of Zion as a character only to not show him.

I think a lot of people that have complaints about this season is that it felt slow in the beginning. Whereas I actually think in order for the season to end as well as it did, a lot of these seeds had to be planted very early on. There had to be a lot of just these big dialogue moments between the three girls fighting. There had to be this showing of Zion as a character only to not show him.

There had to be a lot of scenes of Saxon talking about a blender, right? Like that is what good writing is. It is setting expectation to then defy those expectations. That's how you get a good, exciting moment. And in order to do that, you kind of have to, that's what exposition is. And his story is. So then again, we get to this story with Belinda.

There had to be a lot of scenes of Saxon talking about a blender, right? Like that is what good writing is. It is setting expectation to then defy those expectations. That's how you get a good, exciting moment. And in order to do that, you kind of have to, that's what exposition is. And his story is. So then again, we get to this story with Belinda.

And, you know, I think her entire point of the character, again, is to show this idea of injustice. And we live in an unjust world. And whether it's depressing or not, what happens to her is very accurate. You know, it's not, it's very movie TV show fantasy to be like, oh, always the girl's going to get the big money and the big opportunity. And la-di-da-di-da, she was such a great person.

And, you know, I think her entire point of the character, again, is to show this idea of injustice. And we live in an unjust world. And whether it's depressing or not, what happens to her is very accurate. You know, it's not, it's very movie TV show fantasy to be like, oh, always the girl's going to get the big money and the big opportunity. And la-di-da-di-da, she was such a great person.