She-Hulk: Attorney at Law (2022) s01e05 – Mean, Green, and Straight Poured into These Jeans

There aren’t any big guest stars this episode; it’s all regular cast—including Renée Elise Goldsberry getting a big part after showing up in the background for an episode. Two episodes? Did I sleep through a scene in the first episode where they introduced the law firm staff? Because they really should’ve. Especially since Josh Segarra’s back this episode, and no one says his name (it’s “Pug”), so if you weren’t paying attention for his minimal involvement an episode or two ago… he’s basically just some dude.

But forgetting the characters not being introduced by name, this episode is the law firm sitcom I’ve been waiting for. Tatiana Maslany has to go to court to fight for the “She-Hulk” moniker, and her ostensible nemesis Jameela Jamil starts a wellness brand with the name to be an asshole. Goldsberry represents Maslany and the two bond over lawyer stuff, but also the alter ego business. Their tactics are good both as legal show banter and character development. She-Hulk, the character, has an odd place in the Marvel Universe, someone who can change their appearance at will, without a secret identity; the show’s been staying pretty light on the psychology of it, but it’s nice to see it still affecting the arcs.

Then Ginger Gonzaga and Segarra have a subplot about trying to get Maslany clothes for both She-Hulking and not. It’s a strange delayed costume reveal arc, complete with an Easter egg reminding of the last time a Marvel show did such a delay. Albeit not a Disney+ one. Gonzaga and Segarra are fun together, even if the arc’s busywork.

Because it’s a law firm sitcom episode, not an “MCU movie star guest stars” episode. Though I’m not sure anyone’s thought out the legal ramifications of superheroes and trademarks yet in the MCU. Kevin Fiege should get on it.

Script credit to Dana Schwartz, Anu Valia directs; it’s exactly what it should be. I’m going to be so sad if the last episode doesn’t promise another season. “She-Hulk”’s what a Marvel show should be.

All Creatures Great and Small (2020) s03e03 – Surviving Siegfried

Like they heard my questions, this episode has Rachel Shenton returning to her family farm to check in on things. Sort of. There’s no discussion of whether or not she’s still working at the farm or what’s up with little sister Imogen Clawson (who doesn’t appear in this episode; I keep forgetting this season is a Rona-season). She’s instead going to ask dad Tony Pitts to get on board with Nicholas Ralph’s TB testing program.

Other than the visit with Pitts, Shenton spends her entire time this episode hanging out with Ralph. Mostly at work. Farmer Isaac Crawford wants Ralph to falsify a cow autopsy to collect on the insurance, but Ralph doesn’t think fraud is cricket. It’s a subplot for Ralph and Shenton, giving them something to do, while the main plot belongs to Samuel West.

The episode begins with a World War I flashback, which is never good. Andy Sellers plays the young version of Ralph, who’s in the veterinary corps and protecting the horses. They’ve just found an injured one they think they can help. It’s devastating. The flashbacks are recurring, too, because, in the present, Ralph’s going through a couple things involving his old war buddies.

Michael Maloney, playing the old man version of Ralph’s commanding officer, has a skittish racehorse giving him problems and wants Ralph to evaluate. Depending on Ralph’s report, Maloney might put the animal down. As the present-day story progresses, with West trying to rehabilitate the horse, the flashbacks show how Sellers and Jolyon Coy (as young Maloney) squared off about the horses back in the war. Again, devastating stuff.

The episode—script credit to Ben Vanstone—knows there are only so many times they can dunk the viewer into despair, so Callum Woodhouse gets the lighthearted subplot about trying too hard to restock the dispensary.

Anna Madeley plays support to Ralph’s arc, the only person he’s willing to confide in. There’s a brief mention of the current war at the beginning of the episode, but nothing for Ralph to do with it. Given how much the season premiere foreshadowed Ralph’s interest in enlisting (again, I haven’t googled James Herriot for spoilers), it’s weird quickly he’s forgotten.

It’s a particularly great episode for West, who rarely gets this kind of extensive focus and character development.

Besides Ralph forgetting he wants to join up and Shenton not getting to establish herself post-wedding, living with her husband and his coworkers, “Creatures” is checking all its boxes this season.

All Creatures Great and Small (2020) s03e02 – Honeymoon’s Over

Having returned from his honeymoon and discovering the pleasures of the flesh, Nicholas Ralph is no longer obsessed with enlisting in the Army to fight in World War II. There aren’t even any references to it in the episode. It’s just about the changes at the veterinary hospital, with Samuel West getting annoyed at there being so many people around. The title doesn’t refer to Ralph and Rachel Shenton, while, technically, Honeymoon’s Over, they’re still in the adorable canoodling salad days, their burnt attic breakfasts giving way to… well, you know.

Ralph also wants to understand more about this practice in which he’s now a partner, but West tries to shut down all the conversations. Thanks to some needling from housekeeper Anna Madeley, West sees an opportunity to make Ralph sorry he ever asked to know more. Except then, it turns out West never expected Ralph and Shenton to work together, and he gets even more upset about the new arrangements.

Meanwhile, now full vet Callum Woodhouse has more responsibilities but still takes a somewhat relaxed approach to his profession. At least until he meets new customer Sophie Khan Levy, the daughter of the rival vet, who needs help with her Dalmatian. Woodhouse and Levy have a delightful arc, gentle, smart barbs, subtle flirting, and a solid veterinary case.

The main vet case is Lynda Rooke’s calves, who have a mystery ailment, and Ralph discovers sometimes you’ve got to play people counselor to be the best animal doctor–really touching stuff between the two of them, with Rooke opening up to an unprepared Ralph. It’s got a nice echo against West’s arc, which the episode directly emphasizes a couple of times.

Then there’s a scene with Will Thorp coming to tea after he and Madeley go for their walk, so he’s still around. Not much time for them to be cute together, but some.

Chloë Mi Lin Ewart and Ben Vanstone get the writing credit (principally Ewart, but Vanstone did “additional material”). I remembered Ewart’s name from a somewhat disappointing episode last season, but once Over gets rolling, it’s all good. The show just needs to establish how cantankerous West will get in this new situation.

Besides Ralph not being obsessed with battle glory, the one oddity is Shenton’s new day-to-day. Last episode suggested she was going to be still working her family farm, which could be where she’s biking home from, but the timing never seems quite right. It’s also the first episode in ages not to have her family appearing.

That oddity’s more curiosity, though; she needs the time to be around the house to piss off West, after all.

The last episode’s season premiere seemed a little overcooked; this “All Creatures” is on firmer ground.

Resident Alien (2019) s02e16 – I Believe in Aliens

Well, they got me. After last episode’s seemingly reductive, overly saccharine stumbles, I thought I’d figured out how “Resident Alien” was going to be closing out season two. I was wrong on most counts. The arc I was most hoping would get some resolution does—it’s something they’ve literally been putting off half the split season, so it’s long overdue. Given how recurring guest stars drifted in and out, I wonder how much Rona shooting affected things.

Anyway.

Everyone’s back for this episode, even if they’re just background. One scene promises a Jenna Lamia and Diana Bang friendship, which ought to get a whole episode to itself. Alan Tudyk’s also got a character development arc, which isn’t particularly easy because he’s playing an asshole alien who’s cagey in his narration about himself. Thanks to the script—credited to series creator Chris Sheridan–Tudyk can get past it long enough; it’s a powerful sequence given who’s inciting the revelation.

Without getting into the big spoilers for next season, how the episode “works” is where I was most wrong. I thought it’d be a reset point for the series, what with Tudyk rescuing his alien baby and “adopting” the almost thirty Paul Piaskowski. While those characters play into things, it’s not for reset purposes. It’s for ongoing narrative things; “Alien” doesn’t wind down to prepare for its next season; it revs the engine. Three to five revelations, double agents, double-double agents (maybe not), and unexpected alliances. The episode has to race through montages to get the setup done.

There’s great acting from Tudyk, Sara Tomko, and Corey Reynolds. Reynolds has more than a dozen four-star one-liners and blathering monologues. It’s so many they’re either doing it to distract, which isn’t impossible, or they just needed to use all the room’s great lines before the end of the season or something. Regardless, Reynolds is hilarious. He also gets a character development arc, supporting deputy Elizabeth Bowen, who should get a bigger one but doesn’t exactly. Bowen’s excellent, and so is Alice Wetterlund, but they both get a little less than it seems like they should.

Because the episode’s too packed with Tudyk’s full realization of the evil grey alien plan and the cosmic repercussions, not to mention the fate of planet Earth.

The episode’s also got a fun framing device, even though it raises some timeline questions.

While the episode ends on many an ominous note, it’s settled enough; waiting for next season isn’t going to be an antsy thing.

Also, last thing—Robert Duncan McNeill again directs. Last time I accused him of Capricorn. This time, there’s no Capricorn, and he does a fine job. Though distracting with Capricorn also might’ve been the point….

Red Room: Trigger Warnings (2022) #1

Red Room Trigger Warnings 1

The cover to Trigger Warnings #1 promises a “self contained” story, which is technically accurate–all five issues of Red Room, the first series and now this issue, have been self-contained, but self-contained’s not the same as a good jumping on point.

Especially since this issue is a direct sequel to the original Red Room #1, checking in with serial killer turned snuff video star splatterer Davis and his teenage daughter Brianna. Since we’ve last seen them, Davis has continued his rise to fame and fortune as “The Decimator,” and Brianna has graduated high school, deciding to study journalism in college.

And wouldn’t it be cool to get a head start investigating her dad’s weird crypto-currency lifestyle?

Meanwhile, Davis is in trouble at work—at the Red Room—because he’s been killing women on the side. The inbred human cattle the Red Room provides for him to slaughter on camera aren’t doing it for him; he’s getting the itch for the normies. Except outside murder is forbidden, it might tie someone to the business, so Davis is in trouble with Sissy, the Red Room boss lady.

Creator Ed Piskor splits the comic into three sections on each page. Top strip is Brianna’s story, middle is a Red Room video still with the white Republicans talking in the chat about how cool it is to see gross poor people butchered, bottom is Davis’s story. There’s some crossover between Davis and Brianna’s story, including some intentionally confusing but definitely tone-setting transitions, while the Red Room videos are independent. It’s a wild format for a whole issue, with Piskor keeping the nauseating material steady but with ebbs and flows of concern for Brianna between the top and bottom strips. Davis is terrified Sissy will punish his kid for his indiscretions, while Brianna’s just trying to figure out what’s happening in her world.

So, while technically self-contained, not the place to start Red Room. Hell, you don’t even get a sense of how disturbingly gory Piskor makes it.

It’s an excellent start to the new series; I wonder if Piskor’s bringing back the original cast to check up on them. The format also means Piskor’s smallest panels need a lot of detail, with Brianna going between multiple urban and rural settings; he does a beautiful job with all the art. Trigger Warnings shows no signs of being any less mortifying or grand than the original series.

My Life Is Murder (2019) s03e04 – The Village

I think this “My Life is Murder” is the most empathetic episode ever. When Lucy Lawless gets to the solution to her murder mystery, there’s a lot she doesn’t like about it and has feels. She also has feels because her brother, Martin Henderson, has gotten out of prison and hasn’t contacted her. He’s the gardener at her latest investigation, a suspicious drug overdose in an elite retirement community. The victim’s a former judge, introducing assassination potential, and her son, Kelson Henderson, is an entitled prick.

Luckily, Kelson Henderson’s only got the one scene. Lawless is really investigating because Rawiri Jobe gave her the case, promising an interesting mystery—the victim died of a heart attack while on LSD. Tatum Warren-Ngata is back helping Lawless out, but like last episode’s teaser promised, Ebony Vagulans makes her return. Vagulans doesn’t have time to help out with the case; really, it’s mostly wrapped up by the time she arrives from Paris (which the show seems not to be explaining). Having Martin Henderson participate in the investigation—Lawless’s reluctant man on the inside–also changes the chemistry.

It’s a more ensemble “My Life is Murder,” which is fine; the cast is more than enough fun to sustain it. Though Jobe doesn’t get much to do—he and Lawless are apparently on the outs, she won’t even go for coffee with him as the show continues to shroud their extra-professional relationship in bemused secrecy. The revelation of previously unknown brother Martin Henderson also causes some relationship bumps.

However, there’s a weird scene with Joseph Naufahu and Warren-Ngata in his café; he pesters her to buy something or stop using his WiFi. I sort of assumed if you worked with Lawless, you got to hang out at Naufahu’s. It just seems like an excuse to give Naufahu a scene, but he’s setting a weird boundary with Warren-Ngata.

All of the suspects are good. There’s husband Temuera Morrison (in a charming, brief cameo—they got him for an afternoon, it looks like), next-door neighbor Elizabeth Hawthorne, drug-dealing nurse Jessie Lawrence, and bent community manager Blair Strang. Any of them could have a motive, but having Henderson on site—doing more than gardening, it turns out—complicates Lawless’s investigation when he’s found out.

Lots of good acting. Strang’s hilariously put out once he realizes Lawless is a cop, and then Hawthorne’s fantastic. She and Lawless have a nice character arc. Lawless handles the more emotional stuff well—her scenes with brother Henderson, for instance; it’s probably her best performance this season.

Kevin Can F**k Himself (2021) s02e07 – The Problem

As is not uncommon for pay cable original programming, “Kevin Can F**k Himself” always ends with a teaser for the next episode. What’s coming up next week or just in general for the season; I think cable shows have been doing it for almost twenty years.

There’s not much original footage in the teaser for the next episode, the final “Kevin.” No hints for what’s to come, though there’s a throwaway line in this episode potentially introducing a whole new aspect to the show. Retroactively. Can’t wait.

But will it be a victory lap or a conclusion? This episode, which is almost entirely character development for Annie Murphy and Mary Hollis Inboden—separately, as opposed to their other big character development arcs—finishes the story to a certain degree. The show’s compartmentalized the character arcs enough next episode can have Annie Murphy waking up in the Rosebud Motel with a hangover and succeed.

The episode begins with Alex Bonifer on a bender, telling anyone who’ll listen to the wild story of his best friend’s wife who—with Bonifer’s sister’s help—tried to murder her husband. Murphy and Inboden had assumed Bonifer was safely in the drunk tank, tucked away so Murphy can go through with faking her death (she hasn’t told Inboden her reservations yet). Plus, Murphy’s got a big non-Bonifer problem: Candice Coke.

Copper Coke has discovered her girlfriend Inboden on some security cam footage before an assault and robbery (back in season one). That subplot will blow up for everyone, with Murphy needing help from odious husband Eric Petersen to ensure they don’t end up in jail. All Murphy’s got to do is convince Petersen he’s in danger of arrest; good thing he’s an amateur arsonist.

Once Murphy gets that ball rolling, Jamie Denbo tells her Bonifer’s out of jail, and the episode becomes a race to find him. Murphy’s looking for her own reasons while ostensibly doing it to help Inboden. Coke’s also looking for Bonifer, with more valiant motives; she just wants to help out her girlfriend.

Pretty much everyone gets a great scene together: Murphy and Inboden, obviously, but Murphy and Bonifer, Murphy and Denbo, Murphy and Coke, Inboden and Coke, Inboden and Denbo. Just lots of phenomenal acting as these characters can’t avoid collisions.

Meanwhile, Petersen’s hanging out at home with dad Brian Howe, thrilled to have his most able accomplice yet—Murphy.

It’s a great episode. Writing credit goes to director Craig DiGregorio in his superb debut. His directing of the performances is particularly good; both Inboden and Murphy hit new peaks here.

So, so good.

Resident Alien (2019) s02e15 – Best of Enemies

There’s only one more episode this season, so I guess some of the subplot resolutions make more sense now. For some reason, I thought there were two more episodes. This episode does Capricorn for the first time, and it’s rather disappointing. One of the season’s subplots turns out to just be busywork for a couple of the supporting cast members.

Besides that failed scene, which comes right at the end, so it stands out, the episode’s successful. There’s nice character development for both Alan Tudyk and Sara Tomko. Tudyk’s got an unexpected partner while Tomko’s got an unwanted house guest; Alice Wetterlund detoxed at Tomko’s and has been hanging out with Gary Farmer all week. That Capricorn—Farmer, Tomko, Wetterlund—it’s all good.

The episode opens with another flashback, this time to New York City almost thirty years before, which sets up part of Tudyk’s adventure for the episode. He’s got an action episode, which “Alien” doesn’t often do, and he spends most of the episode in his alien form (or at least a significant portion of it), something else “Alien” hasn’t done for a while. It’s a special effects extravaganza, ably directed by Robert Duncan McNeill. I was happy to see McNeill’s name on the director credit, but it’s going to be hard to forget the bungled Capricorn going forward. It’s the first time I remember “Alien” getting tedious, other than when they do too much country rock for the montages.

Corey Reynolds and Elizabeth Bowen both get a little to do—at least one fantastic one-liner from Reynolds—but they’re mostly just treading water; Bowen’s worried because special guest star Terry O’Quinn disappeared, Reynolds is preoccupied with a potential romantic partner and mayor Levi Fiehler’s stress-induced insomnia. Fiehler’s upset because wife Meredith Garretson is lawyering against his resort plans, leading to various people talking about his childhood sleepwalking.

That childhood sleepwalking is almost indistinguishable from the alien abduction flashback details, which seems like the show’s making a big swing regarding Fiehler.

Or not, apparently. It’s just some filler; give the town supporting cast something to do while Wetterlund’s hiding out with Tomko and Farmer. Tomko’s ready for Wetterlund to go, Farmer wants to keep playing PS4 with her. Tudyk going on a dangerous adventure upends things.

There’s good acting from Tudyk, Tomko, Farmer, O’Quinn. Wetterlund doesn’t get much to do, mainly playing for laughs, including teaming up with Jenna Lamia for a scene or two.

Big things happen, nothing will ever be the same, and it’s no wonder the show got renewed for another season, based on the foreshadowing. As long as they can keep the saccharine out, it’ll be just fine.

Kevin Can F**k Himself (2021) s02e06 – The Machine

The Machine is the best episode of the season so far, which is no small feat, and one of the three best “Kevin” episodes overall. It’s phenomenal; Kate Loveless and Jasmyne Peck have the writing credit; Anna Dokoza, of course, directs. The episode runs long, around forty-five minutes, and saves most of lead Annie Murphy’s story for the end. Until then, she’s around, but almost as an extension of Mary Hollis Inboden’s “moving out” story arc with girlfriend Candice Coke.

Of course, Inboden doesn’t know Coke’s living together invitation has to do with Coke getting video of Inboden seemingly about to commit felony assault (for Murphy). But Inboden’s taking too long with the move, her first time leaving the house, and her estranged brother Alex Bonifer. Inboden’s incredibly conscious of the momentous changes in store, while Murphy seems oblivious. Murphy’s back working at Raymond Lee’s diner, though their on-again-off-again affair will get them in trouble when they collide with some of Eric Petersen’s sitcom antics. Add Coke finally acting on the video, Bonifer and Jamie Denbo having a messier than expected (and mutually undesired) breakup over Petersen, and it’s another packed episode.

Petersen’s antics—usually with dad Brian Howe checking in on the subplot—happen from the living room couch, starting with terrorizing a local newspaper reporter. Throughout the episode, he’ll use his misfortune-causing powers, tying in for the ominous cliffhanger. It’s an outstanding work, complete with Murphy’s character arc picking up in the second act as she reacts to the people around her being more than names in the end titles of Petersen’s sitcom life.

Great acting from Inboden, Murphy, Petersen, Bonifer, and Denbo. Coke and Lee get more challenging material than usual and do well with it; Coke and Murphy’s antagonistic relationship seems ready to go off. “Kevin”’s heading into its final two episodes; this one kicks off the last act, showcasing everything exceptional about the show, whether the performances, the sublime commentary on television tropes, or just the writing in general. Bonifer and Denbo’s romance continues to be a season two high point. It’s such good work.

“Kevin”’s almost done, but it’s sure not slowing down as it approaches that finish.

The Lion & the Eagle (2022) #4

The Lion The Eagle 4

First things first: writer Garth Ennis does, as usual, get some tears from me. Lion & the Eagle #4 isn’t what I’d expected, for better and worse, but the inevitable Ennis war comic cry arrives; very last minute this time; I’d been expecting the issue to be a constant tearjerker.

Ennis purposefully avoids the consistent dread, fear, and misery to get that final surprise. This issue opens with the British Colonel talking to his Indian major about things and realizing even passive racism is terrible, and he needs to stop perpetuating it. The scene’s a big swing and a big hit. It’s a great start, followed by orders to withdraw; the operation is a failure, and it is over. The troops will have to retreat on foot through the jungle, leaving behind the wounded, something the Colonel promised his doctor pal he’d never do.

Character names aren’t crucial in Lion & the Eagle, though names being important ends up being a plot point in the extended epilogue. Despite opening the series as a character study, Ennis has become comfortable pulling back the narrative distance to a long shot. There are still lots of names floating about. Reports, whether status or casualty, are the majority of the talking heads scenes.

The talking heads scenes are where artist PJ Holden loses the book. He leans into the efficiencies he’s been developing as bandaids throughout the series. Instead of expeditiously getting the comic through an otherwise slow scene here and there, the entire issue is bland talking head panels. Worse, Holden’s rushing through the faces and expressions. At one point, letterer Rob Steen assigns a balloon to the wrong person in a long shot, and his confusion’s wholly justified. Even in long shots, with the characters wearing very different outfits, Holden’s composition’s muddy.

Thank goodness for the script. The issue’s a whirlwind, with the Colonel realizing command means not being able to keep promises, which has all sorts of repercussions for his relationships. There’s a great flashback to him visiting his Indian major’s village, too. Ennis has got some fantastic moments throughout.

And the finale’s good. Ennis brings all the Colonel’s character development (i.e., realizing imperialism is bad, actually) together and loops around to the first issue. Sort of a “and what did we learn today,” but outstanding.

I’d been hoping Lion & the Eaglecould bring Ennis up to the next level. It’s unclear if Holden held it back or if Ennis just hasn’t gotten there yet. Based on how much character development he saved for the final issue, I’m guessing the latter, though the former sure doesn’t help.

Still, the comic’s going to be a superb single-sitting read.