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Monday, February 9, 2015

Character Appreciation Post: Cisco Ramon ("The Flash")


On every series that touts itself as a drama, you have a character who is the comedic relief. I don't like really dark and heavy dramas. I know it probably makes me a horrible person that shows such as Homeland and Mad Men prove of little to no interest to me, but it's true. I like my dramas with a bit of levity. I enjoy characters like Raymond Reddington on The Blacklist who can monologue and make me snicker. I love Felicity's Freudian slips on Arrow and her rambling. And when things get a bit too heavy on Sleepy Hollow, I'm glad that Ichabod can make a joke about modern society or inventions in order to get me to crack a smile. I tweeted this recently, but I love Arrow. I really do. I love how complex it is and I love how deep the characterization is. I love how twisted the stories can get, even when they get twisted so absurdly that I want an out. But sometimes... sometimes Arrow is just too (literally and metaphorically) dark. Sometimes I just want to watch a drama that's fun, lighter, and just as deep.

That's when I watch The Flash.

The new CW hit series is such a refreshing change of pace from its predecessor, Arrow. It's literally lighter and brighter, with vibrant and fun characters who make jokes almost at super speed. That's not to say that The Flash is fluff. Quite the opposite, actually, this superhero series is chock full of real questions -- of heroism and morality and purpose and love and loss and what it means to sacrifice. Barry Allen is a different kind of hero than Oliver Queen is and that's wonderful. We don't need (or I don't, at least) two series on television with brooding, moping heroes who constantly have the weight of the world on their shoulders. And when I tried to think about what makes The Flash different from Arrow, at its core, my thought process was this: The Flash is a show that is always focused on the good in humanity that is warped into evil; Arrow is all about the evil in humanity that needs to be stopped by the good. The Flash is an optimist's show; Arrow a pessimist's.

Again: that's not to say that Arrow is completely and totally dark or that The Flash is seeped in comedy and nothing else. The truth is undeniable, though: The Flash is just a FUN series, even in its most dramatic moments. And part of the reason the show is so fun is because it has genuinely good, engaging, layered characters who also happen to provide comic relief. Character, as you might have assumed already, like Cisco Ramon.

Sunday, February 8, 2015

Suits 4x12 "Respect" (Find Out What It Means)


"Respect"
Original Airdate: February 4, 2015

Isn't it strange how even the people we utterly detest, we still want to impress? It's in our DNA, I'm convinced, to want to be loved and respected by the people in our lives... even the ones who don't respect us. The biggest theme in this week's episode of Suits is the titular idea of respect -- what does the word mean in regards to our relationships? Can we earn respect, even when it's been lost? The thing about Suits is that the scale of right and wrong constantly fluctuates in regards to the characters. Moral gray areas are frequented more than anything which makes it difficult to define, concretely, any terminology.

But every storyline in the appropriately titled episode of "Respect" involves that term. Harvey is vulnerable and honest in the episode, something that we rarely see from him as he deals with a case involving his former ethics professor Henry Gerard. Gerard was the one man in law school that Harvey thought was above it all -- above doing everything to win; above bending the rules and bathing in the morally ambiguous; above lying to get something that he wanted. Gerard and Harvey butt heads throughout his academic career because of it -- because Harvey wanted to do whatever it took to win. That's what he thought being a good lawyer meant, to him, at least: doing whatever possible to win the case. (Harvey has always been about winning no matter the cost and has often done some questionable things to do so.) But when Gerard lies and places Harvey in the position to win if and only if he commits perjury for his former professor... we see Harvey's world begin to crumble a bit. The man who he always respected turned out to be nothing more than a man after all.

Elsewhere in the episode, Louis tries to earn the respect of the rest of the named partners by taking one of Harvey's clients. The result is disastrous at first and later throughout the episode is even more so as Louis continues his defiant and angry victimizing. Don't worry, folks, because as always, Donna is there to set people straight. But let's talk more about this episode and the concept of respect, shall we?

Saturday, February 7, 2015

Parks and Recreation 7x07 ("Donna and Joe") [Contributor: Jaime]


"Donna and Joe"
Original Airdate: February 3, 2015

As the midpoint of the thirteen-episode season, Parks only aired one episode this week.  But, like the rest of the season, it was such a stellar episode, one that brilliantly managed to weave its three plots together while also possibly being one of the funniest episodes ever.  There’s a lot going on in “Donna and Joe,” so let’s get to it!

As you may have guessed from the episode title, Donna and Joe’s wedding is approaching, so the episode takes place over two days, featuring the rehearsal dinner and then the wedding the following day.  After the rehearsal, Donna gives her maid of honor, April, one job: keep her family from fighting.  Things get explosive when the Meagles get together, and they’ll ruin her wedding over the tiniest grievance.  So at the rehearsal dinner, April enlists Andy’s help to keep the factions of the family under control.  The ones who won’t listen?  They’re dragged off to the kitchen, where April yells at them to get it together.  And yes, this includes Ginuwine, who doesn’t seem to understand that this is Donna’s night.  Shame on you, Ginuwine.

Given the structure of the episode, and the fact that the characters are in the same place for most of the episode, there’s a lot more overlap than we usually see on this show.  It’s subtle, but it’s brilliantly done; somehow, the writers managed to strike a great balance between each storyline independently and yet letting all of the characters mingle and influence each other.  So it’s a little counterintuitive in this case to recap the episode plot-by-plot.  Looking at my notes, the storyline of Donna’s wedding had the least amount of development and events; rather than being a huge focal point, it’s moreso the setting around which everything else occurs.  It’s good that way, though – I can only imagine the sorts of drama that could occur at Donna Meagle’s wedding, so keeping it relatively low-key helps it remain a sweet, evocative event, rather than just a plot point.

And actually, giving Donna’s wedding the level of focus that it received helps create a really lovely memory of Donna’s character.  I mean, we still have six episodes to go, it’s not like this is the last we’re going to see Donna, but like Tom’s ongoing storyline with Lucy, it’s just really, really great to see these two characters, who normally are the sources of so much outrageous comedy, have these relatively calm, mature relationships.  It only goes to prove that the main fuel of the show isn’t the comedy itself, but the emotional attachments we’ve formed with these characters, and that they’ve formed with each other.

So given how these storylines are all sort of moving at the same pace in this episode, and how they come together during the rehearsal dinner and the wedding, I’ll jump to discussing Ben and Leslie and catch them up to the rehearsal dinner.  They’re planning on staying at a hotel after the dinner, their first night away since having the triplets, and while they pack, their nanny Roz (played by the amazing Rachel Dratch, who I can’t believe is only appearing on the show now) is slowly being driven insane by the triplets.

They get a call from Jen Barkley, everyone’s favorite campaign consultant, but given that they’re in the middle of packing, they elect to ignore it.  After all, Leslie says, she probably wants to approach Leslie with some opportunity to run for office, and Leslie just isn’t interested.

And then Jen shows up at their house and reveals why she’s been trying to contact them: because she wants Ben to run for a seat in the House of Representatives.  Their current representative is doing a pretty terrible job, and as the person running the largest city in their district, Jen thinks he’d have a great chance at winning the election.

I think it’s clear from my recaps that I’m loving season seven, but I think this opportunity for Ben might be my favorite thing to come out of the season.  The show kind of came under some flak in the last year or two because of how often Ben was switching jobs.  It wasn’t that they didn’t know what to do with him, but that Ben really didn’t know what he wanted after he stopped working as a campaign manager.  It was really telling that he connected so much to that job, which was the most direct involvement he’d had in politics since he was the mayor of his hometown, something like twenty years before.  But instead of continuing his career as a campaign manager, he chose to come back to Pawnee and marry Leslie – but the thing is, it’s not an either/or situation.  And I think both Ben and Leslie kind of thought that it was for a while – either they get a family or they become involved in politics.  Moreover, neither of them ever considered Ben running for office, but what’s so great about Leslie, as we see in this episode, is that just because she never imagined him running doesn’t mean she doesn’t want him to run.  In fact, she’s all for Ben running – immediately, she thinks it’d be a great idea.  And actually, they’re both immediately ready to run a campaign: as soon as they get the call from Jen and Leslie mentions how chaotic a campaign would be on top of their existing responsibilities, Ben doesn’t care.  He’s all for her running, without even know what she would be running for, if it’s what she wants to do.  And Leslie?  Please.  She’s so turned on by him acting congressional.  She’s all for it.  That’s support.  That’s love.  That’s what makes them one of the best couples on TV – because no matter what, they’re there for each other, and they’re pushing each other to be better, even if it doesn’t seem like things can get any better.

But while Leslie is all for Ben running for Congress, she knows she can’t push her opinion; this has to be something he decides on his own.  So she comes up with an idea to help him figure out what he wants to do: at the rehearsal dinner, he should act like he’s running.  Be friendly, be personable, be charismatic – just like a political candidate would be.  And then, the next day at the wedding, he should act like he’s not running, and then decide which feeling he likes better.


Turns out, Ben is pretty great at acting like a political candidate.  He’s crushing it – he has a conversation with everyone he meets, and they’re all laughing at his jokes.  What’s his secret?  He’s drunk.  That’s right, kids, Drunk Ben is back!  But this time he’s not talking about how his teeth are blueberries.  This time, he’s here to celebrate love.  So he makes a speech about Donna and Joe that wavers between being sweet, touching, and hilarious, and then once he wraps it up (“I’m Ben Wyatt and I approve this message!”), he begins dancing.

April’s eyeing him the whole time to make sure he doesn’t veer out of control, and when he starts dancing, she checks if Donna wants her to shut it down.  After all, she takes her job very seriously.

Ben’s speech is one of the moments where all the storylines necessarily come together, given the shared space and occasion of all the characters.  So while that moment is all about Ben, and how his storyline has gotten him to that point, there’s another layer added by watching Donna and April observe him.  Personally, I would have loved to see April drag him off to the kitchen but what do I know.

The third storyline in “Donna and Joe” is Tom’s relationship with Lucy.  Ron, inspired by the romantic atmosphere leading up to the wedding, is in a mood to celebrate romantic love, so he uncharacteristically tells Tom how well he thinks he and Lucy are suited for each other.  Tom agrees, saying that everything’s going well and that he’s incredibly happy with her.  Awwww, the mogul’s in love!

Basically, Tom and Lucy couldn’t be happier…until Ron then shares with Lucy how happy he is that the two are doing so well.  And happens to mention what Tom said about how he’d marry her tomorrow.  Out of context, it…doesn’t sound too great, and Lucy is clearly freaked out about it.  When Tom finds out, he demands that Ron fix the situation, and explain himself to Lucy – and until he does, the waiters aren’t allowed to serve him.

So, hungry and desperate for mini cheeseburgers, Ron goes back to Lucy and explains that Tom only said he’d marry her tomorrow as context to explain how much he likes her, not that that’s literally something he wants.  But then he says that Tom has imagined marrying her and living on an island with their kids.  It’s not really better, so much as…well, worse.  It’s just worse, plain and simple.

Now, Ron Swanson clearly isn’t the kind of person who gets involved in the romantic entanglements of others.  But the justification for it, that Donna and Joe’s wedding is inspiring him to root for romantic love, was sweet, and shows how having his own family has changed him.  Sure, he’s barely changed in the last three years (or, you know, at all), but if you were to define the arc he’s had throughout the course of the show, it would be his willingness to let people into his life, and his acceptance of what they mean to him.  But even in the first season, when he was at his most stubborn and standoffish, he always valued romantic love.  So now, when he’s actually accepted that Tom is his friend and that consequently he wants good things for his friend, of course he’s going to get involved with his love life.  For as unwilling as Ron is to get involved in other people’s affairs, I think he’s even more unwilling to inadvertently hurt one of his friends.

The next day, Ben and Leslie wake up super hungover, and, even worse, to the news that Jen has announced Ben’s running for Congress.  He’s furious, but quickly realizes that he called Jen the night before and told her he would run.  I mean, hey, we’ve all done things we regret when we’re drunk.  I’ve thrown up in like two different garbage cans.  I completely understand what he’s going through.  Waking up next to your garbage can and the news that you’re running for Congress?  Hoo.  Been there, buddy.

Leslie also called 867-5309 a hundred times, but, like, that’s a separate thing.

They meet with Jen at JJ’s Diner (which seems to be in the same location it’s always been?  I’m still not sure how it tied into their plan to set up Gryzzl’s headquarters in April and Andy’s neighborhood), and Ben angrily tells her that she should have checked with him before announcing his run.  Except, it turns out that he didn’t just call her once – he called her four separate times, and even talked about his plans for his platforms.  The main issues he wants to tackle?  Education, fiscal reform, and 867-5309.  Okay, that last one was Leslie’s contribution.

Before the wedding, Ron is living his dream – he gets to be in a beautifully constructed church, and even finds someone from the church to explain to him where the limestone from the church’s façade came from.  It’s a big moment for Ron.  But then he sees Tom and Lucy awkwardly interacting with each other, and he realizes he needs to intervene and clear up this mess.  So, reluctantly, he leaves his conversation about limestone behind and tells Tom and Lucy, very simply, that there’s no shame in being honest with the people you care about, and that they need to talk about the thing that they’re not talking about.  Then, after being denied food and limestone, he heads off to embrace this public celebration of romantic love.

Finally, Tom and Lucy are honest with each other.  He explains that while he’s not trying to rush anything, and that he understands she just got out of a serious relationship, he’s all in when it comes to her.  She smiles and rests her head on his shoulder, clearly agreeing with him.  Awwwwww.

After the wedding, Leslie and Ben have to head out to their car to search for their kids’ stuffed zebras.  Apparently Roz called them to let them know that the triplets were having a zebra-related meltdown.  While they’re outside, reporters show up, asking if it’s true that Ben’s running for Congress.  When he doesn’t answer, they push him more, asking what makes him qualified, since the only other time he held political office, he was eighteen.  Ben tries to get rid of them by pointing out that he’s in the middle of a crisis, but then quickly spins it – he’s always solving crises, he says, in his role as city manager, and all of the positive changes he’s made within Pawnee prove his capability.  And then he officially announces that he’s running for Congress.  It’s probably, like, one of the top 5 greatest things that has ever happened to Leslie.


During the reception, Donna thanks April for all her hard work, and while she’s grateful that April managed to keep the Meagles under control, she wishes there had been just a little drama, just to keep things exciting.  So April and Andy get LeVondrious, Donna’s oft-mentioned estranged brother, to show up.  It turns out the source of their rift is over the ownership of a microwave – which LeVondrious brought with him.  Which he promptly picks up and smashes on the ground.

But it all has a happy ending, because Donna is thrilled that her wedding had some drama after all.  Because, come on.  Donna Meagle cannot have a perfect, beautiful, problem-free wedding.  That would be the most boring thing ever.

Some other great moments throughout the episode – and this is a condensed list, because holy crap, was this episode full of great moments and lines:
  • “Please avoid my trigger words: flowers, schedule, vows, bride, groom, food, love, happy, church, event, wedding, and Craig”.
  • “Legally, no more than three Meagles are allowed on an international flight together.  But they give great gifts.  Gotta get that flatware.”
  • We already learned that one of the triplets’ names is Sonia.  But as my lovely friend Kelly pointed out, if you watch the end credits, they list the names of the kids: Sonia, Stephen, and Wesley.  They’re probably there in every episode featuring the triplets, and mostly I’m just ashamed it took me this long to figure it out.  But the mystery is finally solved!
  • I briefly mentioned my shock that it took this long for Rachel Dratch to appear on the show, but I loved how she was used.  I love this ongoing thing that the triplets are terrors, because of course any child of Leslie Knope would have limitless energy.
  • “I love you more than Ben.  I do.  If Ben left me, I would be sad, but I would get through it.  But if you left me, I would never recover.”
  • “CONTROL YOURSELVES, GERGICHES.”
  • Jen’s reaction to the triplets, and her smugness over the fact that she doesn’t have children, was one of my favorite bits throughout the episode.  “Your life is gross.  My life is amazing.”
  • “The words that they say sound passive but seem aggressive.  I feel like there should be a term for that, like…nicey-meany.”
  • “I would be a congressman.  Or woman, equal rights, but that doesn’t apply.”  Ugh, could Ben Wyatt be any more perfect for Leslie?
  • “Ben should be the royal archduke sultan emperor of all inhabitable lands on Earth.”
  • Drunk Ben: “Condifent.  Con – I feel condifent.”
  • All of Ben’s speech was perfection, but my favorite part was, “What?  It’s you!  I love you!  You’re my sexy roommate!  We love each other!”  “WOO!  He’s talking about me!”  “Yes I am, baby doll!”  Yeah, maybe I swooned when Drunk Ben called Drunk Leslie baby doll.  You don’t know me.
  • I didn’t notice it the first time I watched the episode, but when Ben checks his phone and sees that Jen announced his campaign, one of the other headlines reads, “Bellchick on ‘RobotGate’: ‘None of our players are robots.’”  Amazing.
  • It’s small, but when Leslie and Ben wake up in the hotel, they’re matching “Willy Wonka and the Policy Factory” shirts.  THESE NERDS.
  • “Knope, you’re a softie, but on the inside, you’re a straight-up boss.  April, you’re the exact opposite.  Y’all inspire me and I love you.”
  • Everything Donna said to Michelle, her childhood friend who’s one of her bridesmaids, was gold.  It was a hilarious, subtle way to point out that we don’t see any of these characters’ friends besides each other, so of course Donna is going to give April and Leslie a heartfelt speech that expresses her appreciation of them…and then not do the same for her other bridesmaid.  And yes, today absolutely is a test for Michelle.
  • “The doctors once told you you were never gonna walk again, so this should be easy.”
  • “Oh my god babe, that was so hot.”  There are fewer things in the world I love more than the recurring joke of Leslie and Ben getting turned on by each other’s political aspirations.
  • The BEAUTIFUL moment when April questioned why Terry’s place card at the wedding said Garry, and everyone’s subsequent decision to call him Garry from now on – something that Donna did on purpose.  Garry’s talking head afterwards absolutely slayed me.  “After thirty years, my coworkers are finally going to call me by my real name.  I’m blessed.”
  • Everyone needs to watch the reception scenes again and watch Ginuwine’s reactions – first when April yells at him, then when he thinks Craig is introducing him to sing.  Can we go back in time and make Ginuwine a regular on the show?
  • Questlove as LeVondrious.  I was done.
What did you all think of “Donna and Joe”?  Will you be voting for Ben Wyatt for Congress?  Let me know in the comments!  Oh, but please try to avoid any of my trigger words – they’re “show,” “Leslie,” “Parks and Recreation,” “blog,” “writing,” and “Ron”.  Thanks so much.

Thursday, February 5, 2015

The Mindy Project Post-3x14 Roundtable Discussion [Contributors: Jenn, Ann, Jaime]


Post-"No More Mr. Noishe Guy" Roundtable Discussion
Original Episode Airdate: February 3, 2015

Sometimes an episode of television airs and you just really need to discuss it with multiple people. That's what happened when The Mindy Project aired its most recent episode which was a seemingly innocuous farewell to Peter Prentice... until the final thirty seconds of the episode. SPOILER: Dr. Mindy Lahiri is pregnant, as confirmed by Peter. And while a vast majority of viewers celebrated the idea of a Danny/Mindy baby, Ann (your regular reviewer of all things The Mindy Project), Jaime, and I were not as enthralled with the idea of a pregnant Mindy on the series. So its with hesitancy and with skepticism that the three of us entered into our discussion today. We talk about the series as a whole and what it does right, that not-so-shocking game-changing ending, and what this means for the future of The Mindy Project as a series.

Wednesday, February 4, 2015

Arrow 3x12 "Uprising" (Having Changed)


"Uprising"
Original Airdate: February 4, 2015

If you're familiar with me at all or have been around this site for a while, you know that I really admire Dan Harmon's story circle. Yes, Community has dipped in quality in recent years and has consequently fallen out of my good and gentle graces (and Harmon with it as a result), but his circle is actually something of genius and extremely applicable. For those of you who have no idea what I'm talking about, here it is:


Okay, so that STILL might not make any sense to you, but let me explain it a little bit further. Dan Harmon's story circle is a way to structure a narrative -- it's what he uses in his episodes and his seasons in order to arc and in order to ground and in order to develop characters with trajectory and purpose. Each character embarks on a hero's journey (now you've got songs from Galavant stuck in your head, don't you?) in order to get what they want and accomplish a goal. The first part of the circle focuses on the character being comfortable and then the circle gradually progresses to that character leaving their zone of comfort, entering unfamiliar situations, adapting, and then getting what they want. But you'll notice that from #6 onward in the circle, the hero pays a heavy price for getting what they want and, eventually, they return to their initial situation. But something is different. Importantly, THEY are different. They've changed because they've paid a heavy price for something they desperately wanted and cannot be in the same zone of comfort that they were in step #1. This is a really brilliant idea -- this story circle -- because it reminds us that, much like circles, stories don't have definitive beginnings and endings. People cycle through stories and through events and they continue to grow and change and develop along the way. Once you've changed, you continue to change.

I bring this all up because "Uprising" falls on this story circle for Oliver Queen. Can you guess where? I'll pause and let you answer to yourselves. Ready? At this point in his arc, Oliver's journey back to Starling City falls between #7 and #8 on the circle, as does the episode. He's battled Ra's. He's paid a heavy price for it. And now? Now he's returned to the home he left weeks ago and he's changed -- he has physically and emotionally and mentally changed. But something happened that Oliver didn't anticipate: his city changed, too.

This happens a lot in life, you know. We go away on vacation for a week only to return and find that our co-workers have new stories and inside jokes that we weren't a part of. We miss one night out with friends and suddenly everyone seems to have changed. We leave summer camp and return only to find our camp friends have new haircuts and new boyfriends and new lives that we're not a part of. We know it's irrational and we know it's impossible, but there are parts of us that really hope things just stay the same in our absence -- that no one changes. That we can return to the familiar once more: a quaint little storybook landscape, frozen in time.

That's not the case though. The law of change is pretty simple: because we change, others must; because other people change, we have to, as well. And in this constant cycle of growing and evolving and maturing, we often forget that people don't halt while we are away. When Oliver returns to Starling City, it's a bit of a shock to him because the way that he left his city and the people within it? It's not the same. You cannot just pause the lives of others and then expect to pick up exactly where you've left off. This whole idea of changing -- of becoming someone else (or something else... sorry, it was just begging to be done) -- is a thread that runs all the way through "Uprising," which is an episode in which we learn more about how Malcolm Merlyn became the soulless and manipulative man he is in the present. We also get to see a lot of conflict (I'm a fan of this) between the new Team Arrow and between Oliver and Felicity and also between Oliver and himself.

And with a title like "Uprising," the question we're left with is this: what price will the heroes and villains pay for their decisions? And will the ends ever justify the means?

Supernatural 10x12 "About A Boy" [Contributor: Deena Edwards]


"About A Boy"
Original Airdate: February 3, 2015

Hansel and Gretel. Cake. Witches. Taylor Swift. This episode had it all.

A lot of people know I have a soft spot for episodes that have an “older season feel” to them. As much as I love most of the major story arcs that have gone down, it’s the back to basics, monster of the week episodes that truly bring to light what’s great about this show, that show its strengths, and this episode did exactly that.

Dean’s obsessed more than ever with the Mark, his “get rest” motto from last week thrown straight out the window as he drowns himself in the pages of lore books, reluctant to stop, even when Sam finds a case for them and suggests they go check it out.   As important as it is for them to find a solution to getting rid of of the Mark, life still goes on, and they still have a job to do. With a little convincing, Dean finally agrees.

The witness they speak to claims that aliens are to blame for the the disappearance of a man outside of a bar that left behind a brief flash of light, his clothes, and the smell of flowers. While Sam scopes out the victim’s house, Dean makes himself comfortable at the local bar, chatting it up with a woman named Tina, bonding and drinking over their absent fathers and crappy childhoods. When she leaves, he spots a man following her out, but when Dean goes after them, it’s too late. There’s a flash of bright light, and her clothes lie on a pile in the ground, and soon after, so does Dean’s.

When he comes to, he’s locked away in what seems to be a dark room of some kind, possibly a basement, and a dusty old mirror reveals a much, much younger version of himself. He’s suddenly a teenager again, and a moment later, he realizes he’s not alone. On the other side of the wall is Tina and the first victim, J.P., in the same predicament as he is. Once J.P. is dragged out by the strange man that put them all in there, a platter of a slice of cake is pushed underneath each of their doors, and Dean being Dean, immediately starts digging in, stopping only when Tina suggests it’s probably poisoned.   He manages to get the window in his side of the room unlocked, and escapes out of it while Tina distracts the man holding them captive, with a silent promise he will come back and save her.

Now aware of Dean’s disappearance, Sam investigates out by the dumpsters at the bar, finding Dean’s clothes and shoes strewn about as well as the strange scent of flowers left behind on his pistol. With little else to go on, he returns to the motel. His research mode is interrupted by a knock at the door, surprised and very confused to find his now much younger brother waiting on the other side of it. On the drive back to the house where Tina is still being kept, Sam tells them that a witch is most likely behind this. due to the use of a certain flower used in occult matters, and all they have to do is reverse the spell and Dean will go back to normal. Dean is hesitant, though, revealing the Mark is gone, and that despite it all, it could be better off for him to stay the way he is.

Back at the house, they find out that the man there is not only working for a witch, but he is also Hansel, as in Hansel from Hansel and Gretel. The witch has been forcing both of them to kill people for centuries, killing Gretel when they tried to escape. He agrees to help kill the witch, claiming that afterward he will allow Dean to squeeze the hex bag that he wears around his neck that will reverse the spell. However, as they find out when they return upstairs and meet the witch, it’s only a ruse. He willingly worked for the witch all along. She explains that she takes adults that no one will miss and turns them young so that she can eat them. She also mentions that she’s only recently come to the States, a business trip, so to speak, after the Grand Coven asked her to take care of a certain redhead by the name of Rowena who’s been causing trouble. Before the conversation can go any further, Sam manages to get out the pocket knife from his back pocket and attack Hansel. After a struggle, Dean ends up with the hex bag, and after one good squeeze, he’s back to his adult self. He plunges a kitchen knife into Hansel’s chest just before shoving the bag and the witch into the flames of the furnace.

With the hex bag gone, Tina can no longer return to her former self, but rather than seeing it as a bad thing, she looks at it as a fresh start, a second chance--- what Sam and Dean both know could have been Dean’s second chance. They consider this a win, though, in the end. Even though the Mark is back, Dean was able to kill Hansel and the witch without “Hulking out.” They both agree they’re going to figure this out, like they always do, and climb into the Impala, riding off to the sound of Taylor Swift’s “Shake It Off,” which might possibly be the greatest ending to any episode of Supernatural ever.

Memorable Moments/Quotes:
  • “You know, you also believed in the Easter Bunny ‘til you were twelve.”  “No I didn’t. Look, I was a eleven.”   “And a half.”  I really just love references to their childhood. Although we do get some peeks into their past here and there through flashbacks, it’s always great to hear more about the little things they experienced in their own words.
  • “You smelled flowers? What kind of flowers?”  “Flowery-flowers.” 
  • "We all know what's going on here, okay." "Don't say it." "ALIENS." "He said it." “Yeah he did.”
  • I couldn’t get over how perfect the casting is for younger Dean. The mannerisms, the facial expression, just everything about him was completely spot on with the way we all see Dean.
  • “Stay calm? I’m a tween, and you look like some One Direction reject.” 
  • “Before, I thought you were just another drunk.” “I prefer functional alcoholic.”
  • Sam’s face when teenage Dean just waltzes into the motel and starts digging through his weapon bag was PRICELESS.
  • “Some Scarface lookin’s dude, bright light, next thing I know, I wake up lookin’ like Beiber.”
  • “Hey, we got any grenades?” DEAN, NO.
  • “There was a Taylor Swift song on the bus that I hopped on to the motel, and uh… I liked it, Sam. I liked it a lot.” 
  • “I mean, you can drink again in, what, like seven years?” “That’s not funny.” “That’s kind of funny.”
  • Okay but I need to mention the Taylor Swift thing again. Let it all be known that Dean Winchester now listens to Taylor Swift.

New Girl 4x14 "The Swuit" (Hanging in the Balance)


"The Swuit"
Original Airdate: February 3, 2015

I've likely said this before -- since I've been around for three years, actually, it's more probable that I've definitely said this before -- but I really like being in charge of group projects. In fact, I will almost always volunteer to take the lead on them. I'm a type-A perfectionist who's a tad controlling when she gets a bit of power. (At least I can admit that, right?) The reason that I like being in charge is because I like when things are done my way, on my timeline, with my approval. The weird thing is that I'm actually pretty good at group projects and working with other people... until they don't pull their weight. You see, partnerships and group projects only work if there's a balance: you cannot have an entire group of perfectionists working on a project because nothing will ever get done (because it'll never be done "right"). Conversely, you can't have an entire group of slackers working on a project either (because it'll never be done, period). Life requires balance; partnerships require balance. It's this idea that Nick and Schmidt learn firsthand in this week's New Girl episode titled "Swuit."

The idea of balance is an idea that is inherently wrapped up in two truths: trust and compromise. Nick and Schmidt aren't the only two characters this week who learn about those truths, though. Our B-story focuses on Cece trying to make enough money at the bar to pay for college, but coming up short. Winston and Coach end up footing her bill and in the process, they learn more about what it means to make an investment in a person. (I'll talk about that idea later because it's a pretty good one.) Meanwhile, Jess tries to get Nick and Schmidt to compromise in their business partnership, but is finding that both men are so stubborn because neither wants to be bossed around.

(I feel ya. boys. I feel ya.)