One Day At A Time Review: How to Have a Latino Conversation About Politics [Contributor: Araceli Aviles]

Words cannot express how much I love One Day at a Time. If I had the money to take out full-page magazine ads with t-shirt sales and billboards and endless GIFs of Rita Moreno being fabulous, I would. Alas I am monetarily strapped, so I sit here and review. When Hollywood shut down due to the coronavirus pandemic, One Day At A Time was in the middle of their comeback fourth season on Pop TV. The Alvarez family was back and better than ever! A global lockdown could have been the end of the season, but executive producers Mike Royce and Gloria Calderon-Kellett weren’t having it. If the season was going to end early, it was going out in style!

 

This is how we find One Day At A Time in its latest, groundbreaking animated episode entitled “The Politics Episode.” Not only is every Alvarez family member now in cartoon form, but the familiar voices of Gloria Estefan (reprising her role as Lydia’s sister Mirtha), Melissa Fumero (returning as Mirtha’s daughter Estrellita), and Lin-Manuel Miranda (debuting as Estrellita’s husband Juanito) have joined in on the fun! I should clarify: this episode was fun for us as viewers, but not so much for Penelope Alvarez. Because while we dance for joy at hearing the voices of their portrayers, Penelope groans at the thought of welcoming her conservative, Trump-voting cousins into her home. Lest you think all Latinos are on the same wavelength regarding today’s politics, this episode shatters that illusion pretty firmly.

 

It’s important to note that this episode was written prior to the current Black Lives Matter protests which broke out weeks ago. The core conflict of this episode actually goes back almost two years, when at the end of the third season opener — spoiler alert — Penelope learned that her favorite cousin Estrellita had voted for Trump. This deep political divide in the family has not been brought up again until now, and no one could have predicted how important the timing would be.

 

Because Latinos don’t send families to hotels (seriously, not even at 200+ attendee weddings), the Reyes cousins will be staying with the Alvarez family while they’re in L.A. attending a baptism. In the half hour that it takes for the Uber to arrive, the Alvarez family frantically works through different scenarios of how to get through the visit. Schneider’s suggestion that they keep their feelings inside like white people (his words) does not work. Latinos only do that until they explode, or the tequila and/or rum kicks in. More often than not, this actually happens at the same time, hence why Lydia spends most of the episode downing a bottle of rum.

 

I’m not going to lie, the idea of Mirtha and Lydia settling things with a talent contest probably had the most merit. The animated preview was so great that I’m advocating for the real thing in season five! Elena’s idea of using old dirt against the incoming family members doesn’t work either, because whatever dirt you have on your prima, your prima has on you. Just trust me on this one.

 

In the end, Elena offers up a solid argument for why the Reyes family probably feels the way they do: that Cubans once trusted a man who made all kinds of promises and it worked out horribly. So why not support a candidate who can get you the most important thing you want, like pro-life rights? Again, this is still a hugely taboo subject in highly Catholic Latino families. In the end, both families decide to listen to each other with open hearts because at the end of the day, they are family.

 

Though this story was originally meant to be performed in front of a live studio audience episode, its shift into animation helped the episode shine in many more ways. Had this actually been filmed in the studio, it actually would have been really difficult to schedule Lin-Manuel Miranda into the episode, given his jam-packed schedule. And this makes me more eager for him to film a full, in-studio episode. There is also no way we would have gotten those hilarious brawls between Penelope and Estrellita and Lydia and Mirtha in a live episode. Rita Moreno is 88. She should not be fighting; she should be dancing. Perhaps a dance contest is in order the next time Gloria Estefan is in town?

 

How do you think One Day At A Time handled politics in this supercharged time? Would you like to see the Reyes family return for season five? 

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The Bold Type 4x11 Review: "Leveling Up" (Growing Pains) [Contributor: Araceli Aviles]

"Leveling Up"

Original Airdate: June 11, 2020

If you’re a Gen-X or Millennial living through this pandemic, I’m going to assume you’ve had moments where you gave the death stare to anyone who said that you could still “seize the world” during this time. This is why we need our mood boosters, our morale posse, our tight-knit crew who cheer us on when we succeed and hold our hair back when we get sick. And if you haven’t been able to achieve that while social distancing, this season of The Bold Type is just the thing you may need.

 

When we last saw our amazing trio, Sutton had accepted the stylist position at Scarlet and married Richard, Jane broke up with Ryan before proceeding with a double mastectomy, and Kat was fired for leaking her boss’s tax returns which showed his investment in politicians who were less than supportive of Scarlet’s progressive stances.

 

We don’t get to see the whole three months that have passed since those events but I want to give a personal thank-you to the writers for what we do see. The Bold Type’s time progression is marked by Jane’s post-mastectomy recovery, and I couldn’t stop crying while watching it. As the recent caretaker of a mastectomy patient, I applaud Freeform for showing the detailed struggles of this particular surgery: the exhaustion, the bandages, the limited mobility, the exercises — it’s all encompassing. Most importantly, there is a feeling of not being connected to your own body, from the alternating pain and numbness of a piece of your body now being gone to the struggle to accept what comes in its place. (Though Kat greeting the new “girls” with a friendly hello was a great way to break the ice!

 

Not even a swanky new office to go with her fancy new vertical can make Jane feel normal. She’s a boss now, but she does not feel like one. An awkward cupcake mishap blows up her first potential hire and when under the pressure of trying to sell herself as a boss to a second hire, Jane lies about being a member of an elite, private club. There’s just a whole lot of overcompensating going on and who can blame Jane? People often talk about not feeling comfortable in your own skin, but in this case for her, that is very literal.

 

Kat being Kat hypes Jane up enough to get an interview to join the aforementioned swanky club that day. And since Jane is Jane, she spills all of her fears and stresses to the interviewer, which actually works in her favor. People love Jane because she is 100% herself and that’s exactly what a club like this wants in its members.

 

Meanwhile, Sutton is riding high in her new position; but like Jane, she also has some growing pains that come with being in charge. What attracted Sutton to styling was the confidence she is able to give not only the models, but to any girl who is looking at Scarlet as an example of who they want to be. In an effort not to upset her relationship with a fashion house, she doesn’t listen to a client who wants to break free of her child actress persona. Thankfully, Sutton eventually takes the time to hear why the actress was acting out before, and Sutton rallies to give the young woman a second chance. She works so hard that she doesn’t pay attention to her body trying to tell her that something has changed, until she throws up in a planter at Jane’s new social club (don’t worry, Jane’s pass isn’t revoked). Let’s see how Sutton handles her next new role: expectant mom?

 

You would think that being a biracial, bisexual woman, Kat would know all about struggle. However, there is one area in her life that Kat has taken her privilege for granted: money. Kat has always worked but has never had to worry about funds since her landlords are her parents. Upon seeing that Kat has been more focused on public protests than making an income for the last three months, her parents decide to cut her off.  Kat is on the verge of accepting a very cushy job when she notices a little clause in her contract about employees not being allowed to make political statements of any kind, even on personal accounts. It’s such a constricting clause, but it is legal. While there are some who would take it, Kat could never. She isn’t someone capable of keeping quiet when injustice is happening, no matter the personal cost.

 

So Jane invites Kat to move in with her while she finds the right job since Alex is moving out. But why did it take so long for Alex’s place to be fixed, you ask? Turns out, the damage to his apartment was fixed months ago. He chose to stay to help take care of Jane while she recovered. Best guy friend ever!

 

What are your predictions for the rest of The Bold Type’s fourth season? What effect do you think pandemic will have on the shortened season, given that two episodes had yet to be filmed at the time lockdown began? Sound off in the comments below!

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6 Educational Channels on YouTube for Every Subject During Your Quarantine [Contributor: Araceli Aviles]

As the COVID-19 outbreak continues to wreak havoc on our daily lives, parents are having to quickly reassess how to educate their kids at home amidst all of the other worries. And while it is important that kids remain aware of the significance of sheltering in place, it is just as important that they continue learning about the world around them. As the self-proclaimed “Aunt in Charge of Visual Content” I feel it is my duty in these dark times to spread the knowledge. And for those who want creative content at low cost, YouTube has you covered.

Science: “Amoeba Sisters”
YouTube’s resident bio-nerds give lessons in biology with tiny caricatures which represent various elements and concepts in the natural world. Each lesson is tailored to a particular concept you would learn in 9th grade Biology, similar to what a student would learn on a chapter-by-chapter basis. Not only do they do a great job of explaining basic biology, but they have already released a video about the importance of social distancing. This is a fantastic resource for middle and high-schooler students, particularly those who are visual learners.

Science: “Bill Nye the Science Guy”
Millennials rejoice! The man who taught us physics, biology, and basic chemistry in a practical setting is available with full episodes of his original series on YouTube. In fact, you could call Bill Nye one of the original YouTubers before the platform was invented, as he is the inspiration for so many other channels which show physics in real time. And if you’re interested in the upgraded Bill Nye, you can find his new show available on Netflix.

Math:  “Mathantics”
... Also known as the guy I wish I had looked up before I tried to do homework with my nieces. Seriously, I could have saved myself a lot of frustration. “Mathantics” is perfect for middle-school age lessons in math such as complex equations, as well as basic algebra and geometry. To all the parents who hate math, this one’s for you.

Physical Education
This one is a little more subjective, but will give your kids an opportunity to be creative with their workouts. Because many parks, pools, beaches, and tracks have been shut down, much of the outdoor activities which require particular open spaces will no longer do. Walking, jogging, and running are still very much in, but what if that’s not your kid’s cup of tea? Indoor practices such as stretching, yoga, Zumba, and many core exercises can be done from the comfort of your living room. Because there is no one right way to exercise, you can get so specific as to type in “Harry Potter Yoga.” There really is something for everyone!

Art: “Art for Kids Hub”
Here is another area where there is almost too much content to pinpoint a specific starting point. There are basic lessons in drawing from “Art for Kids Hub,” but if you’re dealing with a prodigy in your household, you might want to explore more complex sketching and art lessons, particularly if you have plenty of art materials in your house.

English: “Oxford Online English”
This one is a little tricky because ultimately the Language Arts subject comes down to being able to sit down and read, which is not easy right now with all the libraries closed. However, basic grammar still needs to be taught. The “Oxford Online English” channel walks kids through basic lessons in grammar and vocabulary, with both British and American teachers. This can be useful because many of the novels in the American English curriculum, especially for high-school students, contain many works by British authors. Having different teachers for these lessons bridges the cultural gap as it applies to reading and writing. Not to mention, there are a few cheeky lessons in there about cultural differences in general, like the difference between American and British football!

Different schools are going to have different systems of learning for the rest of the term, as it is unlikely that many districts, especially large ones, will resume in-person classes for the rest of the school year.

Hopefully these channels will be a great way to supplement your kid’s learning, and maybe inspire them to deep dive into subjects they otherwise wouldn’t have before!

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The 2010s: Some of Our Favorite TV Shows of the Last Decade [Contributors: Jenn, Deb, Jaime, and Araceli]

It’s hard to believe that in just a few weeks, we’ll not only conclude another year but an entire decade. While it’s hard to believe that 2000 wasn’t just yesterday, the truth is that we’re about to enter 2020. A new year (and decade) holds a lot of promise, but it’s always fun to look back on the years that have passed to see how much has changed.

Over the years, there has been a lot of television. With the boom of streaming services, more and more people have shifted their viewing habits from traditional cable models to solely consuming content on Netflix, Amazon Prime, Hulu, Disney+, etc. But at the beginning of the decade, everyone was still in a frenzy for live television: we rushed to finish our dinners so we wouldn’t miss the beginning of our favorite shows.

And speaking of favorites... some of our writers thought it’d be fun to discuss our favorite television shows of the last decade. This is by no means an extensive list, as I’m sure most of us could talk for hours about the best television moments and series that have emerged in the last year alone, but it’s a snapshot of some memorable television shows. Settle in as we discuss our favorite comedies and dramas from the last decade! Then take to the comments section and talk about your favorites too.

Community (Jenn)

On any given week, Community could be a paintball action/adventure, an 80s homage, or a stop-motion animated Christmas special. That’s pretty incredible, honestly, and no matter how good or bad Community was at its execution, one thing is sure: it always took risks.

I fell in love with Community during one of its “normal” episodes early on (“Football, Feminism & You”), and it was the show that spurred me to start writing television reviews and thinking critically about things I loved. So when I think about shows that made their mark on the last decade, of course this one stands out. “Remedial Chaos Theory” is perhaps one of the most brilliant episodes of television to exist in the last 10 years. It managed to be a “choose-your-own-adventure”-style episode, with the writers crafting six different timelines depending on which character left the apartment to get pizza. It gave us one of the most iconic GIFs of the last decade too.

Community wasn’t perfect; it stumbled a lot in later seasons to establish what it wanted to be and how to get there. But there is, perhaps, no other show that tried as hard as this one did to think outside of the box and boundaries of what a network sitcom could be. In the end, Community will always be a special, brilliant show.

New Girl (Jenn)

Honestly, New Girl is one of the most iconic comedies of the last decade. Its ensemble-centric focus, recurring jokes and references (True American, anyone?), and focus on love and friendship makes it so significant. Additionally, behind the scenes, the fact that the show retained so many talented female writers and directors will always be admirable to me. New Girl, at its best, was a hilarious show about people living together who often had little to nothing in common. Jess was idealistic. Schmidt was materialistic. Nick was a slacker. Winston didn’t know who he was. Cece was tough.

But then the show decided to flip those stereotypes on their heads too. Schmidt could be sensitive and compassionate. Jess could be tough and fearless. Nick could be driven. Cece could be quirky. Winston could be... well, whatever Winston wanted to be! New Girl always did an incredible job of calling back jokes, displaying character growth, and proving that romance and comedy can always go hand-in-hand. Not much makes me cry as hard as that final game of True American. I’ll always be grateful for this beautiful gem of a comedy and count it as one of my “forever faves.”

Crazy Ex-Girlfriend (Jenn)

Few shows broke barriers in primetime comedy like Crazy Ex-Girlfriend did. I’ve written about this show extensively and one of the things I keep coming back to is how brilliantly it discussed mental health and stigmatized issues with humor and grace and genuine respect. The amazing part of the series was that it was able to have those deep discussions within seemingly silly premises. There were musical homages aplenty, callbacks for days, and character growth that was immensely impressive. To see what Rachel Bloom could do with Rebecca Bunch makes me grateful that she won a Golden Globe for her performance; that woman deserved all the awards possible. Rebecca was such a complex, deep character and Rachel Bloom kept drawing from her time and time again.

I’ve rewatched various episodes and seasons of the show and I’m continually amazed by just how snappy, funny, and smart the comedy is. The music is extraordinary, and the story of a girl in love who comes to realize who she is and accept herself is one that deserved to be told. Crazy Ex-Girlfriend managed to mash up light and darkness, silly and serious, and humor and heart in a way that not many shows could. It was a brilliant musical adventure that will live on long beyond this decade.

The Good Place (Deb)

I started watching The Good Place for two primary reasons, the first of which being that I had just lost Community the year before and there was a witty comedy-shaped hole in my soul that needed filling. The second reason was simply because I like Kristen Bell. The point is, watching The Good Place was an idle thing for me that I just kind of fell into with a shrug and a “I guess this’ll do.” I wasn’t eagerly awaiting the show’s premiere and, in fact, it was about halfway into its first season before my friend reminded me that I should probably check that show out since there was really nothing else on.

Even after I caught up with the episodes I missed, The Good Place hadn’t fully latched onto my heart. The next episode didn’t do it either, or the next, or the next. Not even the amazing twist in the finale of the first season totally cemented my love for the show, at least as far as I was aware — but then the second season rolled around, and suddenly I realized that I loved this show. When the second season was over, I realized I really, really loved this show. I even wrote about my love for this show here on Just About Write, in an article that mostly concerned itself with the astounding character-first writing the The Good Place focused on:

“Where other shows are straight lines, The Good Place is like a Spirograph drawing: constantly overlapping in different patterns to create a beautiful, unique whole. The more loops it makes, the stronger the design becomes, and the variations derive from the show’s focus not on the linear A-to-B success story, but on the intricacies of human behavior and the chaos that erupts from that.”

Since I wrote that post (just after the second season wrapped up) I’ve noticed a greater focus on the show’s larger philosophical ideas. Sticking to the Spirograph pattern metaphor, it’s as if the frame around a beautifully intricate drawing were removed to reveal an even larger pattern to which the first, smaller pattern belonged. The Good Place turned its story from a rather close-knit narrative about the only four real humans (plus a demon, plus a not-a-robot) in their world to a narrative about all humans. About what it means to be human. About how the fundamental point of humanity is to help each other, to improve each other, and to improve ourselves.

With incredible writing, acting, directing, and a large helping of honest-to-goodness heart, The Good Place hammers home the idea that we are all a part of the same incredible, complicated Spirograph pattern of life — that “We are not in this alone,” as Chidi put it — and it does so within a whimsical framework that makes its beats of philosophical thought and realness somehow more poignant. Despite the show’s propensity for irreverent silliness, it still manages to be reverent at all the right moments, pulled along by a thread of compassion and the idea that trying is always better than not trying. It is the anti-cynicism, the call to action for benevolence and empathy and constant improvement. It is nothing like I expected when I decided to watch halfway into its first season and it is everything I didn’t know I wanted from a TV show at this point in my life.

Hannibal (Jaime)

On the surface, Hannibal should not be as good as it is. It’s the TV version of a popular film franchise, set before the first film and creating a storyline for two characters that is otherwise hinted at in both the film and Thomas Harris’ novel Red Dragon, but not seen. It would have been very easy for it to become another in a long string of NBC Thursday night dramas, with a case of the week format and shallow characters who feel like cardboard cutouts. But under the deep affection of showrunner Bryan Fuller, Hannibal immediately proved itself to be so much more.

The show follows Will Graham, an FBI profiler with the unique ability to put himself in the mindset of a killer and empathize with them in order to understand why they did what they did, and follow the steps backwards to catch them. His work takes a massive toll on his mental state, and he begins relying more and more on his psychiatrist, Dr. Hannibal Lecter, a name that might be familiar even to non-fans. The series is dark and more often than not, brutal, with an unflinching look at madness and how easy it can be to succumb to the voices in your head. The true art of this show, and I would dare to call the entire show a work of art, is in its construction. Every week has a murder more grisly than the one previous, and yet, each crime scene (called a “tableau” by Bryan Fuller) is gorgeous to look at. Each aspect of every repulsive crime (and there are some repulsive things on this show that would feel much more at home on a paid cable network than on regular old NBC) is arranged artfully and cinematically, enticing the viewer to keep looking even though they want to look away.

That balance is the key to the whole show and permeates every aspect of it, including in the relationship between its two main characters, Will and Hannibal. It becomes harder and harder to watch as Hannibal’s psychological hold over Will grows, but it is impossible to look away.

American Vandal (Jaime)

The mockumentary format was everywhere in the 2000s, and inspired some of the most iconic shows of recent years. The 2010s saw the rise of true crime documentaries, where filmmakers follow a crime and try to piece together evidence, often either to identify a suspect or clear an accused suspect’s name. But those shows don’t matter, because both formats were combined and perfected with American Vandal, which follows two high school students, Peter and Ben, aspiring filmmakers who begin making a documentary about a recent incident at their school, in which somebody spray painted a penis onto every teacher’s car. Dylan Maxwell, a burnout who would rather smoke pot with his friends and goof off in class than actually learn anything, is accused of the crime, and due to most teachers’ prejudice against him, he is expelled and facing criminal charges. The documentary hopes to explore the events of the spray painting incident, while seeking to humanize Dylan and prove whether or not he is actually guilty.

It’s one of the biggest tragedies of my life that Netflix only gave this show two seasons (the second sees Peter and Ben going undercover at another high school to investigate an incident in which cafeteria food was tainted and caused mass diarrhea). The concepts of both seasons are, at face value, solely comedic, paralleling every major breakthrough scene in true crime investigation shows. And this show is, without a doubt, one of the best comedies of the decade, if not ever. But as each season goes on, so much more is revealed. It aims to represent its teenage characters fairly and thoroughly, with ample time spent on characters’ insecurities and how they inform their actions. This show could not exist before this decade because the use of technology and how teenagers interact with technology is vital. One massively impressive sequence in season one uses snippets of character-recorded Snapchat videos to piece together the events of a party; small events in the background of one video prove to be hugely important in following the night’s progression, and the direction and production of this sequence is breathtaking. If you want to laugh, watch American Vandal. If you want to cry, watch American Vandal. If you want to watch the most accurate representation of youth today, watch American Vandal.

One Day at a Time (Araceli)

Norman Lear has been at the helm of some of the most iconic and groundbreaking comedies in American history and, at 97 years old, he’s still making history. In 2016 he gave the go ahead to Gloria Calderon-Kellett and Mike Royce for a reimagining of the classic One Day at a Time, this time focused on a Cuban-American family. What makes this show comedy gold is not just that it took an old story and made it new or that it is one of a handful of shows in ALL of television focused on Latinos. I would even argue that the topical issues such as diversity, mental health, and LGBTQ+ rights aren’t totally what make this comedy so special. It is the fact that at its core, this is a show focused on a typical American family. That the Alvarez family happens to represent a high population of the country that has been severely underrepresented in mainstream television is whipped cream on this sundae. Said whipped cream comes in the form of the Spanish language and traditions that so naturally flow into the dialogue.

And Rita Moreno and Justina Machado are the cherries on top of this all! EGOT legend Moreno is comedy gold as the proud matriarch who never lets anyone forget that a) she is Cuban, b) she is still in her prime, and c) she is always right. As a single mom struggling with post-war anxiety and depression while trying to raise two teenagers with the constant influence of her own traditionalist, and fabulous, mother you can see the comedic frustration dripping off Machado in every scene.

The audience clearly agrees, since their vocal outrage at the show’s Netflix cancellation is the reason the show will be returning to Pop TV with new episodes in 2020!

Arrow (Araceli)

The proof is in its fandom. Truly, and no offense to Game of Thrones fans, but you will find no more impassioned fandom out there than the superhero fandom. And DCTV has been very good to its fans over the years! When Smallville went off the air in 2011, DC fans might have been skeptical of bringing in a new hero so soon. But Marc Guggenheim and Greg Berlanti took the vigilante that is the Green Arrow and turned him into a beacon of hope so bright, Arrow turned out to be just the beginning. The little superhero show that could has burgeoned into an “Arrowverse” with a multitude of superheroes who represent the spectrum of color, creed, as well as sexual and gender identity.

While there will be many articles in the coming weeks praising the brilliant work of the show that started it all, I’d be remiss if I didn’t single out the Green Arrow himself, Stephen Amell. From the beginning, Amell has worked tirelessly on and off-screen to elevate the show. From his memorable fan convention appearances to his championing of guest and recurring stars alike, Amell has shown that a true hero’s work is not done when the cameras are on. It is the tireless work ethic, commitment, and appreciation for every single cast and crew member, creator, and fan that Amell has shown, which has made the difference between Arrow being a simple DC show, and the lasting legacy that it is.

What were some of YOUR favorite shows of the last decade? Sound off in the comments below!

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Everything We Know About the Arrowverse Crisis of Infinite Earths Crossover [Contributor: Araceli Aviles]

The excitement for the Arrowverse’s massive, movie-style crossover might be the most highly anticipated event in network television in recent years. That being said, if you’re as dedicated and detail-oriented a fan as I am, you’re probably massively overwhelmed, and confused, as to how all of this is going to play out. For every new nugget of information we’ve received, there are equal scores of questions fans need answered. Therefore, I have compiled a list of confirmed guest stars as well as the biggest questions fans want to know about how Crisis, and Arrow’s subsequent end, will affect this universe of heroes.

ALL THE PLAYERS

Count on the regular players on Arrow, The Flash, Supergirl, Legends of Tomorrow, and Batwoman, to suit up, not all of whom will be donning their usual garb. It has been confirmed that Brandon Routh will be retaking his original superhero mantle as Superman for this crisis, which he originated in 2006’s Superman Returns. Only this time he will be known as Kingdom Come Superman.

Additionally, Arrow’s Audrey Marie Anderson will trade her power suit for her first supersuit, taking on the role of Harbinger. Not that we ever thought Lyla Michaels needed a costume to be amazing, but it’s still a treat!

Also reporting for Crisis duty:

• Tyler Hoechlin as Clark Kent/Superman
• Elizabeth Tulloch as Lois Lane
• Tom Welling as Clark Kent/Superman
• Erica Durance as Lois Lane
• LaMonica Garrett as the Monitor/Anti-Monitor
• Jon Cryer as Lex Luthor
• Cress Williams as Black Lightning
• Tom Cavanagh as Pariah, a scientist with a direct connection to the Anti-Monitor.
• Osric Chau as Ryan Choi, a new version of the The Atom
• Kevin Conroy as Future Bruce Wayne/Rumored Kingdom Come Batman
• Burt Ward in a yet undisclosed role/cameo

THE BIGGEST HANGING SWORDS

Both Arrow and The Flash have done an excellent job of setting up Crisis of Infinite Earths. This is particularly important because, more than anyone, both Oliver Queen and Barry Allen are under the impression that neither one of them will survive. But... do any of us really believe that? In addition to that hanging sword, here are a few other lingering questions that deserve answers by the end of Crisis:

1. Can the effects of Crisis, such as the destruction of Earth-2 (and, as revealed in recent sneak peeks, Kryptonian refuge Argo) be reversed?
2. How are Arrow’s 2040 characters involved in protecting their parents’ past, and how will the present-day ensemble react to their involvement?
3. Can Nora Allen still be born/revived?
4. Will the remaining Earths be merged, thus combining universes allowing for more cohesive crossovers post-Arrow?
5. Will Black Lighting come on board for future crossovers upon Arrow’s end?
6. Why was Supergirl, specifically, given no prior warning as to the crisis, given how the destruction of Argo kicks off her own personal devastation?
7. How does the Monitor expect Lex Luthor to be the “hero” of this story?
8. Was it always going to be Oliver’s choice to be the sacrificial lamb, or is there a larger cosmic destiny behind his impending death? Was this always his fate?

The most crucial detail to remember for the Crisis of Infinite Earths crossover? When it’s airing! Mark your calendars now. Crisis premieres in each Arrowverse starting tonight, and in the weeks to come as follows:

• Sunday, December 8: Supergirl
• Monday, December 9: Batwoman
• Tuesday, December 10: The Flash
• Tuesday, January 14: Arrow and Legends of Tomorrow

One piece of good news that we know for sure will come out of this crossover is that, by the end, we will have answers to almost every question we have, at least regarding Arrow. The end is nigh, my friends. And if we want some hope of light at the end of this tunnel, let us look to Marc Guggenheim’s final script pages for Arrow’s series finale: “Of possibility...”

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One Chicago Recap: Season Premieres of Chicago Med, Chicago Fire, and Chicago P.D. [Contributor: Araceli Aviles]

Given how far along each show in the One Chicago universe is in, they’d have to do something pretty shocking to jolt us out of our summer mood. It was not one, but all three shows, which said goodbye to an original cast member. Read on to see which one of your favorites will not be continuing on in Chicago Med, Chicago Fire, and Chicago P.D. this year.

Chicago Med

Given the events of the premiere, the theme of the hour should have been that everyone be mandated to see a psychiatrist immediately! But alas, Dr. Charles is only one man and he was otherwise occupied. Besides, how could he have known that Ava — whose sociopathic behavior became known when it was revealed she killed Connor’s father — would slice her own throat in the middle of the OR? Nor could he have known that Dr. Manning’s possessive boyfriend (Pretty Little Liars’ Ian Harding) would take advantage of her shaky, post-car crash memory and claim her as his fiancée? Long story short, Dr. Connor Rhodes has departed Med for a fresh start. We can only hope that Dr. Manning’s “fiancée” departs in a less violent manner.

Chicago Fire

Not since the season three premiere has Firehouse 51 faced such a tremendous loss. But five years later, we knew this one was going to be just as heartbreaking. In the first ten minutes of the premiere we watched as Brian "Otis" Zvonecek, took his final breaths of life. Three months later, Otis’s picture is up on the wall next to Shay’s. This, I must admit, made me feel queasy in its finality. It was only matched on the Tearjerker Scale by the memorial Chief Boden commissions for Otis right outside the firehouse.

What, hopefully, is not so final is Brett’s move back home. Sure, she tried it out for a few months. But the lack of adrenaline at the local fire department, plus a series of run-ins with people eager to box her into the person she used to be, should only prove to Brett that her place is in Chicago.

Chicago P.D.

I’m gonna pat myself on the back for predicting that Voight did not murder the mayor. After he got away with killing the man who murdered his son a few seasons back, it would have been too predictable. For a while, I thought that perhaps Antonio might have done it as revenge for Adam’s imprisonment. But as it turns out, Voight and Antonio were each other’s alibis, as Voight had been in the middle of taking Antonio to rehab at the time of the murder. Thus we say goodbye to original cast member Jon Seda, praying that his character finally gets the help he so desperately needs.

Meanwhile, the mayor’s murderer was, in fact, Superintendent Kate Brennan. Voight didn’t have the heart to bring her in, given the chokehold of pressure Kelton had her under, which ultimately pushed her over the edge. Before she could make any decisions, be it a suicidal confession or something else, Halstead came to the rescue. Or... did he? Voight was not too happy with Halstead’s constant questioning of his actions during this case, to the point that Voight invited him to leave Intelligence. Yikes!

The One Chicago universe lost three of its original cast members in one night. Where will these losses take those left behind?

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June Television Calendar 2019: It’s Going to be a Crowded Summer [Contributor: Araceli Aviles]

If you’re one of the millions of people wondering what you’re going to do with your time now that the September through May network television programming is on hiatus, fear not. The June TV calendar is unusually crowded this year!

Some shows you’ll be seeing on your screens this month are brand new, and there’s something for everyone. If you like soapy drama, ABC’s Grand Hotel is for you. If you’re looking for some star power in your hour, Netflix’s Tales of the City is where you’ll find Oscar-nominated actresses Laura Linney and Ellen Page; and cruise over to Showtime to find Kevin Bacon in the gritty new Boston cop drama City on a Hill. If you really need to start off the summer with a laugh, comedian Gabriel ‘Fluffy’ Iglesias will have you in stitches as a new high school teacher in Netflix’s Mr. Iglesias.

Even with new series, it’s the returning shows that are the most anticipated this month, with fans of these shows waiting one, two, and even four (yes, you read that right, four) years for these returns. Among the big returns are cable sweethearts Younger, Queen of the South, and Good Trouble, streaming smashes Luther, The Handmaid’s Tale, and Big Little Lies, and newly risen-from-the-ashes Designated Survivor, which makes its Netflix debut this month after being cancelled by ABC last year.

Also, in a surprising last-minute twist, CBS All Access will be releasing the entire first season of The Good Fight on mainstream CBS for a limited run. The Good Wife spin-off, currently in its third season, has received critical acclaim and a 96% rating on Rotten Tomatoes. The hope is to attract more viewers to the network’s streaming service, which currently has eight original series in its stock, including the upcoming Stark Trek: Picard, which will see the return of Sir Patrick Stewart as Jean-Luc Picard 32 years after he originated the role.

Below you’ll find a full calendar view of every new and returning show. Happy viewing!

Let us know what you will be watching this summer in the comments below!

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Remembering Luke Perry: How The 90s Heartthrob’s Final Television Role Epitomized Who He Was [Contributor: Araceli Aviles]

The world is mourning the loss of one of the most recognizable faces of the 1990s. Actor Luke Perry died yesterday in Burbank, California after suffering a massive stroke last week. He was just 52. To say that his death has been a shock to the world is an understatement. The loss of an idol isn’t something one is ever prepared for, but the loss of a man so many people in Hollywood could call a friend...well, let’s just say shock is the only word I could come up with.

Luke Perry will always be known for his iconic role as Dylan McKay on Beverly Hills, 90210. His James Dean-esque swagger coupled with his heart of gold catapulted him to stardom almost overnight in the early 90s. Fans of Perry and his bad boy alter ego still yearned to see what would have become of his character more than 30 years after he inhabited the role. (Note that three decades later, the Brenda vs. Kelly debate is still raging.)

And as grateful as Perry was to have had that experience, you’ll find over 90 onscreen credits to his repertoire. That level of stardom tempered down a bit as Perry found numerous other projects to spread his wings on. No doubt his fans are consuming as much of his work as they can in the hours since his death.

One of his last roles was as Fred Andrews on the hit CW series Riverdale. If you’ve been to Comic-Con recently, you’ll know that Riverdale has reached a level of cult-fandom all its own — success which Perry was very familiar with. This time however, he got to play a role which most closely resembled who he truly was: a dad. And not just any dad, but the most humble, down-to-earth parent.

I was lucky enough to meet Perry at a Wondercon roundtable two years ago. Here’s the thing about working your way through Hollywood — whether it’s on camera or behind-the-scenes in whatever capacity — you start at the bottom, work your way up for years building connections, and fully prepare for your experiences with big stars to pass quickly and without too much impact. You get in, do your job, and five minutes later, the experience is over. But occasionally you will meet someone who leaves a lasting impression, someone who doesn’t give generic answers to your questions. Someone who is honest and humble and takes the time to shake hands with everyone at the table, even when you’re on a time crunch.

That was Luke Perry.

My immediate impression upon meeting Perry was that this was a guy who had quickly built bonds with the younger generation on Riverdale. In my joint interview with him and his on-screen son KJ Apa (who plays Archie Andrews of the original Archie Comics), you could see the relationship they’d built as friends. At that time, Perry had this to say about his relationship with his "son":

“A lot of times when we’re playing the scenes, we’re not necessarily father and son. We’re just a couple of guys. Depending on what the issues are, I have to step in and be the father. But I also think, I learn from my son. He teaches me stuff along the way. As a father, you look back and it makes you proud to realize that your son is someone you can lean on. I feel like he’s got my back.”

That was Luke Perry talking about playing Fred Andrews, but also about being himself. And so when it comes to this role, was Luke really playing anything? Or was he just being who he was? A father figure to these young kids thrust into stardom, an experience he was quite familiar with. A friend to co-stars young and experienced, sharing stories and talking about their day-to-day lives. How much of Fred was Luke, and how much of Luke was Fred?

When you realize that Perry’s final teen show role was more close to who he really was, it makes the heartbreak that much more raw. Because we’re not mourning a teen icon or a superstar or a fabled legend. We’re mourning a man who was as humble and kind as you’ve heard.

So to Luke Perry, from a working writer who met you for six minutes one March afternoon, thank you for your courtesy, your honesty, and your generosity in sharing a laugh or two.

Gone but never forgotten.

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RENT Live: In Defense of FOX’s Intent to Represent Life for More Than One Generation [Contributor: Araceli Aviles]

The show must go on, and it did this past Sunday with FOX’s semi-live production of the Tony Award winning musical RENT. There are already scores of articles debating the choice to air pre-recorded footage of the musical due to cast member Brennin Hunt’s last-minute injury. Some were fine with the choice, while others called out the creative team for poor planning (Hunt did not have an understudy). The one thing everyone can agree on is that the decision to reunite the original Broadway cast with their 21st century counterparts for a finale tribute to RENT creator Jonathan Larson was truly fitting.

Larson never lived to see the musical’s first off-Broadway production, let alone the tsunami of success his work has wrought. Not only did the musical catapult the careers of its original cast, but it became one of the most recognizable and impactful musicals in modern history. RENT was Larson’s masterpiece and passion project. It was his way of giving a shouting voice to a generation being told to hide in the corner and be silent.

That was what it was in the 1990s, but what does it mean today?

To the Gen-X and early Millennial generations, RENT was the musical we needed to hear. It’s as ingrained in our memories as the rise of N.W.A., Green Day, and the Dawson’s Creek theme song. All contradictory phases in pop culture to be sure, but nevertheless, all important markers of the late 80s and 90s. Many of this generation are now parents themselves, some to teens and preteens who like to say things like, “Mom, that music is so old.” [Insert outraged emoji here.] But many of these comments come from a lack of understanding of where these artists and phenomenons came from. RENT specifically came out of a generation that was not only being stigmatized and discriminated against every day, but people who were quite literally staring death in the face. Gen Z has their own social issues to contend with, but in many ways, the coping mechanisms have changed.

Each generation has its own social issues, of course. For the Baby Boomers, they were the social justice fights of the 1960s and the Vietnam War. For Gen-X, it was the AIDS epidemic. For Gen-Z, it’s mass shootings. This might seem like a gross oversimplification of the progress and history of the late 20th and early 21st century of Western civilization (especially in the context of musicals), but bear with me for a moment.

Each struggle was tangled up in a fight against discrimination and bigotry, but the HIV/AIDS crisis had a deeper layer to it. Not only did it place an increased stigma specifically on the LGBT community because of years of ignorance about the virus, but HIV was quite literally a death sentence for a decade. It took years — and far too many lives lost — to create drugs capable of effectively combating the virus (a fact confirmed in RENT). It took far longer for those who survived to shed the false and bigoted labels that came with an HIV diagnosis. Larson knew that, and he knew how important it was to put specific words to the indescribably pain of many.

But what really made the first incarnation of RENT so indelible in our minds is a spirit of friendship — of hope in the face of the disenchantment with the establishment and, above all else, making the most of love. Live or not, I believe FOX’s version pulled that off. You could see it in the joy and charisma Valentina puts forth from that very first pose of “Today 4 U.” You can see it in the instant connection between Brennin Hunt and Tinashe’s Roger and Mimi, which was palpable in one of the only live scenes of the broadcast: “Your Eyes.” And don’t even get me started on the masterful complexity that was the work of Vanessa Hudgens, Jordan Fisher, and Brandon Victor Dixon — all of whom turned out performances that you could feel coming from the inside out. The mark of a great performance isn’t just in the strength and caliber of the performer, but whether the performers themselves could feel the power in the work they were tasked with. Every single RENT Live performer did that. You could tell they loved what they were doing, and took their place in this show very seriously.

One of the hallmarks of RENT that made the musical successful is that it was set in a time and place where there was no escape from the struggle, except in defiance. By defiance, I don’t mean rioting or protesting, although that certainly has its place in the story. Defiance in terms of refusing to accept the hand you have been dealt until you absolutely have to. Defiance in terms of not giving into despair and reveling in the things you do have — such as your individual power, willingness to accept vulnerability as a strength, forgiveness, and ultimately, your voice. In other words, the ability to embrace what is and what could be, instead of hiding in the shadows; or in the case of Gen-Z kids, technology and its many false escapisms.

So to anyone who wants to quibble over the power of live versus semi-live broadcasts, I ask you to put that question into the “What’s Done is Done” category, in favor of a more important question: Can a new generation learn from Larson’s work? Can they learn about that time, and apply Larson’s message to a new road forward? Can they be taught to stand tall together like RENT’s ensemble during “Seasons of Love,” instead of hiding in cyberspace? It certainly answers the question of how to explain the musical’s importance to today’s youth.

Because anyone who believes that the HIV/AIDS epidemic has been eradicated in the United States isn’t paying attention. Anyone who believes that racial discrimination, homophobia, and homelessness is another person’s problem has their head in the sand. Just because we have made progress in the last two decades does not mean that Larson’s work is finished, and that is why RENT Live was a necessary production that deserves commendation.

It’s also why, though many won’t be dissuaded from criticizing FOX’s production of this musical, the cast carried the bookends of this production with them during their performances. Reuniting the original cast at the end of the live show was a sweet gesture, but more poignant is Larson’s message at the beginning of the broadcast. Had he lived, he would have been all over this production trying to perfect it. But in the end, his message would have been the same:

“In these dangerous times where the world is ripping apart at the seams,

we can learn from those who stare death in the face every day.

By reaching out to each other and bonding as a community,

rather than hiding from the terrors of life.”

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Outlander 4x01 Review: "America the Beautiful" (The Notion of an Infinite Circle [Contributor: Araceli Aviles]

"America the Beautiful"

Original Airdate: November 4, 2018

“There’s something about the notion of an infinite circle that fascinates me.”

These are the words Stephen Bonnet says midway through the premiere of Outlander’s fourth season premiere. With this one statement, Bonnet’s words lay the course for the season ahead.

The symbolism of a circle is everywhere. Whether it’s in the journey that brought Claire to, from, and back again to Jamie in the 18th century, or in the two rings she wears for the commitments she made, the pattern is the same. Things that were thought lost can come back full circle. Why else would the first scene of the season be at a new set of stones, in America, in 2000 B.C.? I won’t spoil the season for all the non-readers, but seriously, read between the lines.

The very first teaser released for Outlander’s fourth season — almost a year ago — was Claire and Jamie sitting atop the hills dreaming of what America will become. It’s a nice story — even nicer for the Frasers given their prior knowledge that in just eight years, the British will go to war once again, and this time they’ll lose. For the families who lost almost everything after losing the Highlands, that’s some comeuppance.

However, remember where we are now: North Carolina, 1767. America is still under British control, just like Jamie’s beloved Scotland. Which means as far as the rule of law goes, we’re a long way off from fair trials. Jamie watches his friend Gavin Hayes, who killed a powerful man in self-defense, hang in the first five minutes of the hour. Yet Scottish pride is strong in the colonies, and this is one of many points which draws Jamie to America.

Though the Frasers had every intention of going home to Scotland, Jamie gets an offer to stay and become an agent for the British. Jamie would do a lot to protect his family, but given his history and knowledge of the future, there are lines. Nevertheless, there is one person drawing him to stay, and it’s not Claire. Remember what I said about circles? Recall that there is a young girl, living some two centuries ahead in time, whose home is the United States of America. Brianna Randall (Fraser) is more American than the British or Scottish she is by blood. Jamie knows this. Having never met his daughter, he’d give anything to be close to her. Being on the same continent, even separated by time, is better than nothing.

So the entire Fraser clan decides to stay: Jamie, Claire, Fergus, newly pregnant Marsali, and traumatized Ian. Poor Ian. Geillis did a real number on him, much more than we realized. It’s understandable. Ian was a sheltered boy craving adventure, and got much more than he bargained for. As it was, Geillis was a formidable opponent for Claire and Jamie and they have had their share of experience with evil. But they have each other, whereas Ian had no one. Cue the introduction of the newest member of the Fraser family: Rollo! Not two minutes onscreen, I was in love with that dog. Anyone else?

(As a side note: while Ian was negotiating his stay in America with Jamie, all I could think was, “I wouldn’t want to be in the room when Jenny finds out.”)

But we were forewarned that life would not be rosy for Claire and Jamie. If ever there were a couple who deserved a break, it would be them! It’s not as if they don’t get their time alone. Given how their passion hasn’t tempered since their wedding night, it’s not a stretch to think they’d combust if they didn’t get alone time!

The thing to be admired about Claire and Jamie is how, though they change through the years, the core of who they are remains the same. Their resilience, strength, innate kindness, and intense stubbornness make them equal in measure and will. The qualities they share have kept them alive, even if they did cause some wicked fights between them (but then the make-up was worth it wasn’t it?) And let’s just admit that a husband is pretty close to perfection when he gifts his surgeon wife a box of high-end medical tools.

It’s not as if Claire could afford to be a material person with all the traveling and danger she’s been through. As soon as Claire started talking about how much she loved her wedding bands, we should have known there’d be trouble. This season, that trouble comes courtesy of Stephen Bonnet — a pirate who pays the Frasers back for their generosity by raiding the few precious items they have, including Claire’s wedding bands. You would think the Frasers would be better at spotting a weasel in weasel’s clothing. This is NOT what Ray Charles meant when he sang “America the Beautiful.” But Claire knew that too, given how she related the displacement of Native Americans to the Scottish Highlanders. There’s that circle again.

Hopefully, after a little time digesting the unfortunate end to that opening hour, you’ll go back and re-watch the opening credits for some clues of what’s coming this season. Stop reading right now if you want to be surprised! A few images to draw your attention to for the coming weeks: the Fraser family home, Claire laying a black man to rest, a 20th century Scottish festival, a woman’s hands on (presumably) the stones of Craigh na Dun, the journey of a few Native Americans, and one foreshadowing image of a man writing notes while holding a hand-drawn portrait of Brianna.

So Outlander fans, what are you most looking forward to in season four?

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The Good Doctor 2x04 Review: "Tough Titmouse" (Personal Responsibility) [Contributor: Araceli Aviles]

"Tough Titmouse"

Original Airdate: October 15, 2018

The theme of this week’s The Good Doctor centered around parents finding the right way to be there for their kids. For the parents of kids in the hospital, decisions are made in the face of fear. However, what about the decisions you already made for a child? What if you regret a choice you made that changed the course of your child’s life? Or worse, what if you don’t, and living with the pain of doing the right thing is harder than anything else? Several parents found themselves in these positions, including one doctor who has kept a very tight lid on his personal life.

Shaun is the one person who could not understand the parental perspective, nor was his storyline directly related to this topic. Shaun’s biggest challenge was getting Lea to talk to him. However, Lea isn’t the only person Shaun has made angry. Dr. Glassman is perturbed, at the very least, when Shaun interrupts his very vivid hallucinations of his late daughter Maddie (The Americans’ Holly Taylor).

It’s difficult to say what would have been easier on Glassman: Shaun disrupting his mentor’s conversation with his dead daughter, or letting this guilt-riddled therapy session reach its conclusion. The latter is what happened, and it was painful to watch. Because as we finally learn the reason Glassman harbors so much guilt over his daughter’s death is because he feels he handled her addiction all wrong. Father and daughter go through the ringer dredging up every argument they ever had, just the way they would have had she survived.

The two main cases of the week dealt with opposite ends of the parent-child dynamics. Dr. Reznick and Brown technically deal with a young adult whose parents take drastic steps to keep their daughter from extreme sports. In that case, no one won because an arguable overreaction was in direct reaction to an underreaction.

Shaun deals with a teen with Fragile X Syndrome whose mother decides she no longer has the energy to take care of him on her own. But while this case seems more closely relatable to Shaun, especially given his flashbacks to his time in a foster home, the case is actually closer to Dr. Melendez. As we learn in this hour, Melendez also has a disabled sister who is also in a group home. True, she seems to receive the finest care he can provide her. But there’s no easy way to understand the pain both child and caretaker feel when your own best isn’t enough. Through his sister, we got to see a new depth to Melendez and why personal responsibility is such an important part of his character.

What this hour was really about is that personal responsibility doesn’t end when a child reaches adulthood, and it shows fewer discrepancies than we think between “healthy” children and those with a sickness or disability. That kind of weight stays with you. But taking full responsibility sometimes means admitting you can’t do it alone. Glassman made that mistake, and it took his daughter’s ghost forgiving him to finally regain a little peace.

By the hour’s end, Shaun had to admit his fears to Lea. Shaun was a little too honest with Lea about his pain. All he had to do was pepper his honesty with kindness. That Lea could understand. Still, my jaw was on the floor when Shaun told Lea he rented a two-bedroom for them to share! Go big or go home, right?

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How The Charmed Reboot Misses The Mark, Culturally and Otherwise [Contributor: Araceli Aviles]

Let’s face it: we live in an age of reboots, and almost all of them fail to capture the essence of the original content. It’s the risk you take trying to revitalize something that made such a significant impact in its heyday. The television fandom has expanded so exponentially through blogging and Twitter, but these vehicles are driven by one enduring factor: human memory. Human memory clings to the emotional attachment you felt the first time you watched your favorite series, not fancy CGI, or even the original characters. To truly hook people with a reboot, you must recapture the original essence. This is particularly difficult to do, as it has the original premise (or at least a variation of it), not the original cast.

I will preface my critique of The CW’s remake of Charmed by saying that I was a huge fan of the original series. To this day, I could probably recite the original pilot word-for-word, and point out more than a few guest stars who got their big breaks playing baddies/heartthrobs/demons. That’s how deep my fandom goes, so I’ll admit bias toward the original. The truth is most fans dedicated to their favorite series are biased — especially as they appreciate the rich balance between the sci-fi/magical rules of a show, and the intensity of human emotion it uses to make those impossibilities seem so real. When you get that balance right, you’re golden. The original Charmed pilot did just that, and only built from there. Sorry to say, this reboot doesn’t have that same spark.

We’re going into SPOILER ALERT territory from here on, so turn back if you don’t want details on the latest pilot.

I could be nitpicky, and harp on the fact that in the pilot: 1) The whitelighter doesn’t orb, 2) The whitelighter is a pompous Brit who is teased to be evil, and 3) Melinda Warren has no place in this lineage. To this last point, I will actually not give any leeway, for a few reasons. It is understandable that the team behind the latest incarnation of a beloved would want to honor the original in as many ways as they can.

However, sticking Melinda Warren in the middle of the story as if she is a bookmark in the Book of Shadows is not the way to do it. No matter how the writers explain it, there are just too many complications involved with bringing up the matriarch of the Halliwell line. It would imply that the new sisters are related to the Halliwells. Add to the fact that it has only been a decade since the original Charmed series went off the air (not necessarily giving the lineage enough time to progress to the power of another full-fledged "Charmed Ones"), and there seems to be more harm than good done with this decision. Having not seen the full series, I could concede that perhaps the writers have a plan in place to answer this very question. However, it seems difficult to do so, given the corner they’ve written themselves into. All the kudos in the world will be given if this can be finessed.

Which brings me to the one point that pains me most about this new Charmed series: the representation itself. Following an early screening of the pilot at San Diego Comic-Con 2018, it was important for me to take the time to hear the writers out on their vision for the series. They've made their points on what they want it to be, specifically how to honor the original series while focusing on women of color. Specifically, bringing in the practice of brujeria — the Spanish form of witchcraft — is daring, and a welcome introduction to the entertainment medium.

But there is a time when good ideas are better in conception than in practice. The idea for the current sisters to explore their ancestors’ roots in brujeria only further confuses the need for Melinda Warren’s presence in the story. The geography alone seems difficult to finesse, given that you’re talking about melding the traditions of witchcraft from two separate continents. More than that, this sends a deeper, more conflicting message to viewers — particularly viewers of color — about the way our stories should be profiled in the entertainment industry.

Why does a new show have to piggyback on a legacy of a former show that was already great and stood on its own merit and mythologies? Why can't there be a show that talks about witches for people of color without borrowing off specific tropes in the Charmed legacy? It makes no sense chronologically, since the original Charmed Ones had a clear, specific history that made a point of tracing their lineage back to the American witch trials. Likewise, Latinos have their own dense, deep history in brujeria that not only goes back centuries, but blends with a deeper discussion about mestizo culture. It would be amazing to be able to use an entertaining show to showcase the journey of brujeria from the Spanish bruixes, to the combination and eventual evolution of European and Native traditions which produced many cultures and traditions in Latin America. Make no mistake, the material is there. (Netflix’s upcoming take on the subject matter, entitled Siempre Bruja, proves just that). But with the material comes the Charmed title card.

In my opinion, it is a disservice to Latinos to borrow on the fame and legacy of the original Charmed — to not trust that a Latino sisterhood is strong enough to stand on its own, separate and away from the early American mythologies. Which is also a great shame for the original series, and the things it had to say about feminism pre-#TimesUp.

So many things about this Charmed reboot could have been great; but as I said, sometimes the blending of ideas is just better in concept than practice. In the practice of properly representing women of color, all we can do is our best to tell our truths in the medium which we are given. But sometimes, the push for a more expanded narrative can have a more significant impact in the long run.

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The Good Doctor 2x01 Review: "Hello" (Learning and Adapting) [Contributor: Araceli Aviles]

(Photo credit: ABC)

"Hello"

Original Airdate: September 24, 2018

The Good Doctor is one of a few shows that has managed to grab hold of our hearts, without clinging larger-than-life catastrophes. This show doesn’t need gimmicks, which we should all appreciate. Instead, its focus remains on the premise — that of a young, autistic doctor trying to be accepted as an equal in a demanding profession. Some shows switch up the direction as time progresses, straying from the pilot’s central question. For The Good Doctor, that question was whether or not a person with autism can thrive in a demanding profession. He can do the job, and he can be taken seriously in the job, but can he succeed long-term? That ends up being the central question for all the residents, which is the point. At the end of the day, there is no difference between all of the residents’ struggle. They’ll just go about getting to that end goal in different ways.

Which brings us to season two. Each second year resident has their own weaknesses that they have to work on. The path for each resident was laid out by Dr. Andrews, who has now taken the hospital presidency from Dr. Glassman. The advice is as you’d expect (Morgan lacks compassion, Claire lacks initiative, etc). Everyone knows that Shaun needs to work on his communication skills (though he actually works quite well with the homeless community).

Of course, Andrews is more of a managerial type of doctor. Every hospital — especially one that needs funds to not only thrive, but provide outreach programs — needs one. But like his residents moving into their second year, he too has things to learn. If he hopes to keep this job as long as Glassman did, he has to push his doctors into trusting their abilities. In a weird cyclical way, that is how Andrews will learn to trust them in return. It would be nice if he could have done this before prematurely creating buzz for a major cardio surgery before its risks were properly assessed, but live and learn.

Dr. Andrews proved he was more than an antagonist by chastising Dr. Kalu’s actions last season, and he was right. Kalu compromised himself in more ways than one, and he used a false claim of racial discrimination to minimize his own mistakes. In the long sequence of events, you could pick apart the why and the good intentions in it all. But ultimately, Andrews was right — and Kalu knew it. It doesn’t invalidate all of Kalu’s good work, but he could use a fresh start. Not before pushing for one last case, and one final lesson, with his friend though.

Everything that Jared Kalu did in this episode was bittersweet and completely right. He was right to stand up for himself and his right to treat a patient. He was right to stand up for Shaun with Andrews, asking the man to respect Shaun when he is trying to speak, in his own way. And Kalu was also right to turn down Claire’s request to stay. It was made out of guilt more than anything else. Living in a fantasy world of "what if’s" helps no one. It just makes you twitch to realize that Kalu displayed his best self once he had one foot out the door. At least he was able to leave Shaun with some food for thought.

For the first half of this episode, Shaun refused to see Dr. Glassman. Since he can’t physically do anything, he doesn’t see the point. "Just being there" is an abstract concept. And this point, I cannot stress enough: The first rule to understanding someone with autism is that they have trouble with abstract concepts. It does not make Shaun obtuse or unaffected. It just means he has feelings he cannot adequately make sense of, so he keeps things in practicalities.

Even when Shaun finally does go see Glassman, he is quickly inspired into action regarding his homeless patient. This leaves Glassman to the mercy of his oncologist, Dr. Marina Blaize (House alum Lisa Edelstein). She is also one of Glassman’s former mentees — one who won’t take his pushy self-treatment. She’s the kind of doctor who has the strong spine to treat other doctors. Between her putting her foot down, and Shaun keeping his mentor focused on the facts, Glassman is in for a rough road ahead.

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2018-2019 TV Season Premiere Dates: Everything You Need to Know! [Contributor: Araceli Aviles]

Fall television season is finally upon us, and with it: all new television! Check out the schedule below to see what airs when. We'll update the post as new dates and times become available for shows.

SEPTEMBER 2018

September 25

Mr. Inbetween (FX)
The Gifted (FOX)
Lethal Weapon (FOX)
NCIS (CBS)
FBI (CBS)
NCIS: New Orleans (CBS)
This Is Us (NBC)
New Amsterdam (NBC)

September 26

Empire (FOX)
Star (FOX)
Criminal Minds (CBS)
Chicago Fire (NBC)
Chicago Med (NBC)
Chicago P.D. (NBC)
South Park (Comedy Central)
The Goldbergs (ABC)
American Housewife (ABC)
Modern Family (ABC)
Single Parents (ABC)
A Million Little Things (ABC)

September 27

The Good Place (NBC)
Mom (CBS)
Murphy Brown (CBS)
S.W.A.T. (CBS)
The Big Bang Theory (CBS)
Young Sheldon (CBS)
Grey’s Anatomy (ABC)
Law & Order: SVU (NBC)
How To Get Away With Murder (ABC)

September 28

Last Man Standing (FOX)
The Cool Kids (FOX)
MacGyver (CBS)
Hawaii Five-0 (CBS)
Blue Bloods (CBS)
Tracey Ullman’s Show (HBO)

September 30

God Friended Me (CBS)
NCIS: Los Angeles (CBS)
REL (FOX)
The Simpsons (FOX)
Family Guy (FOX)

October 2018

October 1

The Neighborhood (CBS)
Happy Together (CBS)

October 3

SEAL Team (CBS)
Criminal Minds (CBS)

October 4

Will & Grace (NBC)
Superstore (NBC)
Station 19 (ABC)
I Feel Bad (NBC)

October 5

Into The Dark (Hulu)
The Man in the High Castle (Amazon)
Big Mouth (Netflix)

October 7

The Walking Dead (October 7-AMC)
Madam Secretary (October 7-CBS)

October 9

The Flash (The CW)

October 10

Riverdale (The CW)

October 12

Dynasty (The CW)
Blindspot (NBC)
Crazy Ex-Girlfriend (The CW)
The Romanoffs (Amazon)
The Haunting of Hill House (Netflix)

October 14

Camping (HBO)
Supergirl (The CW)

October 19

Marvel’s Daredevil (Netflix)

October 23

The Guest Book (TBS)

October 24

Bodyguard (Netflix)

October 25

Deutschland 86 (Sundance)

October 26

Chilling Adventures of Sabrina (Netflix)

October 28

Ray Donovan (Showtime)
Patriot Act (Netflix)

October 31

Tell Me A Story (CBS All Access)

November 2018

November 2

House of Cards (Netflix)
Homecoming (Amazon)

November 4

Outlander (Starz)

November 16

The Kominsky Method (Netflix)
Narcos: Mexico (Netflix)

November 18

My Brilliant Friend (HBO)

November 19

The Little Drummer Girl (AMC)

December 2018

Timeless (NBC)
Marvel’s Runaways (Hulu)

January 2019

Victoria (PBS)
Schitt’s Creek (Pop)
Shameless (Showtime)
The Unbreakable Kimmy Schmidt (Netflix)
I Am The Night (TNT)
The Masked Singer (FOX)
grown-ish (Freeform)
Good Trouble (Freeform)
Sirens (Freeform)
True Detective (HBO)
Lucifer (Netflix)
Game of Thrones (HBO)

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