The Bachelor 22x02 Roundtable: Can I Steal Him for a Moment? [Contributors: Chelsea, Rebecca, and Alisa]

The dates have begun! This week we got to meet the girls a bit more while traversing across some odd dates. Some girls are closer to winning his heart while others need to start packing their bags. Here’s where we stand so far with the gang.

This week changed things up and gave us two different one-on-one dates with Becca K. and Krystal, and a ridiculously large group date with 15 of the girls. Which of the three dates was your favorite? Do you have bumper car PTSD? 

Rebecca: Becca’s date gave me major sugar daddy vibes, and not in a good way. Krystal’s date was flat-out weird — sorry, but no sane person wants to meet their boyfriend-who-is-also-dating-20-other-women’s family on the first date. The demolition derby date was so fun! I thought it was a good way for the girls to let out some suppressed anger and show off their creativity. I hate to make fun of someone’s feelings, but... bumper car trauma...

Alisa: BUMPER CAR TRAUMA. That was new and unexpected in this tired season (that’s just begun). I was surprised that the gigantic group date actually turned out pretty well. I think it was just what the girls needed to let off a little steam and have some fun after being cooped up in that mansion for however long.

Both one-on-one dates were the absolute worst though. I feel like Arie politely listened to producers’ date suggestions, then lit them on fire and proceeded down his own path of desperation and drama. Not that Becca isn’t deserving of all the good things in the world, but that date was ridiculous and creepy. And taking Krystal to meet his parents in the SECOND EPISODE? Waves of desperation are just rolling off Arie and it’s not a good look. Also, speaking of looks, did anyone else catch that Arie’s mom looks EXACTLY LIKE KRYSTAL but you know, like 40 years in the future?

Chelsea: Who knew the bumper car trauma would be the most fun of all the dates? We got to see more personality from a bunch of the girls and it was the perfect amount of cheese you’d hope from this show. Krystal’s date just stressed me out. You know meeting the family on the second episode isn’t going to lead to great things. You’re not Raven. And while I really like Becca K., that date was really just him buying her affection. You didn’t learn much about either of the girls or Arie, and we were robbed of seeing his dog. And what is even the point of visiting his home if we don’t see a dog?

This week brought the drama fast, with Bibiana confronting Krystal about stealing Arie twice when she already had a rose. Whose side are you on? Will they be the first two-on-one date? 

Rebecca: I HOPE they are the two-on-one date. That would just be solid, entertaining TV. I can’t really choose a side because I get both of their perspectives. Bibiana is right — Krystal is being selfish and making it harder for the other girls to get to know Arie when she already is guaranteed another week in the mansion; plus she had hours to spend with him one-on-one. On the other hand, Krystal is also right: she’s just playing the game. At the end of the day, it’s a competition, and she’s just being competitive. The other girls knew time-stealing would be an issue, so they shouldn’t be surprised.

Alisa: I can’t stand either of them, so I am all in favor of them going on a two-on-one and both getting sent home at the end of it. Like Rebecca said, Krystal is selfish but she’s also just playing the game and she’s certainly not the first (nor will she be the last) contestant to steal time when she already has a rose. And Bibiana acts like she’s never seen this show before. Like, girl, I get being mad at Krystal and her ridiculousness. But the fact that Bibiana yelled at Krystal in front of all the other girls is going to make it back to Arie eventually, and it’s only going to reflect badly on Bibiana. Krystal deserved pretty much everything she said, but we all know the confronter on this show is ALWAYS the one that gets burned, not the confrontee.

Chelsea: Bibiana was completely reasonable with her feelings about Krystal’s behavior and taking extra time. Somebody has to be the person that calls out others on disrespecting the unspoken bond of sisterhood and taking turns. Sure, she isn’t somebody I’m cheering for but I love that she brings the simple drama. Krystal gives me weird vibes — like I should be worried about her but that she could also snap at any moment. I want a big two-on-one for them but I could easily see one of them leaving the show earlier. Probably Bibiana since she hasn’t had time to make a bigger impression.

Sizing up who is left, who are you loving so far? Who needs to go? Are we all in awe of Jenny’s exit when she declared she was sad about leaving her new friends, but not Arie? 

Rebecca: I love Bekah, even though she’s a literal baby. She’s fun and cute and has really good energy. I feel like she’s here to make friends and not get involved in the drama, which I can always appreciate. I also really like other Becca; I picked her in my fantasy league to get the final rose. I’m sensing a trend here. Perhaps I’m a little biased, since we all share a name.

Alisa: Eh. The only girl I even remotely like is Seinne who is way too smart for this show and should be the next Bachelorette. But she’s gotten barely any screentime so I bet she goes home soon. Tia and Bekah are both energetic and fun and will probably go far, but personally they grate on my nerves. Krystal and Chelsea are clearly the blonde villains this year, and I’m over them already. Becca seems like a genuinely good person so she’ll probably come in second, get her heart broken, and go on to live her best life sans Arie.

As for Jenny, she was just one in a sea of blondes until she said “I’m not sad about you,” and now she’s my new hero.

Chelsea: I’m fans of Bekah and Becca K., even though their names confuse the heck outta me. I see them both going far, and Becca K. has winner or Bachelorette potential (I don’t wanna curse her to a life with Arie). Taxidermy girl cracks me up with her weirdness, and I want her to stick around just for the end-of-episode bumpers. I like Tia but she needs to dial up the sass if she’s gonna be our Raven this year. Krystal and Not Me are solid villains so far but we really need more time with some of these ladies. Too many of them look alike and I cannot remember their names. Like I had just learned Jenny’s name when she dropped that iconic line on her way out. Mad respect, girl.

And here are the Bachelor Fantasy League Standings, as of this week:

1. Chelsea (60 points) 
2. Rebecca (60 points)
3. Alisa (30 points) 

Read More

Blindspot 3x09 Review: "Hot Burning Flames" (Hot Mess) [Contributor: Jen]

"Hot Burning Flames"

Original Airdate: January 12, 2018

I desperately wanted to enjoy the emotional and angst-filled fallout from Kurt's: "I killed your daughter" confession, but the plot line in "Hot Burning Flames" is a disaster zone. I found myself screaming in frustration rather than crying. Instead of forging a new and interesting path for Kurt and Jane, Blindspot doubles down on the tired, old, and cliched fear of the Moonlighting Curse.

CASE OF THE WEEK

We aren't going to spend too much time on the Case of the Week because the writers recycled the storyline from another episode. And I mean that literally. A nuke gets stolen (AGAIN) and New York is under threat of annihilation (AGAIN). The woman responsible is Lana "Svetlana" Stepulov. She is the sister of Anton "The Architect of Death" Stepulov — the former number two of the Dabbur Zann. She's trying to finish what her brother started.

Sigh. Is this the third nuclear threat this season? I think you can dig a little deeper, Blindspot. Anton was an interesting villain in season two's "Droll Autumn, Unmutual Lord." He had a sick son and gave the CIA intel on an impending attack in exchange for a heart transplant. Then he double crossed them when his son died. However, Lana is just hokey.

It culminates with Kurt facing off with Lana in an airplane. She arms the nuke via a wristwatch mid-fight. It wasn't supposed to be funny, but I laughed out loud. Then, Kurt skydives after her to disarm it. Yes, you read that right. Think Point Break, but without the awesomeness of Keanu Reeves and Patrick Swayze. Kurt saves millions of lives (again), but in the cheesiest way possible so I'm only giving him partial credit.

Despite saving New York, it doesn't do a darn thing to get him out of trouble with Jane. Kurt left her daughter for dead, so from Jane's perspective, there aren't enough lives in the world for Kurt to save that will erase the blood in his ledger.

But sure, maybe couple's therapy?

TEAM BLINDSPOT

Team Blindspot is stressed about their ship imploding. It's excellent audience perspective representation. They spend 95% of the episode wondering where Kurt and Jane are, and then the other 5% freaking Kurt and Jane are breaking up. Zapata and Reade play marriage counselors. Reade is there for Kurt and Zapata is there for Jane, but really what can you say one of your best friends killed your other best friend's kid?

Reade gives a touching speech about being there for Kurt because he was there for him. But when Weller fesses up, Edgar just awkwards his way through it with a bunch of silence.

Zapata does a little better. She offers a whole bunch of "I'm sorry" to Jane and asks what her daughter's name was (Avery). It's a nice moment between the women, but it's clear the team won't be able to put Humpty Dumpty back together again any time soon.

And why? Because Kurt and Jane are idiots. Primarily Kurt, but Jane isn't too far behind.

KURT AND JANE

I consider myself a patient TV viewer, but there is only two words I came away with after watching "Hot Burning Flames."

Jamie Alexander and Sullivan Stapleton did a beautiful job acting in the emotional scenes. It's probably some of their best work, but I had difficulty getting invested in the scenes because THIS ENTIRE PLOT IS SO RIDICULOUS I CANNOT EVEN.

In order to make this fly, Kurt Weller has become the dumbest oak tree to ever live. But not in a sweet or even mildly entertaining way. In a pull-my-hair-out-bang-my-head-up-against-the-way-convinced-he's-been-body-snatched-by-aliens way.

Let's run through it shall we? Kurt explains to Jane how he killed her daughter Avery. They met, Avery tells Kurt she is Jane Doe's daughter, she produces a birth certificate and Kurt Weller — former Assistant Director of the FBI — glances at it and basically says, "Looks legit. Allow me to tell you everything I know about your mother, me, and our super secret FBI lives."

Uhhh... WHAT? At least Jane is operating with some logic (at the moment) and asks Kurt how he can be sure that this girl was really her daughter. Did he get a DNA test? HA! Silly rabbit. No, he did not! Because why would Kurt, a man who believed Jane was an entirely different person for over a year, want to confirm Avery's identity with actual SCIENCE? Honestly Kurt, your father was a freaking pedophile, murdered your childhood best friend, and lied about it for years. You had to dig up Taylor Shaw's grave to find out the truth. WHERE ARE YOUR TRUST ISSUES?

Oh... it gets worse. Kurt's reasoning is that since Avery looks and acts like Jane then she must be her kid! She has the same fire, y'all. It has to be her. MYSTERY SOLVED. Take that, Sherlock. Kurt Weller is on the case.

I'm sorry, but no amount of Sullivan Stapleton's beautiful tears could keep me from screaming at the television. I'm not seeing the visual resemblance between the actresses, but that's television for you so I'll let that one pass. But mannerisms and personality can be coached. I wonder if there's someone hell bent on destroying Kurt and Jane's marriage, who knows Jane inside and out, and could set up this entire encounter up to make Weller believe he killed Jane's daughter.

In Kurt and Jane's defense, it's not like Roman has been threatening to break them up for months on end. Oh wait a second. HE HAS.

Let's set aside identity for a moment. Let's just pretend this kid really Jane's daughter, because she probably is. If Kurt is absolutely convinced that he killed Jane's daughter, enough to lie to her about it for months on end, risk their entire marriage and do absolutely zero investigative work about it, then I would assume he actually confirmed she was, ya know... DEAD.

Nah.

Weller was headed to find Max Koehler, a German gangster Jane was seen talking to in the hotel lobby just a day prior. Jane lost her go bag and Max was giving her new passports. Avery wanted to come too, but Kurt knew meeting this man was dangerous. So he instructed Avery to stay behind. Weller is ambushed when he arrives at the dry cleaner Max operates in.

Jane asked what happened and Kurt said, "I don't know. I went in there... and it was like they were expecting me."

Is this his first day out of the academy? Who are you right now, Kurt Weller? Of course they were expecting you because ROMAN SET YOU UP.

Kurt ends up in a gun battle and he fires at someone standing behind a hanging sheet. It's Avery. She's bleeding out from the gunshot wound and unconscious, but Kurt can't stay with her because he's still under attack. Thereby, leaving the door open for her to magically be alive in 6-8 episodes.

Kurt: If I had stayed any longer I would have died too. 

Jane: Then you should have stayed.

Ouch. It's safe to say flowers, chocolates, and jewelry aren't going to fix this with Mrs. Weller. Kurt checks Avery's pulse and she has that vacant dead body stare, so that's enough for him to be convinced. Let's list a couple ways Avery could survive: 1) She was faking and Kurt can't take a pulse to save his life. 2) She was faking and took some kind of Blindspot drug to slow her heart rate. (It's important to remember this show is based on a fantasy drug.) 3) She was not faking and someone saved her via CPR because they know she's a valuable asset.

I'd be less irritated with Kurt's accept-everything-at-face-value attitude if he circled back and tried to collect the body. Or at least attempted to investigate where the body is. Or continued to follow Max's gangsters. But he did none of the above. Kurt headed to the Himalayas to find Jane.

Jane doesn't apply any of her investigative skills here though either. She simply accepts all of this as true and doesn't consider, for even a second, that Roman could be behind any of it. Blindspot does an about face on her position when it comes to Avery's adoption. For weeks, we've seen Jane grapple with the guilt that she let Shepherd take Avery away and didn't fight harder for her. However, when she hears Avery believed Jane didn't love her, this is the reaction: "I didn't give her up. Shepherd stole her from me and sent her away. I fought for her."

Umm... when? I'm not saying Jane didn't love her daughter. Of course she does. Shepherd did take the baby, but Jane didn't look for her kid. She enlisted in the army. Then, she signed up to get her memory zipped and take down the American government with the same woman who stole her child. Even after Jane remembered Avery's existence, she decided not to look for her. She literally just changed her mind last week! How does Jane equate all of this to a life spent fighting for her daughter? I'm having plot line whiplash.

The scene where Kurt explains to Avery how Jane would walk to the ends of the earth to find her if she knew about her are very touching, even if it didn't turn out to be entirely factual. Kurt has absolutely no idea what happened in Jane's past or why Avery was given up, but he knows his wife. There's really only one person qualified to explain to Avery who Jane Doe is and how much she loves her daughter: Kurt.

Kurt's reassurance to Jane that Avery knew her mother loved her in the end was equally heartbreaking because she cannot believe anything he says. Not after all the lies. And that's really what this boils down to — the lying. This is the part of "Hot Burning Flames" that delivers because this is where the real breakdown between Kurt and Jane is: trust.

Jane: If it was a mistake, then why didn't you tell me sooner? 

Kurt: Because I was trying to protect you. 

Jane: You were trying to protect yourself. 

Kurt: Why hear about a daughter that you didn't even know that you had? Only to find out that she was dead. And your own husband killed her. 

Jane: Every chance you had to tell me, you lied. 

Kurt: What would it change? 

Jane: Us. It would change us.

Kurt's actions and reasoning, no matter how misguided, are understandable. However, his choices are still wrong. Especially when Jane did remember she had a daughter. And of course Roman was going to make sure she did remember, Kurt. Do the math!

Trust is the foundation of any relationship, but particularly a marriage. And when is broken, it is very difficult to repair. What's even more maddening is Kurt and Jane have lied time and again to one another. They both know the damage it can do and yet there is a continual refusal to learn that lesson. One of them always chooses to lie again. It's the same mistake over and over again. That's not interesting character development.

Weller automatically assumes that Jane will not forgive him and he will lose her. And yes, maybe that would have been true — but we'll never know. The lies compound everything and make it ten times worse. And it was already pretty bad to start with, Weller. Jane is distraught over Kurt killing her daughter but she is equally (if not more) angry about the lying. Even if Avery really was dead, it was obviously a mistake. Kurt didn't mean to shoot her, but he never gave Jane an opportunity to come to that conclusion without further injuring her with all the deceit. This shows a lack of faith in Jane's love for him and her ability to forgive. Kurt essentially damned himself with these lies. It becomes a self-fulfilling prophecy.

Jane leaves Kurt. She takes off the ring, puts it on the counter and grabs a bag. Oh, Blindspot. You were doing so well thumbing your nose at the Moonlighting Curse, but now you've reverted to the old standby. It would be so much more interesting if Jane stayed. It would be so much more interesting watching Kurt and Jane remain married without any idea how to do that. It would be so much more interesting watching them fight in this box you put them in. It would be so much more interesting to use the last three years of relationship development and put them to a real test. One that neither of them run away from. LIKE A REAL MARRIAGE.

Instead, Blindspot falls back on "break up" to create drama. It's just so very tired. Kurt infantilizes Jane with his need to "protect" and Jane cuts and runs at the first sign of trouble. We've seen all this before. 

We don't even make it 6-8 episodes before we find out Avery is alive. The reveal is the episode conclusion. It all feels like a big waste of time. If Kurt or Jane used any of their investigative skills, basic common sense, or maintained any of their character development from the last three years we could avoid this entire break up. However, that would expose the plot holes the size of the Grand Canyon and Blindspot wants to play this ridiculousness out. Admittedly, I had a few margaritas before I watched the episode but there isn't enough booze in the world to get me to buy this nonsense.

Stray Thoughts:

• Sure, Jane. Get shot. That'll show Kurt! 
• There's nothing cooler than Patterson explaining math. Intelligent woman are entertaiment gold!
• Team Blindspot suddenly figuring out Hank Crawford's connection to all the tattoos currently solved is another plot contrivance in an episode full of them.
• Am I supposed to be pro-Crawford and anti-Roman? Because I'm totally pro-Roman right now.
• I would like a show entirely of Luke Mitchell being secret agent-y and beating people up. Do me right, 2018. Make it happen.

Read More

Scorpion 4x12 Review: "A Christmas Car-Roll" (I’m Not Married to Big Bird) [Guest Contributor: Yasmine]

"A Christmas Car-Roll"

Original Airdate: December 18, 2017

It’s Scorpion’s version of A Christmas Carol and, of course, who other than Walter O’Brien can be Scrooge in this situation? The episode is in its entirety a huge lesson and an opportunity of major growth for a Walter. This season has been an important one for Walter, who — through his new relationship with Paige — is having to learn so much, and this episode comes to give him a more advanced lesson than he’s ever had.

Without taking into consideration the others’ Christmas Eve plans, Walter agrees to a job on the day. He’s dismissive and rude to the team’s feelings and concerns, even Paige and Ralph’s, and when they all refuse to work, he lets them know that he can do it on his own anyway, and that he does not need them.

With the team leaving him alone at the garage, Walter prepares for the job. As he steps down the stairs, he trips and falls, hitting his head badly. With no one left at the garage, Walter lies unconscious and bleeding for a while before his next-door-nemesis-turned-somewhat-friendly neighbor stops by with her Christmas gift. She immediately calls the team, and one by one they come back to the garage. Fortunately for Walter, the first to arrive is Toby with his medical expertise, and he immediately gets to working on saving Walter while they wait for the ambulance. The team then all manage to return one by one, as Walter’s condition goes from bad to worse and they do their best to keep him alive.

But the episode’s story is actually in Walter’s head, as he’s stuck while he lies unconscious in the garage. Walter “wakes up” in an alternate universe where nothing is familiar, but also everything is extremely familiar. In this world, Walter never founded Scorpion and the team is not together. Not only that, none of them know each other and they all live their own seemingly happy and successful lives, without Walter being a part of it. Walter is a university professor and he is married to Flo! Yes, the chemist from next door who he can barely stand!

Stepping out of the garage, Walter starts to realize that this world that does not have Scorpion has suffered some major tragedies — tragedies that in the real-world, the team had managed to stop. And just around the corner, Walter finds another tragedy ready to happen: a horrific car crash that has a person stuck inside a car, just a short time away from being crushed by a truck. The person inside the car? It’s Walter.

With Ray suddenly showing up to help, Walter realizes that the only people who can save this man — who can save him — are the members of Scorpion, and it is up to him to find them and convince them to work together and help him. But the problem is, they are all happy and successful in this world in Walter’s head, the world where he is not a part of their lives. Or so they think. It is up to Walter to reach deep into his “training” to figure out how to talk to each of them, how to reach them on a personal level and convince them to help. What doesn’t help is the fact that Ray is invisible to everyone else, which makes Walter look like a crazy person, and the fact that the parameters of the accident keep on changing, throwing new challenges into their path as they try to figure out how to rescue the Walter stuck inside the car.

One of the running jokes in this episode is that Sly’s real-world intern, Patty, is literally everywhere. The first time we meet her, she’s a police Sergeant to Cabe’s Chief of Police. Upon first meeting Walter, who’s talking nonsense and disturbing the peace, Cabe is not a huge fan of him, willing to have his sergeant stun him. But this is Walter’s first test, and he has to convince a Cabe, who has little faith in his skill sets and talents, that there can be no other man, or better man, to help his rescue the man in the car accident.

After Cabe, Walter needs Happy, who in this world has her own podcast on cars and mechanics and it’s quite popular. And of course, her assistant is Patty. Once again, Walter is faced by a version of his friend who is successful and has no intention of helping him. His crazy ramblings and talk of a parallel world are not helping either. Walter needs to get personal with Happy. He shows her that he truly knows her, proves to her that they’re friends and shows her that he knows that what she truly wants in life is a real human connection and that she hates being alone. He reminds her that all she wants is a family, and promises her that he can introduce her to the man who is the love of her life, Toby.

Next, while Toby and Happy in the real world are drilling through his skull, Walter needs to find Sylvester in the imaginary world and get him on board as well. In this world, Sylvester is an extremely successful video game designer and kind of a douchebag as well. After having disregarded his work on the video game as childish, Walter really has to dig deep and apologize to this Sly in order to get him to join them. Walter praises Sylvester’s view on life and his refusal to let go of the wonderment of childhood as his true brilliance. Walter also offers Sylvester a fix to the glitch in his game and that gets Sly on board. And yes, his receptionist in this world is also Patty.

As Walter’s condition, both the one unconscious in the garage and the one stuck in the car accident gets worse, it’s time to call on Toby, who in this world is a successful motivational speaker who seems to have the answer to the question of finding true happiness. After getting chastised by his assistant, Patty, for interrupting Toby’s rehearsal, Walter gets a chance to talk to Toby, but what truly happens is that Toby and Happy meet for the first time. And the spark they share in the real world is just as strong in this one. Their connection is immediate and with a little push from Walter, the two, in their own Quintis way, agree to a date and Toby agrees to help.

Back at the site of the accident, Walter, Cabe, Toby, Happy and Sylvester are trying to rescue the Walter in the car, but things are not going well at all. Yes, these geniuses have the skill set to fix the situation, but their egos get in the way. They are unable to work together or to communicate, and of course, this requires the unparalleled skill set of one person: Paige Dineen.

The team shows up at the diner where they assume she works as a waitress, but instead Paige actually owns the diner. After a slight altercation with one of her waitresses, Patty, Walter finally gets a chance to talk to her. Once again, Walter sounds like a crazy person for a moment before he figures out just how to get to her. And of course, it’s through Ralph. Instead of being the highly functioning young genius he is in the real world, thanks to being a part of team Scorpion, Ralph is who we met all the way back in the Pilot. He’s sitting at the counter “making a mess.” Walter talks to Paige about Ralph, the most important thing in the world to her, and how every night she prays that he finds someone like him, who can help him and make him feel like he belongs. Like in the Pilot, Walter plays chess with Ralph and proves to Paige he knows what he is talking about, and that convinces Paige to join. (One fun detail was that the IT guy fixing the router at the diner this time around is Richard Elia.)

Back at the site of the accident, Paige takes charge, whipping the geniuses into shape so that they can rescue the Walter in the car.

When Walter finally wakes up in the hospital, he is surrounded by his team, his family — including Ray. Walter tells the team about his dream and how in that world they all had what seem like awesome lives that Walter was not a part of. He admits that even though he had said he didn’t need them, the truth is that they would do better without him. Toby, of course, is the voice of reason and helps Walter realize that they all need each other, that they all are all better together and think so highly of each other.

The episode is a lesson for Walter in humility and importance of other people. He is not alone and he could never accomplish any of this alone. But also, they are all better together, no mater what perfect world they thought they had, being a family is their greatest strength and source of biggest happiness and peace and belonging. They all make each other better and they all need each other. None of them can be the people they are today without each other. No one owes anyone anything and they all owe each other everything.

If that had been all, it would have been the perfect Christmas episode, but that’s not all. There is a small detail I’ve been avoiding and it’s time to bring it up, I suppose: the detail of Flo. In Walter’s dream, Flo was his wife. She was the one in the real world who called 911 and the reason he didn’t die. And in the end, when she shows up at the hospital to check in on him, Walter and Flo share a look. I don’t know where this is going, but it certainly looks like they’re trying to set up a possible love triangle here between Walter, Florence, and Paige. I really hope they don’t. The Waige storyline does not need a triangle to make it harder or to test it. They’ve already been through a lot and the nature of their relationship as it is is already challenging enough.

Like I said, I don’t know where this is going, but I really hope they don’t fall into the triangle trap.

Read More

Let the Awards Season Begin! Chelsea's 2018 Golden Globes Film Predictions [Contributor: Chelsea]

The 75th Golden Globe Awards kick off the awards season this Sunday, and hopefully it will make some sense of this wide-open awards season. Last year proved to be a dull awards season with La La Land sweeping the Globes and Critics Choice Awards, with little love given to eventual Oscar winner Moonlight, and fan-favorites Hidden Figures or 20th Century Women. I asked for a chaotic Oscars and was rewarded with not only one of the biggest Oscar upsets ever, but some residual chaos that has lasted for most of this season. It has been an exciting race so far, with eight films having real potential to win one of these two top spots. I cannot remember an awards race more divided than this year, and I absolutely love it. Below are my predictions for our first big awards show of the season!



Best Motion Picture — Comedy or Musical
Lady Bird
Get Out
I, Tonya
The Disaster Artist
The Greatest Showman

It’s almost cruel to have Lady Bird and Get Out competing head to head in nearly every Best Film category this year when they’re easily two of the most uniquely wonderful films of the year. Both stick with you in very different ways thanks to the captivating performances of their ensembles and the precise writing and direction of Greta Gerwig and Jordan Peele, respectively. I, Tonya could prove to be a spoiler here — if you take into account the H.F.P.A. schmoozing that’s happened this past month — but I really see it being down to the two most acclaimed films of the year and both are so deserving. My gut tells me Lady Bird has the edge here, and this could be the start of a nice awards run for Greta Gerwig and her team.

Snubs: Girls Trip; Battle of the Sexes, The Big Sick

Best Motion Picture — Drama
Call Me By Your Name
Dunkirk
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Dunkirk spent the bulk of 2017 as one of my top three favorite films before the slew of fall films were released over the last two months. Even though it’s fallen behind some of the fresher films, I do think it deserves to win here. I am not enamored with frontrunner Three Billboards and would be very disappointed if it came away with any Best Picture/Director/Screenplay awards. The Shape of Water has been the warm and heartfelt technical achievement of the year, and I expect del Toro to come away with the gold.

Snubs: Wonder Woman; Darkest Hour



Best Actress in a Motion Picture — Comedy or Musical
Saoirse Ronan, Lady Bird
Margot Robbie, I, Tonya
Judi Dench, Victoria & Abdul
Emma Stone, Battle of the Sexes
Helen Mirren, The Leisure Seeker

Battle of the Sexes is the best underrated film of 2017, and had Emma Stone not just won the Oscar last year, she’d be the clear frontrunner here with her portrayal of Billie Jean King in her match against Bobby Riggs. Because awards season is a mischievous fiend though, this is really a battle between the daughters of Lady Bird and I, Tonya. Lady Bird might be my favorite film of the year, but Robbie undeniably has the showier role as Tonya Harding and gives one of the best performances of the year. Ronan has her third nomination here, and second in the last three years, so that could give her the edge over Robbie, but do not be surprised if Robbie snags a surprise win.

Snubs: Regina Hall, Girls Trip

Best Actress in a Motion Picture — Drama
Meryl Streep, The Post
Sally Hawkins, The Shape of Water
Jessica Chastain, Molly’s Game
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Michelle Williams, All the Money in the World

Best Actress has been the fiercest of all the categories this year, with so many women in different roles making bids with their flawless work. Even though Three Billboards looks worse in my mind the more I sit with it, it’s not because of Frances McDormand. She brings so much complexity to an unlikable and flawed script, and it would be a perfect way for the H.F.P.A. to finally recognize her. Then of course you have previous Globe winners Chastain and Hawkins with their incredibly dynamic roles that could easily sway a voter their way depending on how recently they viewed the film. There is no woman more loved by the Globes than Meryl Streep though. The Post brought her 31st competitive nomination with the organization, and her Lifetime Achievement Award speech from last year is still looked at as one of the brightest moments of 2017. I could really see any of these ladies winning but I would love to see Streep up on stage again just to hear her speak.

Snubs: Gal Gadot, Wonder Woman



Best Actor in a Motion Picture — Comedy or Musical
James Franco, The Disaster Artist
Daniel Kaluuya, Get Out
Hugh Jackman, The Greatest Showman
Steve Carell, Battle of the Sexes
Ansel Elgort, Baby Driver

I’m really sad I didn’t like The Disaster Artist more because James Franco is a clear frontrunner here. His Wiseau never got past a desperate impression, and low-key Dave Franco had the better and more complete performance as Greg Sestero. My favorite here is Daniel Kaluuya and I really hope Get Out gets some love in this category if it doesn’t get Best Comedy. His performance guides us throughout the entire film, and I cannot think of a more iconic image than him being hypnotized.

Snubs: Kumail Nanjiani, The Big Sick

Best Actor in a Motion Picture — Drama
Gary Oldman, Darkest Hour
Timothée Chalamet, Call Me By Your Name
Daniel Day-Lewis, Phantom Thread
Tom Hanks, The Post
Denzel Washington, Roman J. Israel, Esq.

I did not expect to like Darkest Hour at all before I saw it. It seemed like a stuffy British film in the same vein as The King’s Speech, which is just not my jam. It turned out being so much warmer and funnier than I ever would have imagined. Gary Oldman is ridiculously great as Winston Churchill and is overdue for a win at any of these shows. His main competition comes from the charming Timothée Chalamet, who is so confident in Call Me By Your Name and gets an extra boost from being a completely different character in Lady Bird.

Snubs: Hugh Jackman, Logan; Chadwick Boseman, Marshall



Best Supporting Actress in a Motion Picture
Laurie Metcalf, Lady Bird
Allison Janney, I, Tonya
Mary J. Blige, Mudbound
Octavia Spencer, The Shape of Water
Hong Chau, Downsizing

Much like Best Actress, Supporting Actress is an embarrassment of riches with so much talent here and so much talent left off. Laurie Metcalf easily gives my favorite performance of the year as Marion McPherson in Lady Bird, the mom who leaves us wanting to call all of our moms and tell them how much we love them. Metcalf is the frontrunner for the Oscar but the Globes are always a little off-kilter, so this could easily go to the other mom character — Allison Janney — as the worst mom in I, Tonya. Mary J. Blige’s superstar status could propel her to a win, much like Lady Gaga a few years back. My heart tells me Laurie Metcalf deserves to win but awards season is the time for that to be broken.

Snubs: Tiffany Haddish, Girls Trip; Beanie Feldstein, Lady Bird

Best Supporting Actor in a Motion Picture
Armie Hammer, Call Me By Your Name
Richard Jenkins, The Shape of Water
Sam Rockwell, Three Billboards Outside Ebbing, Missouri
Willem Dafoe, The Florida Project
Christopher Plummer, All the Money in the World

I find this category to be absurdly boring this year, with Jenkins and Rockwell being additions because their movies are so popular. Willem Dafoe is the clear frontrunner for the Oscar but anybody watching last year will tell you that the Globes like to anoint shiny new people and popular celebrities. Armie Hammer fits the bill as the attractive young man who really should be in the leading category but is hanging out here instead — much like Aaron Taylor-Johnson last year. Or they could go with the story of the year that is Christopher Plummer saving All the Money in the World. I see one of those last two scenarios being more realistic than giving it to the more subdued Dafoe in The Florida Project.

Snubs: Lil Rel Howery, Get Out



Best Director, Motion Picture
Christopher Nolan, Dunkirk
Steven Spielberg, The Post
Guillermo del Toro, The Shape of Water
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Ridley Scott, All the Money in the World

I have so many issues with this category, I don’t even know where to begin. Christopher Nolan is my favorite of this bunch, but del Toro should have this in the bag. Both directors have such great technical achievements but the heart in del Toro’s film and directing is so much more obvious than in Nolan’s. Ridley Scott is only in here because his stunt recasting didn’t fail and I loathe seeing McDonagh in this category. Normally I’m salty toward Spielberg... but I’ll be nice today. This year could have had a much better category of directors and it’s easily the most disappointing category for the Globes.

Snubs: Greta Gerwig, Lady Bird; Jordan Peele, Get Out; Patty Jenkins, Wonder Woman

Best Animated Feature Film
Coco
Loving Vincent
The Breadwinner
Ferdinand
The Boss Baby

I really should abstain from discussing this category since I’ve seen some of these while watching toddlers. Coco is your frontrunner but The Breadwinner is doing something more fun than the rest. I also really have soft spots for Loving Vincent and Ferdinand. The only one I cringe at is The Boss Baby. I am still not over those annoying teasers.



Best Screenplay, Motion Picture
Lady Bird (Greta Gerwig)
The Shape of Water (Guillermo del Toro and Vanessa Taylor)
Three Billboards Outside Ebbing, Missouri (Martin McDonagh)
The Post (Liz Hannah and Josh Singer)
Molly’s Game (Aaron Sorkin)

Lady Bird is the best film of this whole list but I know how often women fail to win these categories, so I have to temper my expectations. But it deserves it. Really, anything but Three Billboards though is fine by me. The script was probably the worst element of the film and we really don’t need to reward its racism and homophobia.

Snubs: Get Out (Jordan Peele), Darkest Hour (Anthony McCarten), The Big Sick (Emily V. Gordon and Kumail Nanjiani)

Best Original Song
“Remember Me,” Coco
“This Is Me,” The Greatest Showman
“Mighty River,” Mudbound
“Home,” Ferdinand
“The Star,” The Star

I have some rationally irrational hatred for The Greatest Showman and just cannot with anything related to it. Give it to Mudbound’s “Mighty River” and let Mary J. Blige take home a well-earned award.

Snubs: “If I Dare,” Battle of the Sexes; “I Don’t Wanna Live Forever,” Fifty Shades Darker (I loathe myself for even suggesting this film get any sort of recognition but here we are. It doesn’t deserve its soundtracks.)



Best Original Score — Motion Picture
The Shape of Water
Dunkirk
The Post
Three Billboards Outside Ebbing, Missouri
Phantom Thread

Dunkirk is, hands down, the most stressful thing I watched in 2017, and the score is 100% the reason why. I know people are pulling for Phantom Thread but this would be the perfect place to honor Dunkirk. I can also see The Shape of Water cleaning up here. Its soundtrack is just gorgeous.

Best Foreign Language Film
The Square
First They Killed My Father
In the Fade
A Fantastic Woman
Loveless

I’m personally hoping for A Fantastic Woman to make itself known here but Angelina Jolie is a star, and I wouldn’t be mad to see First They Killed My Father win here. She’s so much more confident as a filmmaker with it and deserves more buzz than she’s getting.

Those are my pseudo-chaotic predictions for the Globes this year. Who will you be cheering for and who did you think deserved more love? Join me in live-tweeting this potential mess Sunday night!

Read More

The Bachelor 22x01 Roundtable: Race to the Start [Contributors: Rebecca, Alisa, and Chelsea]

Happy New Year, and welcome back to The Bachelor roundtables. Leading up to this season, we were a bit unenthusiastic about it returning. After Nick’s season, we’re a bit tired of runner-ups from years past coming back for their fifteen minutes of fame. Arie might not be the Bachelor we wanted but we will persist with our hearts open and wine glasses full.

This season, the show is going back in time with Arie as the lead. Did you watch him on Emily’s season and what is your overall impression of him as the Bachelor? Who were your top two contenders for Bachelor this year? 

Rebecca: I did watch Emily’s season, and the only things I remember about Arie were that he had pretty eyes and drove a race car. Other than that, he was pretty forgettable. All of the highlights they showed of his season in the beginning of this episode didn’t even spark my memory. As far as my impression of him as the Bachelor, I feel weird that an almost 40-year-old dude will be lusting after a group of women mostly in their early to mid-twenties. I also think Arie is a little boring and doesn’t bring anything to the table that we haven’t seen before from a middle-aged, white Bachelorette reject. Like the rest of America, I would have loved to have seen Eric or Peter as the Bachelor.

Alisa: I watched Emily’s season and it was one of the most memorable ones, in my opinion. And yet, I did not remember anything about Arie (the runner-up!) until they announced him as the new Bachelor. Then I was like: “Oh yeah, that guy.” He’s not at all intriguing. Considering the many, many amazing men that Rachel had in her season, it’s super irritating that they went back FIVE YEARS to pull this basic bachelor out of storage. Additionally, it’s waaaaaaay past time that The Bachelor have a showrunner who isn’t white. Again, Rachel’s season had SO MANY great men to choose from like Blake K., Diggy, and Will — all of whom were my personal favorites.

Chelsea: I had not watched Emily’s season originally but I tried to go back and rewatch it when ABC put up all the old seasons. I barely made it halfway through the season before giving up. I don’t have much of an opinion about Arie other than the fact that his age is concerning. Most of the girls this season are 22-27 years old and he’s almost 40. I just don’t find him entertaining or genuine in any way. Of course somebody like Peter, Will, or Kenny would have been a much better pick.

From getting down on one knee to drag cars, who had the best entrance? Who needed to get back in the limo? 

Rebecca: The armpit girl should have stayed in the limo. I can appreciate a good pun, but who wants to smell a stranger’s armpit within five seconds of meeting them? I loved Maquel and Bekah M.’s entrances because they took into account something that Arie is passionate about.

Alisa: As usual, the entrances ranged from super cheesy to bizarre and I feel bad for all these girls trying to one up each other with one awkward entrance after another. And the racing puns! I thought it would never end! Like Rebecca said, I thought the ladies who showed up in the cars were the most memorable. Wiener girl’s wiener joke flew right over Arie’s head, which I found pretty amusing. And yeah, armpit girl was either super brave or super crazy for her stunt. I haven’t decided which.

Chelsea: Most of the entrances were more awkward than memorable. I think Maquel, Bekah, and Becca stood out from the pack in good ways. Tia (Raven’s clone) made me laugh with that wiener joke, so she needs to stay and do Raven’s hilarious commentary every episode. Annalise was pretty funny and what could have been a gimmick quickly won me over.  Chelsea (who I will be referring to as Not Me) needs to go. She was way too awkward and forceful on her limo exit  and I am already not down for her.

It’s early but who are your top four girls? Who are you ready to send home? Can you tell any of the Laurens apart? 

Rebecca: It’s still early enough that a lot of girls haven’t gotten on my nerves yet, but so far I’m really enjoying Annaliese (she’s adorable and great), Maquel (entertaining, and I feel like she’s going to be the one I love to hate), Tia (if Raven likes her, I like her), and Bekah M. (unfortunately, since she’s a LITERAL child — so much so that The Bachelor doesn’t even want to publicize her age. But she’s super cute and her entrance was fun and I loved her question to Arie about what makes him excited to be alive, although his answers SUCKED). I’m already over Chelsea — she’s super annoying. She’s not even going to be a good villain. And nope, the Laurens are just one white, blonde collective mass.

Alisa: Yeah, so 13 of the 29 girls were blondes who — as far as I could tell — were the exact same person just doing a wardrobe change every few minutes. The only girls who are memorable for me so far aren’t ones I like. Bekah is clearly out past her curfew, Chelsea is such a boring, obvious villain, and Tia’s only there because she’s Raven’s friend. Those are the only ladies I remember so far, which doesn’t surprise me because I figure Arie needs to end up with a lady as un-memorable as he is.

Chelsea: I said this on Twitter but Bekah is clearly there to make friends, so I’m here for Bekah. I can see her and Tia being our lovely Greek chorus this season. Those two, Annaliese, and Becca are my frontrunners so far. Becca seems like an adult with health insurance. Krystal is probably too nice for this show, so somebody save her. Also, I couldn’t pick a single Lauren out of a lineup if I was given a cheat sheet.

Who are you cheering for this season? How many racing puns can the show get away with? Leave your comments below.

Read More

The Biggest Awards Show Snubs of 2017 [Contributor: Megan Mann]

2017 was a collective dumpster fire. I mean, honestly, it was just pure trash. However, there were some serious bright spots. Well, at least when it comes to the entertainment industry. We were graced, among major flops such as Justice League and King Arthur, with incredible films such as Lady Bird, Wonder Woman, and Dunkirk. We were blessed with some standout performances on TV and in film. And even though there was a terrible break in music (ahem, Taylor Swift because I said what I said), there were some unbelievable albums that we were graced with in 2017.

Of course, all of these things that I’m about to discuss were severely overlooked when it came to award shows. They were performances that deserved the highest accolades and were left in the dust. This upsets me greatly, let me tell you. It upsets me so much that I had to compile an entire list of all of the things I thought did not receive their proper recognition. Let’s not wait any longer!

Harry Styles by Harry Styles

Okay, this might seem biased as I am a ridiculously huge One Direction fan, but that’s honestly not the case here. If it were, I would be trying to convince you of any of them being worth their weight in boy band gold, but I’m not. I’m focusing on Harry. While I truly adore the Niall album and seriously get down to Liam’s “Strip That Down” regularly, it’s Harry’s album that truly stands out. He took the biggest departure from his boy band roots, delving further into the musical seas than any of his bandmates. His first single, “Sign of the Times,” sounds straight out of 70s era Bowie, and “Carolina” sounds reminiscent of the Rolling Stones. He essentially took a trip back in time and had us along for the ride. He reinvented who he is as an artist and for the Grammys to overlook that is just plain stupid. If Justin Timberlake didn’t have to earn his stripes before being nominated, neither does Harry. Shame on you, Grammys.

Tiffany Haddish in Girls Trip

After writing an entire article about the injustice of the Golden Globes overlooking this unbelievable performance, I’m still bitter. I just can’t get over the fact that one of the best performance in all of cinema, not just comedic film experiences, of 2017 was overlooked. And for what? Lesser performances? I don’t buy it, especially seeing as Melissa McCarthy was nominated for just as raunchy of a role in Bridesmaids. She was simultaneously abrasive and warm, inappropriate and caring, wild and loyal. In essence, she was a fully realized, well-constructed character and acted it effortlessly. And yet, no nominations. Yet I’m still holding out for that Oscar nom, friends.

Domnhall Gleeson in Goodbye Christopher Robin

Honestly, this was one of the best performances of the year. It irritates me that it’s thus far gone under the radar. Or really that this film has gone under the radar entirely. The story of A.A. Milne and what lead to the creation of Winnie the Pooh. It was a truly moving story that legitimately had me in tears for most of the film and for Domnhall to go overlooked is a travesty. He was playing a man with post WWI PTSD, which was entirely undiagnosed at the time, while trying to maintain a career, a marriage and a child. It was an absolutely stunning performance and as I left the theater saying, “He’ll definitely get nominated,” I was irritated to learn that he wasn’t. You’ll feel the same way when you watch. Trust me.

Mckenna Grace in Gifted

It bothers me to no end that children are often overlooked in their performances. Did we forget that Anna Paquin won her award for The Piano at the ripe old age of 11? Mckenna played the character of super genius Mary with a sincerity that actors twice her age aren’t capable of. She had you laughing, crying, and thinking in ways you didn’t anticipate a child could. She’s going to go on to be a truly spectacular actress and to not acknowledge her role in Gifted is an oversight. Mostly because it’s astonishing that she managed to remember all of that math when I can’t even do basic math at 28 years old. She should get a trophy just for that aspect of the role.

Greta Gerwig for Directing Lady Bird

Okay, I understand that the director’s categories are generally a boys club, but this is just ridiculous. Gerwig wrote one of late 2017’s most incredible films and also found herself behind the camera for the first time. What she gave us was not only a terrifically realistic coming of age story that we could all find ourselves in, but she also did a flawless job in its production. The scenes were seamless, the story never lacked flow, and every shot was exactly where it needed to be for its impact to land. It was a fantastic first turn behind the camera and for her to be iced out is stupid. I’m glad she got the screenwriting nomination, but she should have had this as well.

Patty Jenkins for Directing Wonder Woman

I know that generally speaking we pretend like superhero films aren’t worthy of awards other than technical or make-up, but Wonder Woman was the only good film to come out of the D.C. camp and it was done incredibly well. All of the action sequences were perfect, the Amazons weren’t there for spectacle but were rather there to prove how strong and incredible they were, and while we cared about the love interest, he wasn’t what Diana’s story hinged on. Gal Gadot was front and center and filmed beautifully. And that movie was what it was because Patty Jenkins stuck to her guns and gave us the Wonder Woman film we deserve. She should be rewarded for saving D.C. from absolute film ruin alone.

Literally Anyone on The CW

I could sit here all day talking about how The CW is constantly overlooked by the Emmys, but that would honestly take too long. I cried during the last season of The Vampire Diaries more than I would care to admit and though that’s a lot to do with the actors, it’s more to do with the writing team. Certain episodes really could have been nominated and it’s infuriating that because it’s The CW — a channel predominantly targeted at young adults — that deems it worthy of a nomination. I mean, come on. Half of Riverdale’s first season was better written than some of the nominees this year. Yeah, I said it. From acting to writing, it’s an entirely overlooked channel and that bugs me to no end.

Jeremy Allen White as Lip Gallagher on Shameless

I have said this year after year, but only nominating Emmy Rossum and William H. Macy from an entire ensemble is just pointless. Sure, they’re two main characters, but they’re two main characters on a huge ensemble show that wouldn’t be the same without the rest of the ensemble. I will always fight for Jeremy Allen White as Lip to be nominated for Emmys, Golden Globes, and SAG awards. The evolution and regression of Lip is one of the best stories on TV these days, and it’s disappointing that it’s overlooked. He will have you screaming at his screw-ups and rooting for his successes. You hate him and you love him and Shameless wouldn’t be the same or pack as much of a punch without Allen White. #LipDeservesHisAward

The Path

If you aren’t watching this Hulu original series, you’re making a huge mistake. Sure, we know Aaron Paul for his award-winning turn as Jesse Pinkman on Breaking Bad, but he really stands out on The Path has a disillusioned cult member turned future leader. The cast, also featuring Hugh Dancy and Michelle Monoghan, is absolutely fantastic. And the cult-who-doesn’t-believe-they’re-a-cult at the center of the story is fascinating; it’s a different story than anything else that’s out there and should be able to put its hat in the awards ring in the way that Netflix originals are. Also, don’t let the cult thing turn you off. It’s not “let’s drink the Kool-Aid and die” type stuff. It’s modern and really interesting!

The Tunnel

It will forever confuse me why Downton Abbey could kill the game during every year it was on, but why other shows that air on PBS were never given the same chance. I could talk about my super fan favorites Poldark and Grantchester all day, but to omit The Tunnel is just plain rude. It may have been because it was released in 2016 in the U.K., but it didn’t air until 2017 here in the States and therefore should be considered. It’s a suspenseful crime show that has two detectives from opposite ends of the criminal justice (and emotional) spectrum coming together to solve a mystery that will leave you breathless until the very end. I will champion this show from here to eternity for how exquisite it is. It’s breathtaking from start to finish and it’s can’t miss television. Go! Find it on Amazon now!

I could sit here all day and talk about other TV shows, their casts (the entire rest of the cast of How to Get Away with Murder is criminally overlooked), films (did no one else see Breathe?) music, and don’t even get me started on books because we’ll be here until 2019. But these are some of the top omissions that have really grinded my gears this year.

2017 was an amazing year for entertainment and although it’s a shame that only so many people can be nominated, it’s an even bigger shame that some of the wrong people got nominated simply because of who they are rather than the performance that they gave. (Again, I said what I said and I stand by it.)

Here’s hoping that even if 2018 is another dumpster fire year for our country — and perhaps even world as a whole — at least we’ll have some seriously quality entertainment to keep us moving forward when the days are the hardest. I personally look forward to seeing what sort of gems we’re blessed with and can’t wait to discuss it with all of you!

Read More

7 POC TV Characters Who Wowed Me in 2017 [Guest Poster: Ashvini]

This year brought forth some amazing television shows — both returning and new — that carried with them a nuance for telling the stories of POC in the mainstream like I’ve never seen before. I mostly consume comedies, but the heavy dramas and teen-targeted soaps contained beautiful writing for various wonderfully crafted characters who were so much more than just tropes and scapegoats. Instead, they were characters in their own right who had agency and were vital to the bedrocks of their respective shows.

So, my dear readers, here are seven of these characters that wowed me:

William Jackson Harper as Chidi Anagonye (The Good Place)

I love, love, love The Good Place. I honestly cannot stress this enough. And to me, Chidi Anagonye is one of the bright, shining stars that makes this show as witty and profound as it is. Played by the ever-talented William Jackson Harper, Chidi was a professor of ethics and philosophy and is now bound to the shackles of the bad place due to his extreme indecisiveness that caused the people closest to him a lot of strife. It’s a peculiar position to be in, and Harper plays on that peculiarity very well, working in a self-awareness and quirkiness that’s delightful to watch. I was initially worried that Chidi would become second to Kristen Bell’s Eleanor as the wonderful lead, but they are a duo more than anything else. And on his own, Chidi charms me to no end.

Jameela Jamil as Tahani Al-Jamil (The Good Place)

Tahani is the personification of the stereotypical pompous, pretentious, over-privileged British person. Ultimately she finds herself in the bad place for jealousy of her ultra successful, famous sister. And although Tahani was a successful philanthropist, she did her good deeds in vain. Not quite angelic material, to say the least. However, I think that Tahani is so very interesting and relatable to me — I also have a brilliant older sibling and growing up, at times I felt overshadowed. Thankfully, I’ve grown out of this phase and my older sibling is one of my closest confidants but it’s still a sore subject. Tahani’s desperation to simultaneously be better than people and be good is an entertaining paradox to watch play out, and Jamil’s inherent charisma makes Tahani feel authentic, instead of flat. I hope to see more of her story in season three.

Manny Jacinto as Jason Mendoza (The Good Place)

Jason Mendoza is a stupid, unsuspecting guy sentenced to the bad place along with Chidi, Tahani, and Eleanor. He got his one-way ticket because he tried to rob a pizza place in a portable locker and ended up dying from lack of oxygen. It’s so ridiculous that it’s somehow believable. Now, I love Jason. Despite his idiocy he’s sweet and simple; even though he’s supposed to be an incredibly dim-witted character, Jacinto channels a sincerity that’s infectious and difficult to forget. This makes Jason lovable — despite all of the reasons he shouldn’t be — and it’s fun to watch. Here’s to getting more of Jason and his amateur DJ career fleshed out on screen in 2018.

Harry Shum Jr. as Magnus Bane (Shadowhunters)

Listen, in all honesty, I only watch Shadowhunters because of Magnus Bane. Or actually, for Magnus Bane. Do I fast-forward through all of the parts of the episodes that don’t have Magnus in them? Maybe. Am I missing essential parts of the plot by doing that? Not necessarily. See to me, Shum Jr.’s Magnus Bane is the most compelling part of that show. His origin story as a warlock and as the High Warlock of Brooklyn is uncommonly engaging; his notable glamour and easy allure are weaved into his mannerisms so carefully and so delicately that it’s almost too easy to fall in love with him and the crux of who he is. Which is, a fundamentally good person who bad things have happened to; this makes him not only extremely relatable, but it gets the audience invested in not just in him but who he will become in potential later seasons. Really, he has “protagonist” written all over him. My wish is that the producers and writers let him be one in 2018. He deserves it.

Sterling K. Brown as Randall Pearson (This Is Us)

In 2017, This Is Us became an important show to me. It’s about family and history, two things that I treasure the most in this world. Furthermore, when you tie these two things together what you get are memories; and those have the power to move worlds. This beautiful, highly emotional show recognizes that power and gives each of its characters an integral part to play in the catalog of Pearson family memories — both the ones that have already been created and the ones that are in development. It’s lovely and unique to watch, and only made better by the current season’s centralization of the “Big Three” or the Pearson triplets. Kevin, Kate, and Randall all struggle together and apart and the more we see them do so, the more we understand their natures which is vital to the dynamism of the show.

In particular, I want to single out Randall, played by Sterling K. Brown. What I like about Randall is that he is persistent in everything he does: a quality that’s valued by his friends and family (though it is hard for him to take risks). Despite all of the taxing circumstances that have shaped his life, he is afraid of change that isn’t calculated and to me that’s fascinating. Randall is a character that represents sensitivity at its most gentle, so it’s no wonder that it is so difficult for him to face hardships. But time and time again, he confronts his obstacle and he persists. He gets out of his head and acts, and it’s inspiring to watch.

Hannah Simone as Cece Parekh (New Girl)

I wish that they had fleshed Cece out more in previous seasons but as it is, she remains to be the best friend of the titular “new girl” and the apple of Schmidt’s eye. Yet where another actress may have fallen into trope-dom, Hannah Simone’s unyielding presence proves to bring Cece to the forefront more often than not. And in the last season, the audience got to see that part of the character shine through her plots with Schmidt and their marriage, and her lovely friendships with Winston and Jess. I think Hannah Simone is a force of nature, and I think that that force is hard to contain since it bleeds through so easily on screen and makes Cece a powerhouse when she’s the focus of a story. I’m only praying that Cece is the focus of more than one story in the new and last season, in 2018. *prays really hard*

Lamorne Morris as Winston Bishop (New Girl)

No doubt, Winston is the most consistently hilarious character on New Girl. Much like a modern day mix of Chandler Bing and Joey Tribbiani, Winston Bishop in the past has operated as a scapegoat and distraction but Morris’s cleverness and highly pleasant nature makes Winston a foundation to the show rather than a puppet. In the last season, he’s more than just a punchline — he’s the one handing them out, and seeing that shift was vital to see in a genre that all too often uses Black men as comic relief. I humbly think that after the show ends, Winston will be one of the most remembered characters, with Ferguson, his pranks, and puzzling to be imprinted on the minds of millennials everywhere. That’s a game-changing reality.

Please remember that these are characters from television shows that I consume, so it’s not at all representative of the wide array of POC characters that graced our screens this year. But they are seven examples of the ever-changing landscape of minority representation in western media, and positive ones at that.

So, I’m raising a glass of pink bubbly with the optimism that 2018 will give us more diverse, reflective television characters and stories that will continue to empower people worldwide and improve our perspectives and understandings of humanity.

Onward and upward.

Read More