Dickinson Behind-the-Scenes: An Interview With the Artisans

Meet the artists who bring this Apple TV+ series to life!

Getting Rid of the Stigma: Mental Illness in Young Adult Fiction by Megan Mann

In this piece, Megan brilliantly discusses the stigma of mental illness in literature and how some young adult novels are helping to change the landscape for this discussion.

Jenn's Pick: Top 15 Jeff/Annie Moments

In 2013, Jenn put together a list of the 15 best Jeff/Annie moments. Revisit and discover those memories!

Thursday, July 22, 2021

The Flash 7x17 Review: "Heart of the Matter, Part 1" (Hey Kids) [Contributor: Deborah MacArthur]

“Heart of the Matter, Part 1”
Original Airdate: July 13, 2021

Previously on The Flash: Nora and her heretofore unknown brother arrived from the future, just in time to stop Barry on his downward “Iris is in a temporal crisis, Godspeed might have messed up the future, there’s a chance I’ll never be a father” spiral. So now Team Flash has two bonus speedsters to help out with the Godspeed war going on in Central City, Barry probably feels a little bit better about the future of his children, and we get to know newcomer Bart. 

All in all, it promises an interesting start to the two-part season finale that I had no idea was the first part of a two-part season finale, since I’m used to the 20+ episode slog this show usually foists upon me. Also, “Heart of the Matter, Part 1” is the 150th episode of the show, so it’s extra special!


The episode starts in 2049, with Nora as XS lightning-lassoing Original Flavor Godspeed. He’s not terribly fazed by it, but then Bart — superhero name Impulse — phases through him (ha!) and it knocks him out. Even though her enemy is primed for arrest, Nora gets distracted by yelling at her brother for the risky phasing-through-a-speedster move and Godspeed escapes. He heads to the Flash museum, then through time to 2021.

Which brings us to the present, where Nora and Bart are getting to know the past versions of the people they grew up knowing. I get that weird stuff is a given in their lives, but they’re remarkably blasé about this whole time travel thing. Considering that they have a family rule about protecting the timeline at all costs, I guess they travel through time a lot? Also, I was briefly proud of Barry apparently growing enough as a person to set such a strict non-interference rule for his time traveling brood, but that pride evaporated when he immediately decided Bart and Nora could ignore the rule and help out with the Godspeeds. It’s always special circumstances with you, huh, Barry?

Chester has developed a “solar encryption engine” from his father’s blueprints in order to help drain the Godspeed clones of their energy and get them out of the way. I’d explain how it’s supposed to work, but every time I listen to the technobabble on this show it sounds like when adults talk in Charlie Brown cartoons. Just know that “machine does thing to stop Godspeeds, but machine needs battery charge to work” and we can move forward. Some UV light from Allegra would really help Chester out with the SEE device, but Allegra has been MIA to Team Flash. So I guess they don’t know her cousin’s dead.

Barry and the kids go out to stop a Godspeed attack and then split off, hoping to break the Godspeed packs down to more manageable chunks for each of them to fight. But all the Godspeeds follow Bart instead, repeating the phrase “kill the adversary” while they go. Hmm, that’s probably important.

After they escape and are back at S.T.A.R. Labs, Barry asks his son what’s up with the whole “kill the adversary” situation and Bart loses his temper over the interrogation. He finally just yells that, in the future, Godspeed is “[his] Thawne.” Bart doesn’t go into details, but suffice to say that Godspeed kills someone Bart loves in the future and they’ve been nemeses ever since. Wait, so then why was Bart so casual when he and Nora were fighting Godspeed in 2049? Shouldn’t he have been single-mindedly focused on throwing Godspeed in jail instead of cheerfully bickering with his sister?

As Barry is consulting with Gideon about other speedsters to call for help with the Godspeeds (he’s trying to get into contact with Wally, who’s apparently too busy meditating) Iris appears, good as new despite her dire temporal situation last episode. She also knows everything that’s been happening with Barry while she was gone, and she’s taking the sudden arrival of her adult children in stride. I guess if it happens once, it’s hard to be surprised the second time around.

Next we see that Jay Garrick still exists, which I’m pretty sure he shouldn’t if there’s no multiverse. Not only that, but he’s on Barry’s Earth and he’s such a part of the West-Allen family in the future that it turns out his death is what turns Godspeed into Bart’s arch-enemy. This is why the Godspeeds end up kidnapping Jay, so they can lure Bart out and finally deal with “the adversary.”

Chester has finally tracked down a sullen Allegra and pulled her in to help charge the SEE device, but Allegra’s failing to get the battery past ten percent. Barry is in a hurry to get rid of a bunch of Godspeeds, so when he comes in to check on the SEE progress and Chester tells him it’s not ready, Barry blasts it with lightning to charge it up. This turns out to be a bad idea because the energy from speed lighting just powers the Godspeeds when Team Flash later uses the SEE on them, giving them a chance to blast our heroes with cartoonish white spirals. Nora gets knocked out in the fight, which leads Barry to banning her from fighting anymore Godspeeds.

The kidnapping of Jay Garrick comes back into play when the Godspeeds announce who they’ve captured to Team Flash. Of course, Bart goes after his uncle and is immediately captured by Godspeeds, who hold him up in the air with their cartoonish white spirals while he screams the whole time. Barry and Nora show up and, despite hearing the screams of their beloved family member, just stare dumbly at the Godspeeds and Bart for like... way too long. You guys know you have super speed, right? Your reaction time should be significantly faster than this. 

Eventually they do react, with Nora going for Bart and Barry going for the main Godspeed. Barry phases through him the same way Bart does in the future, which knocks Godspeed out and releases Bart. The Godspeeds all spring back up, surrounding the West-Allen family and Jay, who declares that they should “give [the Godspeeds] heck” because he’s a product of 1940 and he doesn’t gosh-darn swear. 

It looks like it’s going to be a losing battle for the non-evil speedsters until a surprise guest appears: Cisco! He provides just enough of a distraction to get everyone out of danger and they manage to cart Bart’s still-unconscious body back to S.T.A.R. Labs for further examination. It turns out that Bart is in a coma and severely low on speed; the only reason why he’s not dead is because what little speed he has left is keeping him alive.

The team sets up what they’ll be doing when the season finale airs next week: Chester will keep working on the SEE, Cisco will try to make a synthetic replacement for the temporal trap that was broken last week, and Barry wants to climb into August Heart’s mind to figure out a way to stop him from becoming an evil speedster in the first place. You know. Normal stuff!

At the end of the episode, Barry is hooking himself up to a still-docile August Heart while Cecile plays brain wave conductor and sends his consciousness over. When Barry finds himself in Heart’s mind, it consists of a cathedral and an obelisk throne and August Heart making broadly villainous statements about how cool he is. Man, I really was right about Godspeed being a tool.

Other Things:

  • Kramer’s lack of death in that failed mission is indeed important, since Joe mentions it to her during their little micro-plot this episode.
  • Did I miss something about Jay Garrick being around? He’s definitely supposed to be on another Earth, right? And the multiverse isn’t supposed to exist anymore? Although, I caught a little bit of Superman and Lois after this episode and there’s someone from a different Earth on there, too, so two questions: 1) is anyone going to explain this? And 2) how much of it is Barry’s fault? 

Monday, July 12, 2021

And Now… Your 6th Annual Golden Trio Award Winners!

Each year, we love honoring our favorite actors, actresses, and shows in our Golden Trio Awards. What started as a fun social media game (#Top3) by our assistant editor, Chelsea, turned into a yearly ceremony where you choose the three winners in each category. Even if your favorite show or performer doesn't get nominated for an Emmy this year, they’re still worth celebrating. Never stop loving what you love!

So without further ado, let's get to your 2021 winners!


Your votes for the top two were neck-and-neck until the very end, proving you all really love Apple TV+ ensemble comedies.


Mythic Quest


Ted Lasso


A Black Lady Sketch Show


Between intense character studies in chess and solving mysteries, these shows brought all the drama in 2021 – and you loved them too!


The Queen’s Gambit


I May Destroy You


Mare of Easttown


What does an optimistic coach, a video game creative director, and a morning show host have in common? They’re your favorite funny men this year!


Jason Sudeikis (Ted Lasso)


Rob McElhenney (Mythic Quest)


Kenan Thompson (Kenan)


They broke your hearts and they brought all the drama this year… these are your top three winners for leads in a drama!


Pedro Pascal (The Mandalorian)


Regé-Jean Page (Bridgerton)


Chris Evans (Defending Jacob)


You all showed up for these funny leading ladies, and we couldn’t have been prouder of all the nominees. In an ideal world, everyone would walk away with a medal but this year you chose three incredible women as your favorites!


Charlotte Nicdao (Mythic Quest)


Maitreyi Ramakrishnan (Never Have I Ever)


Robin Thede (A Black Lady Sketch Show)


So many women gave nuanced, powerful performances in dramas and limited series this past year. But only three of them could win, so let’s celebrate them!


Kate Winslet (Mare of Easttown)


Anya Taylor-Joy (The Queen’s Gambit)


Michaela Coel (I May Destroy You)


When we narrowed down this category, we knew it would be difficult to choose our favorite! But you all showed up in the polls for your favorite comedic performers in streaming and network shows (and Danny Pudi stans really showed up)!


Danny Pudi (Mythic Quest)


Alex Newell (Zoey’s Extraordinary Playlist)


William Jackson Harper (The Good Place)


They were battling the supernatural, teaching chess, and fighting literal and physical bad guys this year. Here are your picks for outstanding supporting drama actors!


Bill Camp (The Queen’s Gambit)


Michael K. Williams (Lovecraft Country)


Chase W. Dillon (The Underground Railroad)


Each and every woman listed here is so talented and made us laugh this year. Whether it was a sketch show, an ensemble comedy, or a show about love and friendship, we adore these supporting comedic actresses – and you do too! (Also, who still has “Agatha All Along” stuck in their heads? Anybody?)


Hannah Waddingham (Ted Lasso)


Kathryn Hahn (WandaVision)


D’Arcy Carden (The Good Place)


Each woman in this category made us feel deeply this year, delivered standout performances, and we are honored to crown them with internet awards!


Julianne Nicholson (Mare of Easttown)


Reign Edwards (The Wilds)


Mae Whitman (Good Girls)


When it comes to winning polls, Julie and the Phantoms fans are already seasoned veterans, and this category was no exception! Everyone else battled it out for the second and third spots and we’re happy to see just how much you all love... well, love!


Luke/Julie (Julie and the Phantoms)


Roy/Keely (Ted Lasso)


David/Patrick (Schitt’s Creek)


We’d say this one was close, but the Julie and the Phantoms fans really dominated this category! But the truth is that each of these new shows have captivated and entertained us all.


Julie and the Phantoms




We Are Lady Parts


Around here, we don't believe that you should feel guilty for loving the things you love. Not everything you watch has to be Emmy-nominated television... and that should be celebrated! And you honored these guilt-less TV pleasures well.


High School Musical: The Musical: The Series


Teenage Bounty Hunters


Nailed It!


TV shows wouldn't work without the strength of their ensembles. And these shows demonstrated that (hello, Bridgerton and your array of complex characters!) and shone in 2021.




Outer Banks


Ted Lasso

Well, there you have it everyone! Thanks so much for contributing to this year's Golden Trio Awards this year and we can’t wait to return again in the summer of 2022 for another celebration! :)

Wednesday, July 7, 2021

The Flash 7x16 Review: "P.O.W." (Something About Jammed Signals) [Contributor: Deborah MacArthur]

Original Airdate: July 6, 2021

This week on The Flash: more Godspeeds! So many Godspeeds! I’ve never seen a show go for quantity over quality quite so spectacularly as The Flash is with their multiple Godspeeds. Seriously, I know I harp on this but... this character is nothing. It’s a nothing character full of nothing. Godspeed has no menace, no compelling history... he’s got mystery, I’ll give him that. But it’s the “what’s the point of all this?” kind of mystery and not the “What will happen next?” kind of mystery. In its own way, the show’s stubborn refusal to add anything of weight to Godspeed and his many, many alternative selves — whether they be robot duplicates or clones — is bizarrely fascinating.


The episode starts with Barry dreaming of Nora again, but unlike his last dream she’s bearing bad news and dire warnings instead of comforting words about how everything’s going to be okay. When Barry wakes up, the city is trapped in the middle of the Godspeed war, which has the added wrinkle of making Central City into a kind of Faraday cage. No communications can go in or out of the city. We learn this when Cecile asks the team if anyone’s heard from Joe, who was last seen in an exploding car with Kristen Kramer.

(Joe and Kramer are having their own little adventure, also with jammed cell phone signals and limited communication. They’re being hunted, “The Most Dangerous Game”-style, by Kramer’s old friend-turned-sociopathic mercenary, Adam. Once again, their plotline is small and virtually insignificant and they manage to get the upper hand on Adam by the end of the episode, but I felt really sorry for repeatedly cutting them out of the main review so I’m giving them a little aside paragraph. Also, Adam seems to believe the explosion that killed Kramer’s whole team should have killed Kramer as well, implying that her survival was miraculous bordering on impossible. That’s at least a little intriguing.)

So no one can call for help, Barry’s so outgunned he’s essentially limited to just evacuating civilians and hoping for the best, and Team Flash has no ideas. What could possibly help them? Why, John Diggle bearing a technical doohickey from none other than Cisco Ramon, of course! That’s right, this episode is a very special guest star kind of episode.

The technical doohickey from Cisco is an entropy trap, which Dig personally volunteered to deliver so that he could do his part helping Central City through their most recent metahuman crisis. Chester is overjoyed because he’s apparently a Team Arrow fanboy, but also because the entropy trap is cutting-edge technology that literally freezes time. The team wants to capture one of the Godspeeds and Barry wants to find a way for them to communicate so he can ask what they want. After Barry makes his plan, Dig briefly makes an expression like a Victorian governess about to die of consumption.

The entropy trap is immediately successful, which tells us that the main plot of the episode will not be about finding and trapping a Godspeed. With a silent Godspeed locked in one of the S.T.A.R. Labs cells, they try to figure out how to talk to him while Allegra somehow uses her UV light powers to jam his communication to the Godspeed hive mind. That’s three references to jammed communications in this episode now — am I missing a metaphor?

If I am, I suspect it’s something about limited communications being overcome by good planning, because the Godspeed that Team Flash has captured is clearly not bothered by his inability to talk to his brethren. In fact, Team Flash gets some information out of him — the Godspeeds are looking for the original Godspeed, August Heart, who is from the future but in the past — but he escapes when Barry’s unwillingness to kill August Heart in order to stop the Godspeed war makes him an enemy of the captured Godspeed. Which, since the other half of the warring Godspeeds wants to steal Barry’s speed and the “good” half just wanted to keep them from doing it, means Barry’s now on the wrong side of both Godspeed factions. This is somehow very confusing and very uninteresting all at the same time.

Also, Barry really needs to learn some subterfuge. He could have very easily agreed to help the Godspeeds without agreeing to kill August Heart, then worked on pushing them away from the killing plan over the course of their truce. So on the list of things Barry Allen sucks at, let’s add “strategy” in there right after “teaching” and “not destroying the universe via time travel.”

So Team Flash wants to find August Heart, who has been displaced in time, before the Godspeeds can kill him. Barry’s angry because he’s worried about his future-daughter Nora, who’s from the same year as August Heart. Yeah, it’s not so fun when people play around with time travel and your kid’s existence is on the line, huh, Barry? Speaking of which: does Dig know you briefly erased his daughter? I guess no harm, no foul, but that was kinda messed up.

Barry wants to go forward in time (what metaphorical Faraday cage blocks the signal between Barry Allen’s brain and the concept of “do not time travel”?) to check on Nora, but when he attempts the run through the Speed Force his way is blocked by a Red Rover line of Godspeeds. Boy, I sure wish there were a row of Godspeeds waiting to clothesline Barry every other time he’s attempted time travel. 

He gets knocked into nowhere, where Deon finds him and shares some bad news: the Godspeeds are running amok, “feeding on pure speed force energy,” and the Speed Force is having a real time keeping them at bay. Deon’s worn thin as well, but not because of the Godspeeds. It turns out, Iris is suffering from some sort of destabilization that keeps her jumping through timelines. Deon’s putting everything he has into keeping her stable, but he has no concrete way of stopping it. Before Barry can say much to Iris, Deon has to snap her to some other timeline.

Frost, Dig, and Cecile have found a location associated with August Heart. Cecile senses a scared person nearby and they find a guy huddled by a dumpster. They ask for his name and he says he doesn’t know, then he says that the location he’s at is important. Back at S.T.A.R. Labs, Caitlin manages to get the guy to confirm his name is August but his memory is too fried for anything else. Also, Dig has spent this whole episode experiencing the sci-fi version of the Victorian consumption cough (i.e., screaming headaches of portentous Green Lantern-ing to come) and decides to deal with that once he leaves Central City.

At the end of the episode, just when Barry’s feeling real down about everything going on and needs a pep talk from Cecile, Nora suddenly appears to show Barry she’s fine and dandy. Also, she now has a brother.

Other Things:

  • The plot relegated to the bullet points of afterthought this week: Ultraviolet’s new lease on life is short-lived, as she immediately goes out to hunt Black Hole and dies. Allegra holds her as she dies (and inexplicably burns to ashes) and regrets sticking to her Team Flash family instead of Esperanza, her “real” family. This show’s inability to square away the found family vs. blood family argument continues.
  • Why is Nora able to get through the Godspeeds lurking in the Speed Force?

Tuesday, July 6, 2021

The Flash 7x15 Review: "Enemy at the Gates" (Gotta Get Godspeed) [Contributor: Deborah MacArthur]

“Enemy at the Gates”
Original Airdate: June 29, 2021

We welcome back Godspeed on this week’s episode, and by “welcome back,” I mean whatever the opposite of that would be. Last time he was on the show, I think I called him something along the lines of — paraphrasing, here — “a forgettable tool with terrible taste in catchphrases.” He’s only scoring two out of three on that front this week because he doesn’t actually say anything all episode, just screams like he’s possessed by dial-up internet. It’s not an improvement.


At the start of the episode, Barry is having a dream: Nora (the daughter from the future, not the mother or the Speed Force mother lookalike — boy, they sure get a lot of mileage out of that name, huh?) visits him and tells him everything is going to be okay. They hug, and Barry wakes up with the revelation that Iris must be pregnant, because why else would he have a dream like that? Certainly couldn’t be because the future-daughter he wants has been on his mind a lot. Barry, I know your life is full of a lot of weird, but I’m pretty sure prophetic pregnancy dreams aren’t on the list.

But Barry is full-tilt into “we’re gonna have a baby” mode and tells Iris (who — speaking of weird — is not on screen this entire episode, even when people talk to her) he’s going to do the tests to prove it himself. Barry’s bizarre behavior catches the attention of everyone who sees him, which means the secret of Iris possibly being pregnant is out in no time at all. Thanks to her empathy powers, Cecile is the first to figure it out but her excitement is interrupted by an explosion in the lab where Barry is working.

The explosion turns out to be caused by the arrival of Godspeed. Funnily enough, even the characters have a general vibe of “we don’t know who this villain is or where they came from or what we’re supposed to do about him even though he’s shown up multiple times now — and also, remember those robot clones of him? That was odd.” It doesn’t give me a lot of hope for this storyline evolving into something compelling or interesting.

After a bit of a chase with multiple Godspeed, Barry ends up back at S.T.A.R. Labs with a forcefield up to keep the Godspeeds out. The Godspeeds are trying to punch their way into the lab, which sends shockwaves through the whole building. This is bad because Caitlin happens to have scheduled Ultraviolet’s throat surgery during the Godspeed invasion just so there’s a bit more tension in the episode than generic speedster villains punching things.

Despite the attempt at adding tension with Ultraviolet’s surgery during an evil speedster attack, there’s only one moment of potential danger and it’s because Ultraviolet’s anesthesia starts wearing off, not because the building is about to fall down around them. This tension doesn’t even last a whole scene, as Cecile steps in to calm Ultraviolet with her empathy powers. There’s a lot in this episode that feels like it was written on the fly.

Chester has the idea to play the Godspeed modem sound over the speaker system in order to confuse them, then Barry could take them all out one by one. Before they can really enact this plan, though, the forcefield goes down and the Godspeeds enter the building. Everyone has fight duty (including Frost and that bartender love interest of hers, whose name I just remembered is Mark) except Chester, who runs to the Time Vault-turned-panic room for cover.

In the Time Vault, Chester asks Gideon for ideas on what to do next, and Gideon offers to go through with his initial plan by playing the Godspeed noise through the intercom system of S.T.A.R. Labs. Thankfully, the show plays “Diesel Power” by The Prodigy instead of the screeching modem noise for the duration of the fight sequence that follows. Unfortunately, one Godspeed finds the source of the sound and breaks into the Time Vault, which I assumed was impossible but okay, fine. The Godspeed destroys the console playing the sound and postures in a way that says Chester is about to die. Just as a side note: the coolness of Godspeed’s costume is seriously wasted on this nothingburger of a character.

Barry launches himself at a few of the Godspeeds and runs out so they’ll follow him and leave everyone else in S.T.A.R. Labs alone. He speeds through the city but gets stopped and is about to be set upon by some Godspeeds when they suddenly start fighting each other. Barry is confused, as am I. Remember what I wrote about how a lot of this episode feels like it was written on the fly? This sort of thing is what I meant.

Later, Barry theorizes that the Godspeeds weren’t compelled to fight each other by any outside force but were just fighting each other to fight each other. Everyone looks around in shock and dismay at the prospect of “speedsters against speedsters” as if this hasn’t been the modus operandi for every speedster Barry has ever encountered who wasn’t related to him in some way. It’s remarkable we’ve had yet another Godspeed episode on this show in which we learn nothing about him, his motivations beyond stealing speed (which, again, is pretty much what every evil speedster wants), or why he had robot duplicates that one time.

By the end of the episode we learn that Ultraviolet has survived her surgery (maybe I should start calling her Esperanza?) and Barry learns that the pregnancy test he’s been waiting all episode to perform turns out negative. He proves he’s not just a literal speedster but also an emotional one, as this single negative result in light of his seemingly prophetic dream sends him into a “Iris and I will never, ever be parents” funk faster than the speed of light. Barry, stop being so dramatic.

Other Things:

  • Will Joe and Kramer’s subplot ever be significant enough to get a spot in the main review? Well, since their car got exploded at the end of this episode, I suppose there’s a chance.
  • Frost and her bartender non-boyfriend are still boring. I wonder if I’d like this storyline better if Mark weren’t such a bad boy cliche. I liked him more when he first showed up and was pretending to be nice.
  • I know it’s silly of me to try and keep track of what the scientists in this show can do, but I swear Caitlin was a bio-engineer and not a surgeon, so why is she doing surgery on Ultraviolet? Also, why is she doing surgery without any assistance whatsoever?
  • Next week: More Godspeeds. Did someone spill a box of “Oops! All Godspeeds” on the back half of this season?

Monday, July 5, 2021

6th Annual Golden Trio Awards — COMEDY NOMINEES!

Welcome to the Comedy category of our Golden Trio Awards! In case you missed it, you can learn what these awards are all about HERE.

But for now, be sure to vote for your favorite shows and performers in each of these categories. You'll notice some shows missing (we only chose shows that aired at least one episode between 2020-2021 and Schitt's Creek dominated the legit awards circuits so we felt like we'd be kind and keep their noms to a minimum here), but hopefully you see a lot that you love!

And don't forget to vote in our DRAMA and SPECIAL CATEGORY posts too!






Welcome to Your 6th Annual #GoldenTrioAwards!

WELCOME to the 6th Annual Just About Write Golden Trio Awards! 

Sorry we took last year off, but did 2020 even count as a year? (We don't think so.)

You're probably wondering exactly what these award are, and why this is so important to us. Our Golden Trio Awards are named after that famous BFF trio, so that means we actually give away three awards in each category! It's your job to narrow those winners down from the six nominees we've created. (Gold is awarded to the most votes, silver to the next, and bronze to the third highest.)

To give you a bit of a background, my friend and editor Chels is going to explain the Twitter game (see: obsession) that she created a few years ago that has inspired these awards. We run through this every year, but if you're new around here or to the awards, here's a bit of a refresher course!:

So in July 2013 I started this little thing called #Top3 on my Twitter and personal blog as a small scheme to figure out somebody's favorite movie. It quickly escalated into a five-day-a-week competition game with winners and wonderful bragging rights. I'd give people a random Film or TV category and they would respond with their #Top3 choices for the category. No more, no less, and you had to have #RUTHLESSNESS when making your picks. There were three winners because some things just do not compare.   

My Top 3 films (To Kill a Mockingbird, Beauty and the Beast, Lost in Translation), for instance, have nothing in common writing, editing, or directing wise other than the fact that they are films. Honoring multiple pieces shows just how rich we are in quality content. I did this game for about six months before I grew tired of it, but at least once a week since the game ended I've had at least one person ask if I would ever bring it back. It was a fun way to talk about pop culture and get people interested in things they may not have seen.   

I brought the idea of bringing back the game to Jenn a few weeks ago after the Emmy nominations and we brainstormed a way to bring it back in a more self-contained format. We asked all the lovely ladies of this site to fill out their top choices for each category, then Jenn and I compiled all the ballots before narrowing down each category to seven. The overlap in the ballots helped us narrow down and we ruthlessly managed to cut down the rest until we represented as many shows as we could. #Top3 for me was always about showcasing as much great content as possible with all the winners.   

I owe Jenn and the entire Just About Write team a big thank-you for helping me with this elaborate scheme and making me love the idea of #Top3 again. You ladies are amazing and I am proud to be working with you.   

Back to you, Jenn!

When Chels approached me with the idea to combine #Top3 and an awards ceremony a few years ago, I was automatically on board. This year, we compiled nominations together as we always do, and — after barely any difficult compromising except for one section where we invoked math so we wouldn't have to choose ourselves — Chels and I managed to narrow down the nominations in each category!

We're so excited to be doing this again and that you all have responded so positively to it over the past few years. In the posts below, you'll be met with a few different ballots:




Comedy and Drama are pretty self-explanatory, but our Special Category ballots contain an awesome array of fandom-focused categories from OTP of the Year to Favorite Ensemble and more!

The nominations open today and polls will be closed by 9 a.m. ET on Monday, July 12. By mid-week that week, I'll round up the top 3 people/shows with the most votes in each category and those will be your third annual Golden Trio Award winners!

Did I mention that we're excited? Because we are! Take time and fill out your ballots. You can vote as many times as you would like. Share on social media! But most importantly, have half as much fun voting in these as we did creating them! :)

6th Annual Golden Trio Awards — DRAMA NOMINEES!

Welcome to the category that always brings the drama. That's right, it's time for you to vote for your favorite series and performers who made a dramatic impact on you this year! (For a background on the Golden Trio Awards, check out our introduction post HERE.) Whether it's surprisingly stressful chess, an unflinching look at assault and trauma, or a supernatural 

And be sure to vote in our COMEDY and SPECIAL CATEGORY posts too!






6th Annual Golden Trio Awards — SPECIAL CATEGORY NOMINEES!

Who's ready for some very special awards? We've got a few for you to choose from this year, so whether you're swooning over your OTP or celebrating a new favorite television show, be sure to cast your votes in our Special Category below! Learn more about the Golden Trio Awards here if you should choose.

And vote for your favorite COMEDY and DRAMA categories too! 





Monday, June 28, 2021

Mythic Quest 2x09 Review: “TBD” (The End of the Hall and the End of the Line) [Contributor: Jenn]

Original Airdate: June 25, 2021

Sometimes change begets change. One person decides to leave a company, and then slowly but surely a trickle becomes a flood and multiple people announce their resignations. Or at least that’s what happens at Mythic Quest’s headquarters in “TBD,” the aptly-titled season — and not series, I’m manifesting it! — finale. A lot happens, so let’s dive right into the feels!


Last week’s emotional ending saw Ian and Poppy resolving their issues with a lullaby and quality time in the hospital, and this week we’re picking back up by focusing on their partnership and teamwork. Despite their massive egos, what’s great about these two is that they often hate other people together. Whether they’re irritated by testers or coders, their defense of one another and dislike for others is so hilarious and perfect. 

“TBD” sees Ian and Poppy struggling to find a way to implement Hera at Mythic Quest. The way that these two communicate post-reconciliation is actually really lovely. They’re still snarky to others but they’re finally able to be honest with each other without their egos. Ian tells Poppy that implementing Hera within the Mythic Quest universe is impossible; she’s the best of the best and if she couldn’t find a way to make it work, it means it won’t work. Ian asserts Poppy’s intelligence while providing her with honest feedback. There’s no ego from him there or jealousy — he’s just stating facts.

And Poppy finally decides not just to listen to Ian but to actually hear him. (She has been unable to do this because of her ego too.) When she does hear him, she realizes that he’s right: she cannot make her expansion work. But instead of just going with Ian’s plan, the two decide they need to come up with something together. The problem is that they spend the whole episode attempting to figure out the next chapter in their Mythic Quest story. It’s actually a profound moment from C.W., however, that forces them to look at the thing they’ve been trying to avoid the whole time.

It’s the end of the line for Mythic Quest. Their last expansion, “Raven’s Banquet,” was the final chapter in the story. They’ve been spinning their wheels trying to make anything they come up with work within the world they’ve built. But C.W. points out that Mythic Quest, much like a child, is older now. It’s grown. It’s time, finally, to move on instead of trying to force more story out of something that is done.

That’s not an easy truth to accept though: when you spend years working on something and it’s finally done... what’s left to do? Well, Ian and Poppy realize that there’s more story for them to tell — just not at MQ headquarters. They’ve done their jobs, they’ve created and raised their video game baby, and now they’re not needed anymore. It’s time to raise a new baby together.

The end of the episode is the most profound, of course. Ian and Poppy quit their jobs and sit at a restaurant, dreaming of what could be. That’s when Ian tells Poppy that they don’t have to dream too much — he knows what their next project will be. It’ll be Hera. Mythic Quest wasn’t equipped to handle the expansion but that doesn’t mean they can’t build it. He hands her a pen and a bar napkin — her brush and her canvas, a perfect callback to the pilot — and Poppy excitedly begins dreaming.

I feel like this is a natural conclusion for Ian and Poppy’s story this season though. With their relationship repaired, it seemed only logical that they’d forge ahead in their creation of a game together. And I kind of love that they realized they’re better together, that Ian sacrificed his ego to support Poppy, that Poppy finally allowed herself to see the truth of what she’d created, and that they acknowledged that the death of one creative dream doesn’t mean its death forever.


Elsewhere in the episode, Rachel and Dana quit their jobs at MQ headquarters — except that Dana then realizes she didn’t get into Berkley. The two momentarily freak out until a random meeting with Ian and Poppy actually sets Dana on a new, similar path. She shows them her Grouchy Goat she’s been working on, and the co-creative directors assert that it’s basically garbage. But the scene next is super important for anyone who’s a creative: Ian asks if Dana will stop working on it if they tell her it’s bad. At first, she says that she will, then admits she won’t. And when the two press her as to why she’s still working so hard on a thing that’s not great.

She tells them that when she looks at the goat she can see her vision, and she’s working to watch it come alive. She can see the potential and dream even when others can’t. It’s this commitment and ethic in spite of challenges that intrigues Ian and Poppy. They make Dana a deal: MQ headquarters will pay for her to go to a local, reasonable programming school so that she can continue to learn how to develop her skills and they’ll also bring her on for contract work. Dana is thrilled (Ian and Poppy are mostly annoyed but that’s par for the course) and tells Rachel… who admits that she’s going to Berkley. I’m proud of Rachel! She spent so much of the second season caught up in Dana without a direction for her life. Now, even though she has to do long-distance, she’s more concerned with pursuing this new passion than with staying comfortable. That’s growth, and I love to see it!


I only have one qualm/question about the Brad/Jo story (which could very well be resolved quickly in season three) which is that Brad noted Zack cared about an employee of Mythic Quest getting arrested for insider trading so he could gut the company — something Brad didn’t want happening. Originally that person was going to be Jo, but when Brad takes the fall for her... that really doesn’t solve the Zack problem, does it? Or maybe Brad doesn’t care now because it’s not his problem?

Anyway, the reason Brad decides to take the fall for Jo is supposedly because he’ll be seen as a shark in his industry (and he’s going away to a cushy prison), but let’s be real: he does care about Jo and it’s evident in their final little interaction. Even though Brad does things so he can be seen as the shark or bad guy, he has a heart and his heart told him he could do something nice while also getting something out if it. If that isn’t a quintessential Brad Bakshi move, I don’t know what is! I’ll miss the Brad/Jo team-up a lot, but I do love that Brad pointed out Jo’s very evident addiction to power.

He’s not wrong in the fact that she needs to detox from powerful men. The last high she chased almost landed her in prison, and she could easily make that mistake again — or worse. But “TBD” actually sees a re-pairing: David and Jo get back together! Poor David. For a person who’s so afraid of change and losing his coworker family, he had to endure quite the abandonment in this episode: no more Brad, Ian, Poppy, Rachel, or Dana!

David and Jo’s decision to pair back up again is pretty fun, considering their arcs the last season: David’s had to grow more of a backbone and will now be forced to step up and be the leader he was always supposed to be. And Jo discarded David because he was powerless, and now realizes it’s kind of exactly what she needs. I’m so excited to see their new dynamic in season three!

“TBD” reminds us that change is inevitable, but so is growth — if you’re willing to pursue it. Season two of Mythic Quest was really about forcing the characters to get uncomfortable, fight when they need to even when they don’t want to, and discover what it is each of them truly wants. I love that by the end of the season, I know the characters are going to be okay whether they work at the headquarters or not. I’m just really excited to see where this show can go in season three now that everyone is scattered! (I sense a time jump is imminent.) 

Thank you, Mythic Quest, for the feels and the laughs all year. I’ll see you (hopefully) next year!

Notes and quotes:

  • At ATX Festival, Megan Ganz noted that this feels like a series finale not necessarily because the creators believe they’ll get cancelled but because they wanted to challenge themselves when they returned. It makes sense and I love that they’ve given themselves the challenge to reunite the group when the show returns.
  • “Women in my life will come and go...” “... mostly go.”
  • This episode is a perfect season/series finale combo which makes me emotional.
  • “That’s the gig. Dream big. Unfortunately, sometimes you fail big.” I really loved this little moment from Ian. He’s not discouraging Poppy’s dreams but rather tells her that it comes with the territory of being a creative! Sometimes your big dream leads to a big win, and sometimes a big dream leads to a big failure. But at least you dreamed big instead of small.
  • “I hate that stupid goat.”
  • “You two are probably fine but I could get cancelled.”
  • That one moment of Carol’s sixth sense was SO perfect.
  • “I like you.” “I know.” I’M GONNA MISS BRAD AND JO TOGETHER A LOT. I also loved that she made a huge deal about Brad getting escorted out and faked him getting handcuffed because she knew it would add to his credibility as a shark.
  • “Your canvas. And your brush.” Brb, crying FOREVER.

What did you all think of “TBD”? Sound off in the comments below!

Saturday, June 26, 2021

The Flash 7x14 Review: "Rayo de Luz" (Let There Be More Light) [Contributor: Deborah MacArthur]

“Rayo de Luz”
Original Airdate: June 22, 2021

Look, I don’t want to imply that the Flash is holding back The Flash, but this is the third episode in a row that’s been light on Barry and leagues better than the Barry-centric episodes that came before it. Maybe it’s because the show was struggling with an arcing plot and these post-Forces storyline episodes are more self-contained, maybe I just really like the side characters of this show and I’ve been subconsciously wishing they had more to do. I don’t know. But Allegra-focused “Rayo de Luz” was a decent little episode either way.


Remember Allegra’s assassin cousin, Esperanza “Ultraviolet” Garcia? I sure didn’t! But this episode delivered a reminder\ by way of an in media res opening open set twelve hours before the events of the episode. I assume this was really just to remind us of who Ultraviolet is, since it doesn’t offer much else.

The actual episode begins with Barry announcing that he’s going to be “zooping” Iris to a remote island, inspired by the embarrassment of Chester catching the couple boinkin’ in the Starchives last week. This means that the parents are away, so the children (read: Allegra) are free to plot questionable rescue missions of assassins. Allegra is hoping she can get through to her cousin and they could be a family again, and has apparently been tracking her and waiting for the opportunity to strike with a tried and true Team Flash-patented heartfelt speech.

Unfortunately for Allegra (and Chester’s wrist, since he gets caught in the crossfire and Ultraviolet breaks it), Ultraviolet is not in the mood for a family reunion. While Allegra and Chester are at Jitters, Ultraviolet attacks. I can’t help thinking that the insurance costs for the Jitters coffee shop must be astronomical, with how often this place gets trashed by metahuman fights. Allegra holds her own in the fight for a bit, but inevitably has to be rescued by the sudden appearance of Sue Dearbon. Sue apparently did not skip town after the disastrous heist last week.

Just like with the heist, Sue tries to be the voice of reason in the group and convince Allegra to write Ultraviolet off as a lost cause, mostly because Sue once saw the assassin melt a person’s face off while laughing. Sounds like a good reason to me, but Allegra is apparently not in the business of giving up on family. Sue, with the begrudging air of an older sibling left to babysit and well aware she’s the only thing standing between these people and certain death, agrees to help out while Barry and Iris are away.

The next time we see Ultraviolet, she’s attacking some guy. Allegra et al. stop her and the guy gets away, but then Ultraviolet reveals that the man they just rescued was the mad scientist who made her into the mask-wearing assassin she is. And I know that’s portrayed as a real “dramatic chord” type moment that’s meant to imply our heroes did something wrong, but even if they’d known the guy was bad news they wouldn’t have let Ultraviolet kill him. So it’s a bit of tension that isn’t really tension.

Sue and Allegra try to interrogate Ultraviolet. She explains that the red mask she wears is to help her speak, since Black Hole’s scientist — Dr. Olsen, the man who escaped — cut out... her vocal chords? It’s unclear how the mask helps when the scar tissue is on her throat and the mask doesn’t go past her chin, but I don’t know. I’m not a science fiction doctor. Either way, Ultraviolet wants revenge and Allegra decides she wants to help her get it. Just not, presumably, by murdering Dr. Olsen.

Before she accepts the assistance of the ragtag Team Flash, Ultraviolet tries training Allegra on how to better use the light-based powers they both share. When Allegra fails to do what she needs to do, Ultraviolet declares her a useless idiot and storms off, but not before nearly killing poor Chester with a light beam. Okay, so she’s only a marginally worse teacher than Barry Allen.

So now Chester’s got one arm in a sling and the other’s got a braced wrist, but he’s still trying to make everyone else feel better about the Ultraviolet situation. Oh, Chester. Sue wants Chester to talk some sense into Allegra, who’s still feeling unsure about what to do with Ultraviolet, but Chester doesn’t think he can convince her of anything. Then something Sue says (“Sharing a back-alley yin-yang tattoo doesn’t mean you’re bonded forever.”) inspires Chester to run off like the genius he is, leaving Sue to do her best to convince Allegra not to try again with Ultraviolet.

But Allegra stubbornly refuses to give up on her cousin, who never gave up on her when they were growing up. When Allegra brings up Sue rescuing her parents from Black Hole, Sue confesses that she never did — that her parents loved the lifestyle they had with Black Hole and she couldn’t convince them to leave. Sue’s parents were already filthy rich, so I’m a little confused about what sort of lifestyle a shady underground organization could offer them to compete with mansions and never having to hold a job.

The conversation with Sue has only made Allegra more resolute in her mission to save her cousin, which is good because Chester’s eureka moment produced a way to track Ultraviolet. He was inspired by the yin-yang tattoo, thinking of Allegra and Ultraviolet as two halves of the same whole and using Allegra’s light signature to find Ultraviolet’s matching one.

The team finds Ultraviolet facing off with Dr. Olsen again. Dr. Olsen, by the way, is incredibly creepy. I almost wish this team didn’t have a no-killing policy, because this guy is gross. Chester takes out some guards with an EMP blast while Sue fights the ones who are left, wonderfully backlit the entire time. I don’t give shoutouts to production stuff very often, but the lighting in this episode is really pretty in several scenes and I wonder if it’s meant to be on theme with the two light-based metahumans at the center of the story. Whatever the reason, it’s nice.

When Allegra finds her cousin, Ultraviolet immediately attacks her. Dr. Olsen has promised that, as the only person in the world who knows exactly what was done to Esperanza and therefore the only person capable of fixing it, he sets the rules for whether Ultraviolet gets any help. He wants Ultraviolet to kill everyone who knows of his operations, starting with Allegra. While the two women have a light fight (with things heavily in Ultraviolet’s favor), Dr. Olsen supplies some creepy color commentary about how hate fuels their powers.

But Allegra ain’t having that. She says that her powers are fueled by something else and her chest starts glowing, and the losing light beam she’d been shooting at Ultraviolet starts gaining power. Eventually, Ultraviolet is struck back and Allegra has a full-body glowing aura that looks really neat. It eventually fades, but the day is saved nonetheless.

In the aftermath, Dr. Olsen has been jailed and Ultraviolet is recovering from getting blasted by Alelgra’s light beam. Caitlin reassures Allegra that Barry would’ve approved of her following her heart despite leading a rogue mission and nearly getting multiple people killed. Yeah, that tracks. Talking with Ultraviolet afterwards, Allegra shares the news that Caitlin has confiscated Olsen’s files and thinks she can cure her. Are we just going to ignore that story about Ultraviolet melting a person’s face off while laughing?

Other Things:

  • The only really irritating thing about this episode was the stuff involving Joe and Kramer, mostly because Kramer’s behavior makes no sense half the time. She seems okay by the end of the episode, though. She and Joe are going to find the person who actually betrayed the mission she was on.
  • Allegra calls Chester “Chuck”? Is she the only one who uses that nickname?
  • Frost has hunted down that bartender whose name I don’t remember except that it was awful. Is this really going to be a thing? I’m bored every time he’s on the screen.
  • Next week: Godspeed is back? Really, Godspeed? Ugh.

Saturday, June 19, 2021

Mythic Quest 2x08 Review: “Juice Box” (Rainbow Connection) [Contributor: Jenn]

“Juice Box”
Original Airdate: June 18, 2021

(I’ve skipped a review for “Peter” but just have to say that F. Murray Abraham needs an Emmy because that episode was a stunner for him. I’m glad that the show managed to give us closure to the C.W./Peter relationship before Peter died. It was hard to watch at points because C.W. was a terror, but I love that the show reminded us that change is possible — no matter your age.)

This week, we return from our standalone episodes to the MQ headquarters where Ian and Poppy are each presenting their expansions to Montreal, Rachel and Dana are making big moves in their relationship, and Jo realizes she’s made a big mistake. Let’s dive in because there’s a lot to unpack and a lot of tears to cry!


Let’s start with Ian and Poppy first. When we last left them, Ian had delivered some really hard words to Poppy, leaving her standing in the middle of the office hurt and confused. But Ian’s words didn’t come out of nowhere — he lashed out because Poppy refused to be vulnerable with him when he was entirely vulnerable with her. This episode picks up with each team member presenting their expansion to Montreal. And they literally could not be more different.

Ian’s expansion is all about a world where you’re at the center. It’s all about you. Poppy’s expansion is all about being able to change the world around you with others at the same time. There are a few problems though with the expansions. See, while Ian’s is uninspired, it works. While Poppy’s is a stroke of genius, she manages to crash the test and dev servers. And when she berates her programmers, they tell her the truth: she cannot have it all. She needs to let something go because what she’s asking her team to do is unrealistic. 

Poppy doesn’t get the chance to yell at her staff further because David tells her that Ian has been hospitalized with a heart attack. Poppy rushes down to the hospital, buys Ian a stuffed animal (“It’s a Girl!” was all they had), and stays with him because he asks her to. She tells him that he reminds her of a scared little boy in the position he’s in. Unfortunately, Poppy soon realizes that Ian didn’t have a heart attack at all — he fainted, likely because he was dehydrated and hadn’t eaten anything. The doctor hands him a juice box and tells him to make sure to eat and drink.

This is when Poppy, rightfully, gets angry. She goes a little overboard by unplugging monitors tracking Ian’s vitals but she expresses her frustration with Ian misleading her and not being upfront. And then we have a scene which should win Rob McElhenney an Emmy. Over the last season, we’ve seen a direct parallel in Ian and Poppy’s journeys: as Ian has become more vulnerable, Poppy has become more self-involved; as Ian has learned how to open up and speak hard truths, Poppy has become tyrannical with her power. So when Ian confessed his greatest fear to Poppy, his partner and whom we learn he considers to be his best friend, and she didn’t reciprocate, he was crushed. Ian’s biggest fear seems to come true in “Juice Box” and lands him in the hospital. He’s so worried and stressed about his expansion, but he knows Poppy will be honest with him. When she starts to leave his hospital room, he asks her what she thought of it. She tells him the truth — that it was not good. That it was uninspired, and that he could do better. 

Ian’s bravado is lost in this scene, and he agrees with Poppy. He knows that she’s the only one who will tell him the truth, and her opinion matters to him so much. That’s why he was so hurt when she told him her biggest fear was singing in public. That’s why he lashed out. But “Juice Box” shows us a different side of Ian; he tells Poppy that when he looks at her, he sees a scared little girl who can’t admit her fears. And he begins to cry when he says that Poppy is his best friend. Poppy is startled, and though Ian tells her to go away and leave him alone, she doesn’t. He curls up in bed, clutching the bear she got him to his chest as she sings him a Filipino lullaby. It’s this beautiful little moment, with Poppy comforting Ian and stroking his hair while singing to him. 

I love the Poppy and Ian dynamic. In a lot of ways this scene reminds me of “Quarantine.” Even though Ian and Poppy sometimes hate each other, argue constantly, and tell everyone else how annoying the other is, the truth is that they need each other. And they know they need each other. In “Quarantine,” Ian made a big sacrifice and gesture for Poppy to show her just how much he cared and reminded her that she wasn’t alone even though she felt alone. In “Juice Box,” Poppy reciprocates by showing Ian that he isn’t alone. Through sobs, he apologizes repeatedly to her and it’s so gut-wrenching that it’s making me tear up just thinking about it. (Again, give Rob a damn Emmy.)

They never really address the rift that happened between them, but in some ways that’s not needed right now (though I hope it’s addressed in some way in the finale). There will be time for them to unpack their issues. In that moment, Ian needed someone to sing to him (Poppy switches to “Rainbow Connection” when Ian says that a song in another language doesn’t really hit him the way it’s supposed to which, hilarious) and Poppy was there. When the two look at each other, they finally see their vulnerabilities and insecurities. I think Poppy realized a little bit of how much she means to Ian and how he sees her; it’s a beautiful moment and I’m so glad Mythic Quest enjoys emotionally destroying me every week!


There are changes happening in MQ headquarters! Dana is still planning to study programming at Berkley and after Rachel’s road trip with C.W. in “Peter,” she’s been thinking about her own future. Rachel’s contemplating becoming a writer. Even though she has no idea how to become a good writer or if it’s possible, she was moved by the book she was given at Peter’s and wants to do the same for others. It really makes a lovely little arc for Rachel since her first story in season one with C.W. involved her learning about the power of story. I’m really excited because it seems like Rachel is finally realizing her passions, and she and Dana are in a good place to potentially go to Berkeley together! The only problem is: what happens when Mythic Quest gets renewed for season three?

Elsewhere in the episode, Jo taunts Brad. She’s joined alliances with Zack and is about to make a whole lot of money and gain even more power! Or so she thinks. Brad warned Jo about attaching herself to the wrong person and she learns, through Brad, that Zack got her involved in insider trading. Zack doesn’t remotely care about Jo or making her any money; all he cares about is being able to gut MQ and destroy Brad. While this story will certainly play itself out in the finale, I’m interested to see how it’ll go. Will Brad take care of Zack himself? Will Jo have to be the one to pay for what she’s done or will Brad take the fall for her, proving once and for all that he’s really not a horrible person? We will have to wait and see!

As we head toward the finale, I’m impressed yet again by how well-done Mythic Quest is. This season was impeccable and I can’t wait to see how it ends (but also I need more of this group in my life so please renew the show ASAP, Apple TV+ so I can have another year with these weirdos)!

Notes and quotes:

  • Elsewhere in this episode, David is trying to find a new place to live since his ex-wife is kicking him out of his condo. Might Brad and David live together? The internet would love that, but Brad is vehemently against helping David move and definitely against becoming his roommate.
  • “I’m a nice guy and no one takes advantage of me!” “Your ex-wife just forced you out of your own home for the second time.”
  • Jessie Ennis’ laugh should win awards. Seriously, she’s so perfect.
  • “He’s cute.” “He’s so janky.”
  • Jessie told us in an interview for The Community Rewatch Podcast about her air quote scene with: “family back home.” Go listen to the episode and you’ll appreciate the scene even more!
  • Charlotte’s singing voice is so lovely.

What did you think of this episode? Sound off in the comments below!

Friday, June 18, 2021

The Flash 7x13 Review: "Masquerade" (Masks and Mindscapes) [Contributor: Deborah MacArthur]

Original Airdate: June 15, 2021

This week on The Flash: Chester’s initiation as an official member of Team Flash involves messing up royally first. Hey, it’s how everyone on this superhero team cements their place (and none so catastrophically as Barry Allen himself). We also learn a bit more about Cecile, which is pretty cool. I think I’ve been on record as saying that I enjoy it when the show occasionally focuses more on secondary characters, and “Masquerade” is a solid episode for that. So let’s take a look!


In the home of Joe and Cecile, Joe is still investigating Kramer (who has replaced him as captain somehow? Is that really how police forces work?) despite no longer being a CCPD officer. Cecile has found a clue for him that sends Joe off to dig up more dirt, which allows Cecile to do evil things in the meantime. Because she’s actually Not Cecile! Real Cecile is being held in an all-white psychological prison while an evil entity uses her body as a meat puppet.

And poor, poor Chester is the perfect eager-to-please patsy to fit into Not Cecile’s machinations. Chester’s trying to make himself at home in S.T.A.R. Labs, painting and redecorating his new office more to his tastes, but he’s still unsure of his place on the team without Cisco there to be his pal. He even offers to undo all the hard work he put in on his office when Caitlin mentions how different it looks, but Caitlin reassures him that he’s where he belongs. As we learn throughout the episode, Chester is not all that reassured.

When Not Cecile knocks Barry into the same psychological prison holding Cecile and then carts his unconscious body to S.T.A.R. Labs for examination, Chester and Caitlin determine that Barry is at risk of a permanent coma if they don’t figure out what’s wrong with him. Not Cecile uses her empathy powers to dip into Barry’s head and determine what attacked him. Now do me a favor and put sarcastic quotes around like, every other word in the previous sentence since we all know Not Cecile is just play-acting in order to manipulate everyone.

But especially Chester! Chester, who knows Cisco’s binder of metas so well he immediately latches onto Not Cecile’s empathic reading and pulls Psyho Pirate out of the lot. Psycho Pirate wore a golden mask that apparently has powers in its own right, as Chester cites historical documentation of the mask going back to Gilgamesh — which is why it’s currently in Central City’s museum, even though that sounds like a horrible idea because the mask literally feeds off people’s minds and drives them insane. The mask is currently feeding off Barry, but they think if they can use the cerebral inhibitor they can stop it. They just need the mask first.

Not Cecile surreptitiously hints at stealing the mask from the museum, which Chester latches onto immediately. You know you guys could just tell the museum they’re holding an incredibly dangerous madness-inducing evil mask and, as the lead superhero team in the general area (not to mention a bunch of super smart scientists) ask to borrow it in order to save someone’s life? No, not going to bother with a simple phone call and just gonna skip right to a heist? Okay, that’s cool.

Since she’s a thief and probably has time to kill while her partner is recast, Sue Dearbon is called in to help with the heist. Sue has gathered intel in record time, down to a 3D map of the museum, stats on the vault, and information on the guard schedule. The guard and the combination to the vault is the only thing she can’t get around (which seems like a bad weak spot for a thief) but Chester volunteers Not Cecile to mind-whammy the guard into opening the vault door. When everyone clears out to get ready for the heist, Sue mentions how suspiciously easy this whole plan is to Chester, but Chester brushes her off.

Heist time! It’s a short one: Sue dances around some lasers, Not Cecile poorly rappels down from the ceiling, the guard is mind-whammied, and the vault is opened. This all happens just in time for Iris to also figure out that something’s not right, but it’s too late and Not Cecile gets her hands on the mask, going full Mask Entity. She forces Sue to tranq dart herself and then heads off into the night.

Sue wakes up in S.T.A.R. Labs’ medical center and berates Chester for falling for Not Cecile’s evil plot. Chester was already feeling guilty about his plan being the one to get the mask into the wrong hands, and Sue just makes him feel worse — like, “shouldn’t be on Team Flash” levels of worse. Iris finds him sadly working in his office and contemplating leaving. He was putting on a brave front this whole time, but he hasn’t felt sure about his place on the team since Cisco left. He thinks if he were really a part of Team Flash, to the point of really knowing them all the way Cisco knew them all, he wouldn’t have fallen for Not Cecile’s ruse. For some reason no one mentions that literally everyone thought that was actually Cecile, including Joe, so clearly knowing her better wouldn’t have helped.

Still, it’s a blow to Chester’s confidence. In true The Flash fashion, Chester will have to overcome this in the end so that he can save the day. Unbeknownst to Chester, this enemy is also being tackled from another front: real Cecile, trapped in the “mindscape” with Barry, needs to overcome the issues keeping her imprisoned.

As it turns out, the mindscape is based on Cecile’s memory of a psychiatric hospital she was a patient at around the time she graduated from law school. Guilt over not being with her ailing mother when she died sent Cecile into a spiral and, eventually, a complete breakdown, ending with her checking herself into the hospital. Shame has kept Cecile from admitting that she suffered from mental illness, and it’s that shame that the mask is feeding off of and amplifying in order to retain control of Cecile’s body.

Barry encourages Cecile to face her past and accept the struggles she went through — and that their existence shouldn’t be a source of shame — because he thinks doing so will break the mask’s hold on her. As Cecile follows Barry’s advice, Chester and Iris take on the mask-wearing Cecile, who is trying to use the Thinker’s chair to amplify her mental abilities. Iris serves as a distraction while Chester leaps out of nowhere and stabs the chair with a sword, giving him an “outward” hero moment while Cecile has an “inward” hero moment by coming to terms with her past.

It’s unclear which attack actually saved Cecile, but that’s fine. The episode ends with the mask dealt with, Cecile confessing her history of mental illness to Joe and getting nothing but support back, and Chester finally feeling like a real part of Team Flash.

Wow, just when I was giving up hope, The Flash delivers two good episodes in a row! Here’s hoping the streak continues.

Other Things:

  • Special shout-out to Danielle Nicolet (Cecile) and Brandon McKnight (Chester) for some stellar acting moments this episode. I hope the show does more with you guys in the future!
  • Really surprised at how much relevance the Thinker’s chair had this season.
  • Joe has uncovered something about Kramer’s past: she was in command of a squad and led them into an ambush. She was the only survivor. I would’ve assumed this was the event that Kramer already talked about, the one that made her hate metahumans? But Joe thinks it means Kramer was working with the enemy, which is why she’s kept it secret.

Wednesday, June 16, 2021

Never Have I Ever 1x09 Review: “... had to be on my best behavior” (Flashbacks and Trauma) [Contributor: Jenn]

“... had to be on my best behavior”
Original Airdate: April 27, 2020

I give a lot of grace to teenage characters in television shows. Even though they often frustrate me, I have to remember that they’re supposed to — their brains aren’t fully formed yet and they haven’t learned the critical thinking skills that adults do. But occasionally teenage characters demonstrate growth, pain, or emotions beyond their years. Even though she often fails, Devi in Never Have I Ever is this very character throughout “… had to be on my best behavior.”

Devi has experienced trauma — devastating, life-altering trauma that she cannot process because she’d rather run from it or shove it down. And in this week’s episode, we learn what happens when you try to run from or bury your trauma.


One time when I was in therapy, I uncovered a memory that my subconscious brain had buried. My counselor noted that our brains do that: they push down or hide memories that trigger pain and trauma to protect us. Devi’s brain does the exact same thing, and in this episode, it can’t hide memories anymore.

When we left off last week, Devi thought she saw her dad standing in the kitchen. Very quickly, Devi realizes that it’s not her dad but her visiting uncle. He’s in town to chaperone Kamala’s meeting with her potential suitor, Prashant. But that night, Devi remembers flashes of moments from the night her father died. In flashbacks, we see Devi telling her mother that she hates her. Mohan tries to navigate the tense relationship between the two; they’re fighting in that moment because Devi lost her sheet music for the concert.

In the present, Nalini warns Devi that Kamala’s afternoon is important and so the Devi drama and nonsense will have to stop for that day. It’s triggering for Devi, who recalls memories she’s buried — one in particular from the night of Mohan’s death, where Devi overhears Nalini telling Mohan that Devi is “his daughter,” and that she’s “no daughter of mine.” This wounds Devi in the flashback and is a memory that triggers some deep emotions in the present.

Devi’s desire to push down her uncomfortable memories and trauma is understandable. And really, Never Have I Ever is as much a story of grief as it is a coming-of-age tale. Devi’s unwillingness to do the hard work of confronting her own grief over her father’s death will have consequences. And as John McEnroe narrates in this episode, Devi’s surprised that she’s uncovered a memory she tried hard to forget, and believes distracting herself and smiling through her pain will keep that memory just below the surface. There’s also this moment which repeats a sentiment throughout the show — Devi plays the harp to distract her uncle and Prashant from seeing Kamala and Nalini sneak Steve out of the house. When Devi plays, she recalls happy memories from her childhood with her father. An instrument that only represented grief and trauma suddenly shifted into something happy again. And John McEnroe’s narration is the kicker: Devi thinks she’s cured! There’s nothing wrong with her anymore! (It’s the same reason she thinks her obsession with Paxton will fix what’s wrong with her.)

The problem is, that’s not how memories or healing even work. The more Devi tries to push bad memories away or down or cover them up with good ones, the more the memory is likely to surface at an inopportune moment — and with it, the pain and anger and grief she’s left unresolved too. Because the memory isn’t just about Mohan’s death; it’s a memory that is indicative of the feelings of inadequacy Nalini has fueled throughout the years. That’s the thing about emotional avalanches — they’re rarely about one thing, but many things we’ve left unresolved. Pile up enough unsaid confrontations, unresolved feelings, and trauma and you’re headed straight for an epic disaster.


Throughout the episode, Nalini tells Devi things that trigger wounds she hasn’t dealt with or vocalized yet. When Nalini critiques her, all Devi can think about is how much of a burden she is to her mother and how she doesn’t want her. When Nalini shows grace to Kamala for having a boyfriend even though she’s supposed to be meeting a future spouse but tears down Devi and Paxton for their behavior is also indicative of some of Nalini’s unresolved issues (which we’ll see continue in the next episode).

What I do love about Never Have I Ever is that it shows us glimpses into Nalini’s grief; Devi lost a father but Nalini lost the love of her life. And she admits at the end of the episode that she’s struggling to raise Devi alone without a support system. Without Mohan or family to help her. But Nalini clearly has trauma from Mohan’s death and grief that presents itself in the way she tries to control Devi; she couldn’t control what happened to her husband and sure as heck won’t let that lack of control happen in another area of her life. It’s not hard for Nalini to love but it’s hard for her to express love in a healthy way because she’s in the throes of grief too.

So Nalini is easier on Kamala because it’s easier to be gracious with someone who doesn’t remind you of what you lost. It’s not Devi’s fault, by any means, that Nalini feels this way. But both mother and daughter are deeply grieving the person who held their relationship together and neither know how to move forward expressing love and grace to each other in that struggle. And therein lies the beauty of Never Have I Ever: its unashamed, unflinching look at how our own unresolved pain causes other people pain. That cliché phrase “hurting people hurt people” is a cliché for a reason.

And it’s why the end of this episode hits like a punch to the gut. Devi’s uncle accidentally reveals that he and Nalini have been talking about her and Devi moving to India. Devi is floored, and Nalini admits that it’s because she needs family and support; she doesn’t know how to parent without Mohan beside her. But between the favoritism Nalini seemingly showed Kamala and the grief she’s been burying as well as the anger she’s unwittingly harbored, Devi combusts.

Devi tells her mother that she knows she’s a burden, and Nalini looks surprised that Devi feels this way. Devi’s admitting, in her own pain, that Nalini makes her feel unloved and unwanted. And then Devi confesses that she overheard Mohan and her talking the night he died. Poorna Jagannathan does an impeccable job at conveying the pain on Nalini’s face: both that Devi overheard her in her anger and frustration, and also that what Devi gleaned from that was that she’s unwanted.

But then Devi goes a step further and, in her pain, she seeks to only wound. That’s when she tells her mother that she wishes the one parent who cared about her was still alive. And she wishes that it was Nalini, not Mohan, who died that night. With grief and pain, she closes the door in Nalini’s face and thus, we hit the lowest point we’ve seen Devi at thus far.

Favorite things:
  • I like that John McEnroe’s narration takes on more of a serious, counseling tone in this episode, especially because it’s a really pivotal episode for Devi’s trauma.
  • “You cannot run in Los Angeles at night! This is the city of Charles Manson and Harvey Weinstein!”
  • “Great, thank you for relieving the pressure.”
  • “I’m sorry I called you hot.” I love how everyone, including Devi’s mom, is smitten with Prashant.
  • “And when I come home later, I will fix this.” Ugh, heartbreaking.
  • “There are more boys coming and going in this house than a GameStop.”
  • “Paxton, these are very unforced errors.”
  • “I kinda like you.” “I kinda like you too.”