I've been on a TV review kick for the mainsite for writing practice, so I thought I'd make my own thread like Mr X

The shows on right now I'm watching and reviewing are Community, Justified and Once Upon a Time. Watched every Parks and Rec season before this one so I'll likely catch up and start doing that too. Other shows during the year I watch are Breaking Bad, Mad Men, Game of Thrones, Dexter, Homeland, True Blood, Louie

Spoilers very included!

Community Season 4, Episode 5: "Cooperative Escapism in Familial Relations" review



After in my opinion 2 weeks with Harmon era level hilarity and gags, “Cooperative Escapism in Familial Relations” reverted to the suddenly less funny show from this season’s first few episodes. The analogy between an awkward thanksgiving and a Shawshank-like prison in previous seasons would’ve been right up the writers’ alley, but these jokes felt more obvious, more spelled out and less creative. The wit in the dialog also felt flat compared both to the Harmon seasons and last week’s episode. Likewise Jeff’s plot with his father (James Brolin) relied on the William stepbrother (Adam DeVine) for its jokes, a character who’s ludicrous over-attachment and Peter Pan personality, felt more suited for a more generic sitcom. William felt more caricature than human, trying for the same comedic angle that failed with Chang the last 2 seasons.

With that said for my criticisms regarding this week’s humor, Community still did a lot right this week. It appears the writers have decided if they can’t be as funny as the first 3 seasons, they can make up for it by increasing the sentimentality and humanity of its characters. Jeff revealed a lot about himself in this episode, as did we see Shirley’s vulnerability. I also appreciate Britta and Jeff’s friendship having a moment, by Britta stepping up for him. The episode dared to be dramatic and sentimental and did it well. I'd argue this is one of the most serious Community episodes alongside "Mixology Certification", centering on Troy's 21st birthday and "Critical Film Studies", the My Dinner With Andre spoof episode.

This has been far from a perfect season of Community, but to the new writers’ credit they appear to fully understand the characters, their trajectory going forward as humans and their personalities. For fans who understand Community has layers beneath the jokes, this is a relief. The “darkest timeline” I envisioned for this season wasn’t its comedic legs falling out from under it, but the writers changing and ruining the character arcs carefully built up over the first 3 seasons. This episode shows the new writers and old characters are meshing quite beautifully.

http://worldofkj.com/article.php?i=863

kewl

Once Upon a Time Season 2 Episode 16 "The Miller's Daughter"



With a major character’s death heavily advertised and one of the season’s juiciest flashback subjects in Cora, “The Miller’s Daughter” promised and delivered one of the year’s big events episodes.

As many guessed, Cora drew the short straw. In brilliant fashion, as Snow White channelled Walter White by “breaking bad” and tapping into darkness. A lifetime of Regina hating, chasing, intimidating, cursing, framing, imprisoning her amongst other havoc, left its mark on Snow even if under the surface for so long. That inner hatred Regina put in her, finally came up and Snow became the guilty and red handed figure, Regina had spent so long undeservingly labeling her as and Snow had spent so long denying. Snow had too many reasons to be angry to be the light of goodness in a darker world. David will have to be that light now. As for Regina, she’s now killed both her mother and father and has lost her last chance to be loved. She continues to pay a huge price for a lifetime of magic, as Cora and Rumplestiltskin have.

Cora’s death is brilliant in a number of ways. That it came by her own candle, is the ultimate example of magic’s price - rearing its heads decades after giving it to Snow. Rumplestiltskin playing such a large role in her death with their history and his importance to her life’s arc, also had poetic justice. Finally, her exit lines of “This would’ve been enough. You would’ve been enough.” to Regina is a brilliant moment, containing the regret of her life in a few lines.

While Snow made a turn from light to dark, what fascinated me about Cora’s flashback is the darkness in her from the beginning. Rose McGowan plays young Cora as a slithering untrustworthy snake, full of hatred for others and herself as she schemes her way up, believing riches will cure the hole in her. At first I had a hard time buying Rumple and Cora’s emotional connection or that they’re in love, but perhaps that’s the point. Cora is disconnected and unable to show how she feels. Naturally her relationship with Rumple would be icier and lacking trust compared to Belle’s. Nevertheless, I do feel a few more scenes of Cora and Rumple enjoying each other's company could have made them being in love, more believable.

Robert Carlyle dominates the Storybrooke scenes, arguably his finest acting yet in the series as he faces his impending death and wanting to share his hidden love with Belle and Baelfire. Michael Raymond-James as Baelfire is just as impressive in reaction, including the money line of “I didn’t know you had that in you”. I love everything about the Baelfire character and casting so far. If he’s a long term lead character, they may have struck gold with this performance.

Emma looking up and relishing using magic is a memorable moment, but also dangerous with the history of those who’s become too attached to magic. Another small moment I appreciated is the shot of the upward looking masked dancer, when entering the ballroom scene in Cora's flashback. The combination of visuals and score in this entrance felt film like.

The most memorable line of the episode other than Cora’s exit, is the “The bride has to be snow white.” “When you can see the future, ironies are everywhere” exchange. This line pokes fun at Rumple seeing the future, but also adds nuace by reminding us of the timeline, decades before Snow is born.

Once Upon a Time continues to deliver excellent episodes, full of incredibly complex character dynamics and psychology. Characters are the heart of storytelling and Once does that as well as any show on TV, even to a masterful level. "The Miller's Daughter" is another terrific episode exemplifying this.

Nice write up Shack. That line from Rumple “When you can see the future, ironies are everywhere” - is just perfect!

Kudos to the casting director for casting Rose McGowan who perfectly plays Cora during her formative years.

With Hollywood going crazy making films about fairytales - when people look back at this era of fairytale entertainment - only this show will be remembered.

Justified S4E10 - "Get Drew" review



With Drew Thompson’s identity revealed, the characters of Justified and Harlan County turn their attention to tracking him down in “Get Drew”

The heart of this episode is Drew/Shelby and Ellen Mae. Shelby talks tenderly, happy to let someone into his life and know his identity. Surely an old man getting attention from a young attractive woman helps as well.

Ellen Mae has been loved little in her life, pushed into the darkness at a young age and forced to stand for herself. This is also why she idolizes Ava, a more loved and stronger woman - something Ellen Mae wishes she could be. Ellen Mae and Shelby riding in the car is one of the season’s most memorable shots, the camera lingering on her loneliness.

Mykelti Williamson is fantastic returning as Limehouse, a character who has a large role to play in the future of the show I’m sure, despite his minimal appearances this year. The dilemma Boyd and Ava are forced is well executed, choosing between the money and saving Ava’s skin. Choosing the money surely will come back to haunt them, especially considering they didn’t even get it.

Johnny also made his big play, choosing to send Drew to the Marshalls in return for catching Boyd for tax evasion. But Boyd being emptied out by paying up for Drew without getting Theo Tonin’s money out, leaves Johnny unable to put Boyd away and in a perilous position. Johnny’s scene in the trailer ripping on Boyd’s changing identities and interests is one of David Meuner’s best. Despite his staunch denial that Johnny is acting like “Boyd stole his girlfriend”, I wonder if that implies Johnny wants Ava for himself, perhaps this is his true motivation for locking up Boyd. Johnny’s motivation doesn’t appear to be power lust, but envy and long standing bitterness towards Boyd and what he’s gotten over Johnny.

Colt, Wynne Duffy, Rachel both get great moments in the episode. Colt playing along with Shelby’s attempts to get himself shot out of mercy before snapping out it and laughing at Shelby, further showing his unpredictability. Wynne Duffy aside from unofficially being revealed as homosexual, sells the “I’m going to Canada” scene well. I wonder if this is the last we’ll see of him this season. Rachel’s banter (sexual tension?) with Raylan continues to be enjoyable, finding her place on the show even if the plots don’t include her much. Raylan is Raylan and has his moments, though this episode belongs to the other characters like Drew, Boyd, Ava, Johnny and Ellen Mae, over him.

“Get Drew” is one of the season’s best episodes, an entertainment and action filled episodes with great scenes between Ellen Mae and Shelby, Limehouse’s deal with Boyd and Ava, Johnny’s arc reaching its climax and Justified’s usual brand of sharp quips and charisma. With all the strings coming together, episodes like this help justify how long they spent this season aligning chess pieces.

Community’s Season 4 has followed a bizarre path so far. The early episodes had far too much try-hard, desperately trying to mimic the Harmon era’s energy, references and quips and failing miserably. My concern at the time was they’d lose the human in these characters, instead making them plastic joke delivery devices.

By “Advanced Documentary Filmmaking”, just the 6th episode, the show has gone in the opposite direction and is unrecognizable from that start. This episode feels as if the writers got up on a groggy day and were too depressed for comedy, but as a requirement, they mailed in a few tired gags like Annie and Troy imitating buddy cops, Pierce’s racism and the documentary gag, mostly wasted. The heart and energy behind the jokes just isn’t there.

What they tried is to make a more dramatic episode about Jeff learning and growing. But this arc is neither new or profound for Jeff - and anything tender about the last scene with Kevin, is wiped away when Chang is revealed in the credits.

For the most part, this episode just made me feel “Is they all? They don’t have any more than this?” It felt mailed in. A signature of the Harmon era was every episode aiming for the fences, for good or bad - trying to make every episode the best of the series. There’s no way the writers can honestly look at this episode and say they tried to make the series’ best episode, or one that’s anywhere near highlight of the show.

Because of the first 2 trainwreck episodes of this season, this isn’t Community’s worst episode, but it may be its most boring, irrelevant and skippable on a rewatch. It’s a clear grade below any single episode in the first 3 years - a failure.

Once Upon A Time Season 2 Episode 17 - "Welcome to Storybrooke"



Following last week’s action-packed episode, “Welcome to Storybrooke” dialed back but delivered just as interesting an episode, as a character heavy Regina episode - splitting between the early days of the curse in 1983 and present day.

After 30 years, Regina’s flaws and pain is as similar as her appearance, frozen like her fairy tale peers. The death of Cora has made no impact on whether she understands when Rumple tells her vengeance won’t fill the hole in her heart, in addition to the cost. She still sees red only.

With the sacrifices she makes to make the curse happen, 1983 Regina finds out all too quickly how “winning” didn’t fill the void of love in her. Unlike Storybrooke in Season 1 with Emma starting the clock moving, the “Groundhog Day” like 1983 feels colder, lifeless and in Regina’s words, “not real”. Together with Regina’s actions, it feels like Owen and his father Kurt took the wrong turn into a horror movie, a purgatory or Stepford like trap. The Owen storyline shows how Regina is continually looking for love in all the wrong places, while making her actions causing an inability to be loved as tragic as ever. I wonder if adult Owen having an actor who isn’t especially beautiful or charasmatic, is a tell his long term role on the show won’t be there. I do like the idea of that young Owen origin story for a significant character. Nevertheless even if he just lasts this season, he’ll have a part in Regina’s fate, showing the consequences of her actions even if far in the past.

Even after Henry talks her down, it’s not enough for Regina to get it, rubbing Snow’s new darkness in her face in the shocking heart pull scene, the highlight of the episode. Great work by Lana Parilla and Ginnifer Goodwin in this scene. Snow heading towards darkness like Regina did, is one of my favorite decisions the writers have made, turning her from treading water into one of the show’s most interesting going forward. Snow and Regina pulling each other down into the dark, is also another level to their inescapable history and fate.

Regina’s “Your wife in New Jersey... with the Boss?” is the episode’s funniest line, though a dramatic line I loved is Henry’s “You used to be heroes!” delving on morally ambigious recent times. I loved Regina’s Lost like waking up via her eyes and the entire “Regina gets bored/freaked out” montage. The Owen scenes are exceptionally timed and shot, especially his final run.

Once has been on a big roll lately and with August returning next year and Baelfire/Tamara kicking it up a notch, it looks to continue!

Justified Season 4 Episode 11 - "Decoy"



As the season nears its climax, “Decoy” is the most action-packed episode of the season so far as everyone found themselves on the edge.

With Theo Tonin’s men descending on Harlan, Boyd, Raylan and company are in tight to avoid the wrap of Tonin losing Drew. The most memorable set piece of the episode is Colt and the Marshall’s standoff and phone conversation. Coming back from near doom, seems to have given Colt his swag back and turned him into a sharp talking, badass MF’er. I hope he stays for further seasons as he’s one of the season’s most interesting.

Patton Oswalt as Bob has appeared periodically this season, with the payoff in this episode. Getting pounded on by “Yolo”, looking like a darkest timeline version of Quinn from Dexter - Bob’s knife under his soft uniform literally and figuratively gave him that victory.

As I suspected last week Johnny’s true motivation for turning on Boyd is his feelings towards Ava. Johnny’s turn on Boyd coming out of the wrong guy in Augustin sitting in the room, felt fitting - mistakes come to haunt one at unexpected times.

Raylan, Rachel and Drew in the school felt standard, though I did enjoy Raylan and Boyd meeting face to face when the latter arrived - as all scenes between them are great.

“Decoy” was a fine episode, though the relentless action felt somewhat calculated, while the real heart of “Justified” is its dramatic scenes and moments. That should come in upcoming weeks when Ellen Mae reappears and Johnny meets his fate.

Community S4E07 review - "Economics of Marine Biology"



I don’t know what to say about this week’s Community. “Economics of Marine Biology” is one of the series’ worst episodes hands down, if not its lowest moment period.

Comedically the episode is a trainwreck. The Shirley-Troy gym class subplot is an unwatchable dreck. The recurring chips gag is so poor I don’t even know what they were attempting comedically. The main plot with Dean trying to get the “whale” is left without a clear direction or source of punchlines. Somehow making the Dean unfunny for a whole episode is a terrible crime. Even worse, Magnitude’s air comes out of his balloon once he’s given more than one line to say. The episode tries to stuff sentimentality in by Dean standing up for Greendale and Jeff standing up for Pierce, but both are empty and overshadowed by the comedic junk around them.

This episode is straight trash. It’s the TV comedy episode version of a stand-up comedian performing to dead silence. Community has had a few moments this season resembling the old show, but the last few weeks it’s come off like an old sick dog who needs to be put down for its own good.

Once Upon a Time S2E18 - "Selfless, Brave and True"



Following a month of among the show’s best episodes ever, “Selfless, Brave and True” is a rare misstep and off day for Once’s standards.

The problem is this feels like 2 episodes in one. It’s a Tamara episode and an August crammed together as a hybrid. Tamara dominates the takeaways of this episode out of freshness alone. Who is this new big bad or something like it, what’s her fairy tale identity and backstory, motivation, her grandmother’s relevance, what powers does her taser have, what’s her relationship with Owen like, etc. With Tamara Once moved cleanly and swiftly in a new direction post-Cora, which I respect. Though this speed, makes her feel hollow for Once’s standards. With the show’s history, no doubt she’ll be developed into a layered and morally ambiguous villain at which point I expect to warm up to her. This is just the beginning.

What bugged me about the episode is August’s for all intents and purposes death episode, had to fit in with Tamara. Due to his role as a plot device to push her villainy forward, I felt his write-off lacked the emotional punch may of his Season 1 scenes did. In particular I wish he and Emma’s relationship and history had been given more recognition. He didn’t even own his flashback, as Tamara gets point of view scenes during it. I understand Eion Bailey stretching his legs forced the writers’ hands to minimize and write him out, but it’s still underwhelming for August to go out like this after how well they built his character for the long term in Season 1. That he played second fiddle to Tamara on the way out is even more disappointing.

The other Storybrooke characters didn’t get a ton of play this episode, but I enjoyed Snow’s slapping Gepetto moment, showing the anger she can no longer fully control. Regina and Owen’s scene also stands out. Owen felt creepily attracted to her. I like Owen’s place on the show now more that he’s a “heel” and up to stuff.

Going forward, who is Tamara? I’d be shocked if she wasn’t one of the Neverland trio of females - Tinkerbell, Wendy and Tiger Lily. With the show expected to flashback to Neverland to end this season, this gives them too easy an opportunity to set up her backstory in the finale. Tiger Lily makes the most sense racially, but I’m betting on a morally ambiguous Tinkerbell with her magical interest and her taser as figuratively or literally a modified wand. If from Neverland, I expect her and Hook are familiar with each other and she let him go in New York, which they set up with Tamara phoning Neal to tell him he had escaped.

My crazy theory: Tamara’s “grandmother” is in fact her daughter, who she gave birth to on Earth nearly a century ago - then as her daughter grew old and wrinkly, Tamara never aged due to her Neverland roots. Sounds like enough parental suffering for Once Upon a Time?

“Selfless, Brave and True” proves Once can’t throw a perfect game over 22 episodes a year, just as all network shows can’t - But it sets up the chess pieces nicely for a great end to the season. Stick the landing!

Justified Season 4 Episode 12 - "Peace of Mind" review



Hard to believe this season ends next episode. Moreso than just the season flying by, this episode in particular felt in mid-season form. Like many episodes this year, “Peace of Mind” relied on characters standing or sitting near each other and giving forth that sweet Harlan dialog.

Ava is a dominant player in the episode, as standoffs with Limehouse and Ellen Mae drills into her how far she’s come down this darker, tough-nosed road that will end nowhere good for her. Limehouse in this moment of clarity senses the danger and stakes and pragmatically, realizes it’s time to fold his cards. In contrast, Ellen Mae is an innocent believer of a righteous end. Boyd and Ava are somewhere in the middle. More practical and able to see what’s written on the wall than Ellen Mae, but too indebted to believing in a happy ending to see the dark one coming for them if they don’t get out now. Limehouse and Ellen Mae find themselves at peace of mind, but Boyd and Ava do not. Colt likewise resigns himself to his fate, too fed up with live with his pain anymore - and seemingly willingly ushering in his death. It’s nice to see the preacher’s sister and Tim’s arcs from earlier in the season converge on the Drew Thompson plot - just about every loose thread has had relevance down the stretch of the season.

“Peace of Mind” is one of the season’s funniest episodes, with Raylan pounding out one-liners and his signature sass. Rachel and Art have their punchline moments sharply responding to him, with the former getting increasingly testy. The funniest moments of the episode involves the conspiracy theorist Ellen Mae runs to, chewing up the screen in his lunacy.

Special credit to how they handled Boyd's reaction to Johnny's betrayal. Internalized seething anger from Boyd, over an explosive reaction. This one stung Boyd badly.

“Peace of Mind” felt in no rush to hit the season’s climax, but next week should bring the fireworks. Barring a disaster, Season 4 should stand as one of the series’ 2 best seasons, along with Season 2.

Justified Season 4, Episode 13 - "Ghosts"



The season finale of Justified “Ghosts” makes a surprising choice. It leaves many of its best characters of the season out. Johnny, Ellen Mae and Drew don’t appear. Largely, the point is made Justified is Raylan and Boyd’s show. It always has been.

Ava’s fate dominates the episode, but its meaning is played out through Boyd. Boyd’s mistakes this season caught up to him. Two parties he’d made enemies of, the preacher’s sister and the high rollers he’d tried to bully into a corner, struck back. Boyd did not build his empire on loyalty but false superiority and allusions of power which weren’t made to last. As Raylan alluded to, Boyd wanted to become a drug lord for the same reason he falsely adopted religion or white supremacy. Because it filled a hole in him. But what could really fill that hole in Boyd after he’d searched so long, his relationship with Ava - he’s now cost himself. Boyd gets the power he’d lusted after by the end of the episode, but it is now empty.

Raylan crossed a line in this episode by setting up and allowing the Nicky Augustin murder. Raylan may not have pulled the trigger execution style, but for all intents and purposes he did. Suspended at the time, Raylan’s actions show what he is capable of giving into when not held back by his job and how the anger built up over the years threatens to take him over. Raylan needs the Marshall job to stay on the rails and give him direction, just as Boyd needed his multitude of adopted identities. I suspect the title of the episode “Ghosts” in part refers to how Raylan and Boyd are less than complete, especially by the end of this episode when Raylan has lost some of his moral code and Boyd has lost Ava.

Because of lacking Johnny, Ellen Mae, Drew or the departed Colt, “Ghosts” felt a bit less energetic compared to recent episodes. Not a big surprise considering the season has moved at a strangely relaxed pace, willing to set up and push forward its sprawling chess pieces at a waltz. Arguably it’s the most character dominated and dialog-reliant season, with conversations taking over whole episodes. Season 4 is certainly a different cat compared the first three, or the rest of television as a result. Justified has never been more confident in its stylistic uniqueness. I expect this season is meant to be seen paired with the following one, but from start to finish it’s a standout year for the show proving it is one of TV’s treasures.

Community Season 4, Episode 8: "Herstory of Dance"



Following a disastrous few weeks, “Herstory of Dance” is a bounce back episode for Community. It is not great like the show’s best days, but it is respectable and likeable.

Community still isn’t consistently funny, though a few moments like Dean’s arguably best costume ever in his black and white get-up and Troy’s moustached picture text are worth a reaction. Abed’s two dates as the episode’s comedic centerpiece is amusing, but its parody of TV cliches is heavily spelled out, as if the writers not trusting to audience to be in on the joke. Abed’s plot is fine, but had higher potential. The word puns this season are all over this episode and they continue to feel forced and unnatural compared to in the first 3 seasons.

Jeff congratulating Britta is a nice moment for those characters in light of her helping him at Thanksgiving. The more genuine moments like this the new Community has, the more they can make up for less comedic talent episode to episode.

“Herstory of Dance” is a fine enough half hour, though similar in quality to other sitcoms found on network TV.

Mad Men Season 6, Episode 1/Episode 2 - "The Doorway" review



Last season of Mad Men ended with Don with an expression, looking to return to his old adulterer ways. “The Doorway” showed Don reverting from the small progress he made last season in multiple ways. He’s still all too aware of his mortality and the falsity of his song and dance. Adultery doesn’t come till the end of “The Doorway”, but when it does it’s all Don, using his sexual prowess to counteract his insecurities when compared to a real hero in the doctor. As for the doctor’s wife, what’s striking is how clear a familiar “type” she is for Don, both in dark look and intellectual personality. She also exemplifies how Megan’s optimism and energy is largely not Don’s type. Don and Megan’s relationship oozes boredom and repetition.

Roger has long been as lost a soul as Don, but I found his place in this episode more optimistic. Roger finally is talking about his insecurities and his crying over the shoe shiner’s box shows growth and release. Roger almost feels too innocent to stoop to a low like Don did this episode. Roger can still point his moral compass in the right direction.

Peggy’s transformation from the secretary of Season 1 to the boss of this premiere is striking, with the influence of Don impossible to ignore. Like Don there’s a gap between Peggy and the workers she bosses around. They are lazy because there’s a life after leaving work for them. For Peggy it’s her talent and work ethic that her self-esteem rests on, making the ads more important to her. This is also why Don is as good as he is.

Betty cannot help but compare herself to Sandy, the 15 year old blessed with long lost youth. Awkwardly insinuating Henry is attracted to Sandy when he surely had no thoughts of the kind, shows Betty’s habit of imagining the worst in people, even her family members. Her scene with the squatters is clunky, but her decision to dye her hair shows Betty hasn’t accepted yet she isn’t from Sandy’s generation. Betty left the squatters not deriding them or Sandy for leaving, but insecure she’s not like them. As for Sally, her personality feels as if it’s aged years since she last appeared. By Betty never progressing past a teenager’s personality and with how Sally feels about her, it’ll be unsurprising if Sally skips the teenage girl phase entirely.

The length of this premiere made it feel slightly tedious, with Don and Roger’s existential crisis a wee bit on the nose and ham handed. Nevertheless like riding a bike, Mad Men steps back into its universe with one of a kind dialog and world continuing this great story of complexity.

Community Season 4, Episode 9 - "Intro to Felt Surrogacy" review



After last week’s teaser, Community delivered a puppets concept episode. Although this season has never wanted to be Dan Harmon’s Community more, “Intro to Felt Surrogacy” is the most memorable and best episode of the season.

The key is the puppets breaking out into song. Largely the puppets themselves add little humor live-action acting wouldn’t have provided, but when added to singing it adds a comic element of surprise. Community’s dialog has felt so stretched this season, that in song it plays better. I am a fan of musicals enough that when a show uses the gimmick, from Buffy to South Park to previous episodes of Community, I’ll find it easy to enjoy.

“Intro to Felt Surrogacy” is tightly paced, moving into its puppets flashback quickly and restricting itself just to this story. The episode flew by. More jokes hit this episode than usual, such as Pierce claiming Jeff can marry any man he wants in international territory, Troy spotting the moose or telling his fire story and Dean had a strong episode, with a few funny Jeff obsession jokes.

The group standing up for Shirley is a nice moment, though the scene may have had more emotional meaning if the other group member’s secrets were as painful as hers, instead of comic devices.

As a criticism Community feels increasingly compelled to “explain” its pop culture references to audience members who may not get them, such as name-dropping Lost and Judge Judy after their use. This largely ruins the joke.

“Intro to Felt Surrogacy” is a charming concept episode for Community.

Mad Men Season 6, Episode 3 - "The Collaborators"



After last week’s sleepy start to the season, “The Collaborators” brought back the energy that makes Mad Men so great.

Don is in full fledged form, manipulating Megan, Sylvia and the Jaguar executives at will. Don’s ability to make whoever he wants feel what he wants, is juxtaposed with Peggy and Pete’s inability to, both doing a poor Don impersonation in alternate ways. Pete feels like he wants to be an adulterer for the same reason he got into the advertising business or married Trudy, to make him feel more like a real man to be taken seriously instead of an overgrown boy - to try and be what he sees Don as. But without the powers of manipulation, Pete will never pull it off, nor would it make him happy or complete if he did. The mistake Pete made is believing Don’s affairs are because he’s a great man, when in reality Don is fucked up in a way Pete can’t know and thus bears no resemblance to something Pete can emulate.

Likewise Peggy’s laughing on the phone with Stan showed her true colors. She needs advertising to validate herself, but deep down still loves the people she can’t connect with. Peggy, like Don, wants her work to be appreciated but does not have the hunger for power beyond that. Peggy isn’t going to war in the advertising game, she’s going to a artist’s workshop.

The breakout star of the episode is Sylvia. Like Fey from years ago, she has the intellectual cunning to challenge Don and be taken seriously. Perhaps this is what’s revving Don up. Sylvia is written with a seriousness and intensity enough to make me suspect she’s in this story for the long term. Don is so reckless with Sylvia that it’s as if he wants his marriage to go down in flames, the Megan excitement worn off long ago. Don wanted no part of a pregnant Megan no matter what he showed her on the surface. Megan showed more of the mess Don and her mother made her this episode, convinced she’s not good enough for them and is selfish to chase her acting dream.

Don’s mistake is while manipulating Megan and Sylvia is they know he’s doing so, but Sylvia is in too much of a trance to strike back for it for now while Megan doesn't have the courage, but these will only prevent a disaster so long. Don may be aware of this, but nothing is too precious in his life now to be burned down. In regards to his personal life, Don is all but saying “If it dies, it dies”.

“The Collaborators” is a sharp, funny episode with its broken characters both showing confidence and flaws. It’s Mad Men at its best.

Mad Men Season 6, Episode 4 - "To Have and To Hold"



A theme of this season, is time stuck in place. Despite the change of the 60s, Mad Men’s characters have disconnected themselves and thus are largely unaffected. Don is still at his affairs, Joan can’t shake being seen as a secretary, the real secretaries can’t stop having affairs with their bosses and even the ad-pitching, feels remarkably familiar to the early 60s years.

Joan is the standout of this episode, "To Have and To Hold". It’s quietly heartbreaking to see her reaction to Harry’s insults and how the men of the office, have the image of busty secretary too ingrained in their minds. Females like Kate and Dawn have nothing but respect, but Joan only sees who lacks it. Ironically with Joan starting the show telling Peggy to follow her female role, Joan now would have more to learn from Peggy’s personality. 1960 belonged to Joan and Betty, 1968 belongs to Peggy and Megan.

Don continues to be an off the charts hypocrite, with his berating of Megan’s kissing scene despite what he does at night. When offered the foursome, I suspect what held Don back from embracing it, is he didn’t want to share Megan. Just as Don’s pitching moves belong to him, which is why it likely stung him to see Peggy take them. Sylvia telling Don she’s praying for him stuck out to me, because it’s a sign she understands his disturbance more than anyone and is willing to challenge it. I continue to believe Sylvia is the best long term fit for Don’s sanity for this reason, not that he’ll realize it.

When Pete had his affair, I reacted by assuming he wanted to emulate Don and Roger’s. Harry’s is different. I see Harry’s wants as fundamentally more shallow. Harry pushing the Joe Namath special in Bill Hicks “Suck Satan’s Cock” style came down to Harry getting money and credit for it, with no deeper need beyond that. Likewise I suspect Harry’s affair with the secretary comes down to being attracted to a hot girl, no more and no less. Perhaps these motives are admirable in a way. At the same time, the irony of the Harry and Joan feud is they both aim at respect worthy of a partner, beyond the ingrained images their early days at the company created. Yet they cannot see how similar they are in that respect.

“To Have and To Hold” felt a wee bit light on important plot developments and is not a standout episode for the show, but nonetheless, it’s still Mad Men.

Once Upon A Time Season 2, Episode 19 - "Lacey"



Over a long 22 or 23 episode season, even the best network shows misfire. The last episode “Selfless, Brave & True” before the break didn’t feel right. However “Lacey” is a strong return to form to what Once does best.

Rumplestiltskin has worked to repair his act, at times this season a cuddly father, grandpa or love interest. But Rumple needs a personal incentive to act good, such as for Baelfire or Belle. Belle sees kindness as worthwhile for itself, but Rumple’s compass is more conflicted and turned by his own desires. He begins the episode after his dream sequence knowing anger and darkness bubbles in him and ends it, succumbing to it. He may end up blaming his Sheriff beatdown on wanting to wake Belle, but by starting it before knowing she’s there or the effect it’d have on her, it was all Rumple. Like Snow slapping Geppetto, external circumstances are the red herring. The real cause is pains of the past buried deep in him. In both Storybrooke and the flashback, “Lacey” is a reminder Rumple is a dark, dangerous creature, not a cuddly one. The beast will never fully go away.

It’s smart writing how such a major plot point in Regina finding the beans, is triggered by a single slip of the tongue and tone by Emma. Small moments matter in Once. Regina will need to choose between her individual desire for vengeance and the sliver of empathy. Like Rumple, her personal desire for love from Henry likely affects her decisions. Emma facing the choice of returning to Fairy Tale Land is important. Although it’s true Earth hasn’t been kind to her, it’s still home.

“Lacey” largely works from the execution. Rumple and Belle have sparkling chemistry and the David and Rumple scenes are fun to see. Robin delivers in his introduction, plus special credit to Granny and Grumpy for stealing scenes. It’s a sharply written, charismatic and tightly paced episode, in part thanks to a mostly singular focus on Rumple and Belle. This clean focus makes it an antidote to the messy “Selfless, Brave & True”.

“Lacey” is another stellar Once episode in this season’s collection of them.

Once Upon A Time S2E20 - "The Evil Queen"



When hearing the title of this episode “The Evil Queen”, it felt like a generic label for the latest of many Regina episodes. However the episode made the title perfect. It captures Regina’s insecurity with the evil way her actions have been perceived and her delusion about the justification for her actions.

This episode’s flashback is one of my favorites of the series. In disguise Regina comes face to face with the innocent belief in kindness in Snow, before her actions kills it in her and sends Snow down the angrier pathway eventually leading to her killing Cora. While Snow lets off Regina later from execution in another episode, that Snow doesn’t forgive Regina or see her as less than evil, just that she shouldn’t die. In the episode where Regina is once again interrogated in Storybrooke after the Cricket murder framing, Snow wants her to die, completing her transformation that leads to the revenge on Cora and Regina.

Regina cries when she hears Snow’s forgiveness because that’s better than her. And as is usually the case, although on the verge of a better road, her actions in the past make it impossible. Though it bears mentioning although Snow stops forgiving her when she sees the body, Regina doesn’t make another attempt to get right. She uses it an excuse to go evil for good. In Storybrooke, Regina’s attempt to woo Henry into joining her in escaping Storybrooke and killing everyone else, is a fascinating moment. No level head could believe Henry’s reaction would be anything but a "wat". Regina’s delusion about what she can do without deserving blame for it, is off the charts. She is a sick puppy.

Emma and Henry do a great job in this episode. The return of Operation Cobra is charming and the scene in Tamara’s apartment between them and Neal when he arrives, is excellent scene crafting and use of a setting.

A few parts of this episode felt forced for television reasons, such as making Emma confront feelings about Neal or especially setting up a “stop the bomb” plot, though these are necessary evils for a network television show as it leads up to a season finale. Hook coming face to face with monster Maleficent didn’t excite me any more than when Emma did, though Hook clearly having a history with her is as nice touch.

Tamara and Owen introduction science that can counteract magic, opens up storyline possibilities. It increasingly seems Earth and its history with magic outside Storybrooke, will be important to the show going forward. Dr. Whale’s “It’s science” line from early in the season now holds greater relevance.

The collection of Regina-centric episodes this season when placed together, is incredible. I have concerns whether seasons in the future they’ll keep this pace with her. Perhaps like Snow & Charming, they’ll tell as many flashback stories as they feel necessary for her, then move on to fresher fields. At least through 2 seasons, the Evil Queen has to be one of all time great villains television has seen and perhaps its most complex female character in a drama.

Mad Men Season 6, Episode 5 - "The Flood" review



Mad Men has made use of historical events in the 60s, such as JFK’s death and the Cuban Missile Crisis in the past. Martin Luther King, Jr.’s death in “The Flood” set the stage for this episode.

As usual, these events only act as mirrors to continue the show’s character storytelling. These characters are removed enough from the civil rights movements, to largely care about their own well-being among riots, the safety of their significant others public or private, or in Harry Crane’s lowest denominator case, television sales.

For both the audience and Don’s heart, Bobby Draper finally has a moment where he matters. Bobby is already showing the signs of Don and Betty’s psychological problems passing onto him. Like Sally, the effect of this is a boy who’s growing up too quickly and with too much anxiety. But Don understands this solemn maturity more than a normal, sunny-skies seeing kid, or wife for that matter. When Bobby and Don go to Planet of the Apes, they both need the escape.

Don is worrying about Sylvia throughout the episode, even if he knows she’s likely safe. Along with falling into enough of a trance to forget she told him they were going to DC, I continue to believe Sylvia’s aggressiveness dissecting Don’s soul is making a mark more than passive affairs do.

Pete’s surprising empathy for the civil rights movement, is juxtaposed against his failing relationship at home. Perhaps because Pete has always been an outsider to his work peers, he more easily relates to the civil rights movement. He also has to care about something at this point without a marriage to attend to.

Ginsberg, Peggy and Betty’s scenes felt like they could’ve been in any episode instead of attached to the Martin Luthur King episode, but I suppose their arcs indicate that among upheaval, characters still had to attend to matters like finding an apartment, dating to appease a father and preparing to trophy-wife it for a senator. For the characters in this episode including Don, their relationships are more important to them than the African-American strangers in the civil rights movement or rioting, or Dr. King. That world is as distant as a film screen in comparison.

Although I enjoyed the Don scenes as always, this episode felt a “ho-hum” as a whole. Mad Men reacting to tragedy has been covered and the side-plots felt as if showing yet another day in the life. Which perhaps is the point, though at the cost of excitement for the viewer.

Once Upon A Time Season 2, Episode 21 - "Second Star to the Right"



As one can expect with the second half episode of a season, “Second Star to the Right” is a big event episode, both in present day and flashback.

“Second Star to the Right” has another excellent flashback. Once is increasingly mastering flashbacks which are small in scope and timeframe. The majority of scenes in early 1900s London are spent by Wendy’s window, between Bae warning her about magic, her mistake leaving, her return or Bae getting taken. By the end of the flashback, the room and characters are familiar and their decisions are beautifully written and shot. Bae getting afraid when seeing and hearing Neverland and jumping off, thus negating his sacrifice and putting the Darlings in danger again is an excellent touch. Like his father Bae had proven selfless intent and courage, but in the heat of the moment couldn’t help but fall victim to that buried selfishness and fear. Wendy likewise for her selflessness helping Bae, took the chance to leave Neverland at the cost of a brother, a self-serving and coward’s decision. All of Rumplestiltskin, Bae, Wendy have selflessness and heart, but still made a selfish and cowardly decision in the heat of the moment, making them a fascinating trio. That is, presuming Wendy is innocent. The show has a long history of characters who’s become entrapped by magic and headed down a road of bad decisions because of it and Wendy has proved she's enamoured with magic and living in a world without parents. It'd fit both her and the show's profile if the Wendy who came back had been working on the side of magic and not against it, intending for Bae to sacrifice himself. I suspect adult Wendy will be revealed to still be around in some way or another, regardless of who’s side she’s on.

The Storybrooke scenes are action packed, with a ton of enjoyable momentum and energy as Emma and company chase down Tamara and Owen. Emma and Neal do great work in this episode in their heart to heart in the beach and then separation as he falls into the portal. The revelation Regina killed and buried Owen’s father is twisted and dark but exciting. Owen and Tamara are fueled by hate, but Regina’s sociopathy is at another level. Snow saving Regina yet again proves most of her is still good, even if her real fate is downward.

“Second Star to the Right” is a really exciting episode in the present day, with another stellar flashback. The second half of the season finale should put the icing on the cake of a nearly flawless television season.

Mad Men Season 6, Episode 6 - "For Immediate Release" review



The title of this episode, “For Immediate Release” figuratively implies action before contemplation and stubbornness. Mad Men’s characters show this throughout the episode, such as in Don and Ted merging the companies on the spot, Don snapping and breaking the Jaguar commitment, Pete and Trudy’s father dropping nukes on each other, Arthur quitting his job or Peggy kissing her boss.

When Pete tells Ken about catching his father in law at the whore house, Ken’s “mutually assured destruction” is built on the assumption both have a marriage to lose. Of course, Pete is already a cheater to Trudy, the leap from which to prostitute customer is hardly earth shattering. Thus with a marriage and life already in the wreck, he has much less to lose than the father-in-law and the rules of mutual destruction doesn’t apply to him. So boom goes the dynamite.

Peggy increasingly is becoming more suited for an upper-class and Ted & Don like life, that Abe cannot provide. Ted has to live with a weight of expectations and live a balancing act, that is foreign at home with Abe. At the same time Ted is not Don or Pete. He is honest and truthful. Ted appeals to what Peggy wants to be. Successful and powerful, but not Don. But it’s this integrity which also makes him naive enough to jump into bed with Don immediately with the merger, instead of running it by Peggy first. Both Peggy and Joan are angry at the decisions Ted and Don made without them, but it’s in their power to for right or wrong and that is what stings them.

Speaking of power, Megan’s mother continues to have an unfortunate power over her. Megan has much reasons to be proud of herself and her career, but whether under her mother or Don, has fragile enough confidence to be bent into a subservient position.

Despite his deeds, Don still sees himself in the right to take a moral high-ground against Jaguar’s Herb for what he did to Joan. A real hero in Arthur quits the hospital for them lacking his idealism in favor of transplants. Yet one can argue Don’s moral high-ground may have been more selfless, if Arthur at least partly wants to transplant a heart for personal recognition.

“For Immediate Release” is a fast-paced and full episode, but this season continues to feel off its mark to me. Perhaps the problem is how Don has snapped back into a form seen years before. While failure to progress is part of his flaw, I do not find it as interesting as a Don progressing somewhere.

With toss-up renewal status, Community’s season finale had to double as both a potential series finale, while leaving the door open for a 5th season.

“Advanced Introduction to Finality” is a lot of fun and among the season’s standouts. Joel McHale and Alison Brie as Evil Jeff and Evil Annie bring it and steal the episode. The episode’s energy leading up to and including the brief paintball showdown is rolling and many of the jokes are on point. As Abed points out, making the paintball bullets gateways to another timeline helps prevent yet another paintball episode from coming off as stale.

But while “Advanced Introduction to Finality” is a great tribute to Community’s style and humor, it lacks as a send-off to its characters if this is the series finale. Jeff’s journey dominates the episode, leaving little reflection for the rest. The show started as Jeff’s, but over time his friends’ progressions and relationships became as important. It’s disappointing they’re shuffled to the side.

With that said, it’s highly unlikely this is the end. Even if cancelled, no show fits a movie installment after its television run ends more than Community. A movie allows Dan Harmon to return to end his own show his way, while a low production budget combined with a rabid fanbase makes it a guaranteed successful investment for a studio. Even if for some reason they didn’t back it, a Kickstarter campaign easily would raise the budget.

For its low moments, this season of Community had even great moments and likable characters/performances, to make it worth watching and better than the rest of network comedy television can approach. If the end, here’s to the best television comedy of all time despite the warts in its last season.

Once Upon A Time Season 2, Episode 22 - "... And Straight on Till Morning" review



For the 2nd season in a row, I found Once’s season finale slightly underwhelming. Although introducing some exciting new chess pieces for next year and beyond, the plot to save Storybrooke felt while necessary for a climactic season finale, unsurprising. Nevertheless it had enough layered character moments to be worthwhile.

“And Straight on Till Morning” is highlighted by another strong flashback. The episode if belonging to anyone, is Hook’s. Hook and Bae’s pseudo-father and son relationship illustrates how selfishness has impacted his life, most notably taking Milah and the damage it did to Rumple and Bae’s lives. Milah’s abandoning was also selfish and she paid for it with pain and regret first, then her life. For the hate Hook has for Rumple, it masks he blames himself as much for her death. When one of his schemes in present day finally goes perfectly, the news of Neal’s apparent death is enough to wake him to that killing everyone in Storybrooke as collateral damage for the sake of revenge on Rumple, is not the right way. As Snow points out elsewhere in the episode, there are other ways, even if harder and longer. Hook wasn’t prepared to cement his selfishness, just like Regina wants a fate that goes beyond pure evil. For the moment both have redeemed themselves, but the flaws that led to their mistakes are bound to rise again. Likewise Snow found some redemption for her killing of Cora by saving Regina for the umpteenth time, but the dark in her heart built up over a lifetime, is still there waiting. Rumple is also on team good guy for now, the Neal news and Belle’s return waking him up to that saving family in Henry, is more important than saving himself from an undoing. This coming right after one of his darkest moments, a thread from sending Henry flying into a deadly rock. Right now Snow and Regina, Hook and Rumple are aligned on a common mission, but only for now. The anger and pain inflicted in each other’s feuds, will not be washed away easily on the Jolly Roger and beyond.

Emma calling Snow and Charming mom and dad is a nice moment, though her and Regina stopping the magic trigger felt a bit hokey in writing and visual execution.

The episode’s big revelations were saved for the end, with the reveal of Peter Pan as a big bad and that he’s known about Henry for hundreds of years. Hopefully Peter's villain if one, is written and acted with complexity on Cora’s level. Tamara and Greg appear to get orders from a Home Office, which presumably has a line to Neverland. I’m betting on Wendy running that Home Office on Peter’s side. This would also make my theory last week about Wendy working on Neverland’s side when she returned to London, more likely.

Now that it’s over, it’s safe to say Season 2 of Once Upon A Time is one of my favorite television seasons to date. Its characters and their complexity, emotions, decisions and histories, make it the magic hour.