#Sunny came home tvtropes free#

Soundtrack Dissonance: In keeping with the Home Alone theme, the soundtrack for the first half of the episode is comprised entirely of Christmas songs, despite the fact that Superbowl LII took place in February.

Skewed Priorities: Charlie is more concerned about the outcome of the Superbowl than he is about his potentially life-threatening injuries.

The bear trap is a pretty obvious reference to one of the most infamous traps from the Saw franchise.

The entire first half of the episode is one long shout-out to Home Alone.Scream Discretion Shot: Used when Charlie first steps on the trap, as the camera cuts to a shot of Paddy's exterior with his screams playing over the top.Running Gag: Charlie's various handwritten signs are once again riddled with spelling errors.Rube Goldberg Hates Your Guts: The traps that Charlie sets up could have come straight out of a Saw movie.

Out of Focus: The rest of the gang bar Charlie Mac, Dee and Frank only appear in the cold open while Dennis is absent entirely.When Charlie asks why they didn't tell him earlier, they point out that they're just figments of his imagination they only know about the lever because he knows about the lever.

#Sunny came home tvtropes free#

Mundane Solution: Charlie's hallucinations of Beau Allen and Jason Kelce point out that the bear trap has a release lever, allowing him to free his leg.

Made of Iron: Charlie gets his leg caught in a bear trap, has a can of paint fall on his head, steps on broken glass and has nails shot into his arm, yet hardly seems any worse for the wear by the end of the episode.

Laughing Mad: Charlie after eating a live rat.

Insane Troll Logic: While the idea of sports-fans having good luck charms and rituals is nothing new, Charlie seems to believe that his rituals have a full-on, tangible effect on the Eagle's outcome much to Mac's bewilderment.

This is not an album written for everyone, but if it’s written for you, you’ll know it and you’ll love it. The reasons were my different in my case, but I was definitely the town freak when I was growing up, so a lot of this material hit squarely home. It’s a brave album, and one that transcends her particular concerns to speak to those of others’. There’s a lot of heartbreak on this album, and Buckley is willing to be honest and expose herself. This is reinforced by the closer, ‘Sad All The Time’ which delivers exactly as promised. I’ve emphasized this is a not happy album, though it is well-written and performed. ‘Horse Named Nothing’ is the closest the album gets to using stock country music images, and, even then, Buckley has a light touch with them. The perspective here is more akin to singer-songwriters than most of the people working in contemporary country. While this is sonically very much a country album, one bath in twang and lush pedal steel arrangements, it’s not heavy on conventional country tropes and iconography. It’s a tender reflection on childhood, and the things we have strange, complex emotional attachments to - here, a skatepark. ‘Hate This Town’ conjures a very real idea of the setting, as does ‘Prairie Town Dreams.’ ‘Driving Around’ evokes the endless spaces the Canadian prairie, and just how daunting that can be.

Some of the stronger material here relates to place.

Buckley says she wrote this album “for losers and underdogs,” and it does have that appeal. In the first track ‘Neon Blue’ the protagonist finds herself faced with a broken restroom, having to “take a piss out in the parking lot.” This kind of frank language will likely put some listeners off, but this isn’t written to appeal to everyone. It’s honest about life’s hardships, especially for artists. This is not a particularly happy or upbeat album. ‘Hate This Town’ one of the strong cuts on the LP, gives a very real sense of what this was like for her. She characterizes herself as having been “the town freak” when she was growing up, and some of is this related, unfortunately, to her being queer. Edwards is more of a social insider, and Buckley proudly claims the banner of the outsider. While those similarities to Edwards are very real, there are some major differences, too. It really bears saying: there are couple of generations of artists now who are Lucinda’s musical progeny. Some of that is her accent, but I hear some shared influences, and most especially Lucinda Williams. Listening to Mariel Buckley’s sophomore album ‘Everywhere I Used To Be’ I hear some sonic similarities to Kathleen Edwards, another singer-songwriter from north of the border who has carved a niche in the alternative country/Americana world.