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Believe: 1.2 ‘Beginner’s Luck’ Review
Okay, it’d be nice if the nice people who write and direct Believe would stop shoving Channing and Tate as some sort of endgame ship because—boy-howdy—that isn’t UST; Channing legitimately hates Tate, and if she thought she could get away with it it would serve the cause, Tate would have been eliminated yesterday.
So, please—for the love of the Thing High Atop The Thing—stop already.
(Plus, I don’t know if the writers, et al. noticed, but Jamie Chung and Jake McLaughlin have, like, zero romantic chemistry. Their chemistry lies in their unadulterated hate of each other, which I really like. There is no mistaking their mutual dislike as anything but dislike.
So, kindly stop.)
I’m kinda worried that Believe is going to fall into the staid, cliché-ness of Case Of The Week (because it’s already starting there), where The Bo and Tate On The Run Show occurs while they’re helping ALL THE PEOPLE.
That’s sweet and all, but it’s going to get really boring, really fast.
Especially if they continue to do what they did this week where even the Case Of The Week is cliché (i.e., a Single Mother, who is a WOC, with a Very Sick Child who can’t afford a Life-Saving Procedure).
I mean, its heartwarming and all, but it also creates an extremely problematic narrative about POC and what it’s like to be poor—even though, thankfully, they didn’t cliché the apartment and everything as Hollywood’s notion of what poor looks like—plus, when we’re talking kids with cancer, there are options with a capital OPTIONS as far as insurance (especially in the era of The Affordable Care Act), Medicaid, and places like St. Jude’s, so while it was nice for Bo to give them all the money that her and Tate had, it’s also kind of a bait-and-switch on us.
Ugh.
A lot of people are talking about not really feeling like the Upstairs Plot was doing anything for our understanding and connection to Bo and Tate—and that’s not necessarily wrong—but that’s because our furthered understanding of Bo and Tate is coming in the Downstairs, Cross-Town, and Case Of The Week plots.
Which is how this kind of narrative usually works. (I’m dating myself by remembering Highway to Heaven, aren’t I.)
Well, except that they’re both Incredibly Disagreeable (apples and trees and all that), which I actually really, really like. I like that we can see that Bo and Tate have this weird not-quite affection for each other—that they gravitate towards each other, like objects in space—because Bo’s kind of a jerk and Tate just brings out the best in everyone.
And, we can understand why Tate’s kind of an asshat—we have that organized for us thematically, categorically, and alphabetically, in three languages—but it’s not until Agent Farrell (Trieste Kelly Dunn; Banshee, Loves Her Gun, and Cold Weather) and Co. are briefed by Skouras and Dr. Boyle (Kerry Condo; The Walking Dead, Luck, and Rome) about Project Orchestra “said to have isolated the gene connected to telekinetic abilities”, that we learn why Bo is somewhat difficult (other than Tate’s genetics, if genetics can determine temperament): pretty much everyone who’s in Project Orchestra who has abilities suffers from some sort of emotional or behavioral difficulties.
Which, really? Did they really just do that, with Abilities, comes default instability?
Because, that’s where I’m going to throw down since Abilities often become (really thinly veiled) metaphors for being on the spectrum, minimally, and just—no. We are not doing the thing where, if you’re neuroatypical, there’s something inherently wrong with you or that you’re some mystical, magical Being.
No.
As someone who is neuroatypical, hell no.
*covers ears and lalalalalas*
So, yay.
We also learn in our Tour of Project Orchestra, that basically all of Team Milton is from Project Orchestra, that Milton himself was a CIA Field Psychiatrist that had been seeing to the care and mental well-being of Orchestra’s kids (which might explain why Bo has a more socially acceptable demeanor than Sean).
Because—you guessed it—Project Orchestra is covered under National Defense, probably because Skouras, who is a geneticist (really? *headdesk*), has a Defense contract, and as much as we are lead to believe that Skouras and Milton equally don’t want Bo to be used as a weapon, we have to ask ourselves how likely that is since, if there’s one thing that we’ve learned from scifi, when anyone decides to expand the capacities of the human mind into the realms of psychic abilities, it’s always going to be to make money and to create weapons.
And, if any military is involved, that’s doubly true.
But, after the pilot and Milton’s little speech to his troops—finding out that Milton had been CIA—we also have to agree with Skouras when Dr. Boyle urges that Milton cares about Bo, and Skouras asks “Does he?”
We have to ask ourselves if anyone really cares about Bo at the moment, or just what she can be.
Except, maybe, Tate who, when presented with an easy option to get rid of Bo, fought to keep her and who—when the only option was to let the “police” (and that was a dirty trick) take Bo, to trust that Bo would be safe with them, that Team Milton would be able to get Bo back from the police—let her go so that Bo didn’t have to lose another person in front of her.
Who, at the end of the episode, accepts with confusion, that Bo willingly gravitates towards him.
We know that Bo is Talented, but we also are beginning to understand that Tate, while not Talented like Bo, does have ability, that he sees to the heart of the matter, sees to the heart of people, empathizes and understands in ways that had led to his imprisonment because, as he says to Bo (though, it’s obviously directed at himself), “a natural-born sucker.”
Okay, it’d be nice if the nice people who write and direct Believe would stop shoving Channing and Tate as some sort of endgame ship because—boy-howdy—that isn’t UST; Channing legitimately hates Tate, and if she thought she could get away with it it would serve the cause, Tate would have been eliminated yesterday.
So, please—for the love of the Thing High Atop The Thing—stop already.
(Plus, I don’t know if the writers, et al. noticed, but Jamie Chung and Jake McLaughlin have, like, zero romantic chemistry. Their chemistry lies in their unadulterated hate of each other, which I really like. There is no mistaking their mutual dislike as anything but dislike.
So, kindly stop.)
I’m kinda worried that Believe is going to fall into the staid, cliché-ness of Case Of The Week (because it’s already starting there), where The Bo and Tate On The Run Show occurs while they’re helping ALL THE PEOPLE.
That’s sweet and all, but it’s going to get really boring, really fast.
Especially if they continue to do what they did this week where even the Case Of The Week is cliché (i.e., a Single Mother, who is a WOC, with a Very Sick Child who can’t afford a Life-Saving Procedure).
I mean, its heartwarming and all, but it also creates an extremely problematic narrative about POC and what it’s like to be poor—even though, thankfully, they didn’t cliché the apartment and everything as Hollywood’s notion of what poor looks like—plus, when we’re talking kids with cancer, there are options with a capital OPTIONS as far as insurance (especially in the era of The Affordable Care Act), Medicaid, and places like St. Jude’s, so while it was nice for Bo to give them all the money that her and Tate had, it’s also kind of a bait-and-switch on us.
Ugh.
A lot of people are talking about not really feeling like the Upstairs Plot was doing anything for our understanding and connection to Bo and Tate—and that’s not necessarily wrong—but that’s because our furthered understanding of Bo and Tate is coming in the Downstairs, Cross-Town, and Case Of The Week plots.
Which is how this kind of narrative usually works. (I’m dating myself by remembering Highway to Heaven, aren’t I.)
Well, except that they’re both Incredibly Disagreeable (apples and trees and all that), which I actually really, really like. I like that we can see that Bo and Tate have this weird not-quite affection for each other—that they gravitate towards each other, like objects in space—because Bo’s kind of a jerk and Tate just brings out the best in everyone.
And, we can understand why Tate’s kind of an asshat—we have that organized for us thematically, categorically, and alphabetically, in three languages—but it’s not until Agent Farrell (Trieste Kelly Dunn; Banshee, Loves Her Gun, and Cold Weather) and Co. are briefed by Skouras and Dr. Boyle (Kerry Condo; The Walking Dead, Luck, and Rome) about Project Orchestra “said to have isolated the gene connected to telekinetic abilities”, that we learn why Bo is somewhat difficult (other than Tate’s genetics, if genetics can determine temperament): pretty much everyone who’s in Project Orchestra who has abilities suffers from some sort of emotional or behavioral difficulties.
Which, really? Did they really just do that, with Abilities, comes default instability?
Because, that’s where I’m going to throw down since Abilities often become (really thinly veiled) metaphors for being on the spectrum, minimally, and just—no. We are not doing the thing where, if you’re neuroatypical, there’s something inherently wrong with you or that you’re some mystical, magical Being.
No.
As someone who is neuroatypical, hell no.
*covers ears and lalalalalas*
So, yay.
We also learn in our Tour of Project Orchestra, that basically all of Team Milton is from Project Orchestra, that Milton himself was a CIA Field Psychiatrist that had been seeing to the care and mental well-being of Orchestra’s kids (which might explain why Bo has a more socially acceptable demeanor than Sean).
Because—you guessed it—Project Orchestra is covered under National Defense, probably because Skouras, who is a geneticist (really? *headdesk*), has a Defense contract, and as much as we are lead to believe that Skouras and Milton equally don’t want Bo to be used as a weapon, we have to ask ourselves how likely that is since, if there’s one thing that we’ve learned from scifi, when anyone decides to expand the capacities of the human mind into the realms of psychic abilities, it’s always going to be to make money and to create weapons.
And, if any military is involved, that’s doubly true.
But, after the pilot and Milton’s little speech to his troops—finding out that Milton had been CIA—we also have to agree with Skouras when Dr. Boyle urges that Milton cares about Bo, and Skouras asks “Does he?”
We have to ask ourselves if anyone really cares about Bo at the moment, or just what she can be.
Except, maybe, Tate who, when presented with an easy option to get rid of Bo, fought to keep her and who—when the only option was to let the “police” (and that was a dirty trick) take Bo, to trust that Bo would be safe with them, that Team Milton would be able to get Bo back from the police—let her go so that Bo didn’t have to lose another person in front of her.
Who, at the end of the episode, accepts with confusion, that Bo willingly gravitates towards him.
We know that Bo is Talented, but we also are beginning to understand that Tate, while not Talented like Bo, does have ability, that he sees to the heart of the matter, sees to the heart of people, empathizes and understands in ways that had led to his imprisonment because, as he says to Bo (though, it’s obviously directed at himself), “a natural-born sucker.”
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