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Bojack Horseman season 4 is the best season of one of television’s most surprising achievements

We’re gonna do things a little differently. I tried and struggled to write a full season review and everything sounded kind of hollow. So I’m gonna do deep down what I want to do and write a review of two episodes. This is going to be Episode 2 and Episode 11 of this season, the ones that most heavily feature the storyline revolving around Beatrice (Wendie Malick), Bojack’s mother, and her slide into dementia. 

Let me just go ahead and endorse every other aspect of this show. This season is wickedly funny, emotionally brilliant, and one of the best pieces of animation running on television right now. But for now, we’re going to focus on the most striking part of it.

When are you doomed?

Perhaps more precisely, when can you never go back? When have the circumstances of your birth and decisions made that you never had a hand in kept you from ever being what you want to be?

It’s easy to say that we never are. That we are the masters of our own fates and there’s no point where the sins of the father are insurmountable. But how often is that true? Deep down, there’s some imprint on us that we’ll never really understand and that we can only hope won’t fuck us up too deeply.

And now we bring in the funny talking animal cartoon about Horse Bob Saget.

I don’t mean to be flippant to Raphael Bob-Waksberg’s creation, but there’s a part of me that will never not be amused that a show that started so ridiculously has become so deeply wounding and identifiable. Five episodes of animal puns before it took a quick dive into one celebrity horse and his desperate desire to be a good person and quit making the same mistakes.

All while still making the same animal puns and wacky schemes and generally being willing to indulge in parody just as often.

That’s not what we’re gonna end up focusing on here. We’re going to specifically focus on season 4’s richest dramatic vein on the two episodes that center around it. That would be the story of Beatrice (Wendy Malick), Bojack’s (Will Arnett) mother, and the history she can barely remember.

Beatrice has always been something of a background character, the sort of figure there to give a very basic explanation. “Oh, that’s why he is the way he is.” Her denial of affection there to basically make it clear that Bojack is just seeking some kind of love or connection in anyway. A stock that normally wouldn’t be filled out.

Bojack’s secret weapon this season is understanding that people aren’t just their stock. To understand the nuance lying at the core of despair, you have to get into the roots. In other words, for Bojack Horseman, it’s not simply enough to understand that Beatrice denied affection. It’s understanding why she decided to deny it, why she never felt it herself.

We get the first inklings in episode 2. Bojack escapes from LA to the family home in Michigan that he used to spend summers in. The house, falling apart, seems to have a memory that lets us peek into the past.

Beatrice comes from the Sugarman family, wealthy owners of a sugarcube company headed by Joseph Sugarman (Matthew Broderick). Honey (Jane Krakowski), her mother, keeps a tight ship as her brother Crackerjack (Lin Manuel-Miranda) is about to go off to war. It’s as idyllic a 40s life as you could imagine. Sure Joseph is a little backwards, but who wasn’t?

And then Crackerjack is killed in war. Honey loses her oldest son and loses her grip. We see flashes. As Bojack breaks down reliving his personal tragedy, Honey is living hers. Any attempt to make it better, any attempt to rewrite what happened. Honey goes wild in public and crashes a car. Joseph has her lobotomized, as one would do at the time. The fiery, sassy woman is gone, replaced with a zombie.

It’s almost worse than losing your parent. At least when they die, they’re gone. For a parent to be there, but to be a shell? It’s like being reminded every day that they’re not there.

There’s some really brilliant animation work here connecting the timelines. The show blurs the lines between them, allowing for something that almost appears to be interaction, connecting that past to the present and helping the understanding of how these things reverberate.

The next time we see young Beatrice, in episode 11, it’s through the dementia-riddled recollections of her older self. Disconnected from reality, she seems to try desperately to recall her life, most of the faces blurred, some forcibly removed from her thoughts. The narrative is there, but the associations are more powerful, pulling her through her life.

She’s a young girl, sick with scarlet fever. She’s a young woman, finally debuting at her ball when a roguish young horse sweeps her off her feet and gives her a son. She’s moved to San Francisco, barely able to take care of her child. She’s older now, her husband finally quitting his dream and giving her what she wants, some semblance of stability. No love, all of her dreams out the window for mistakes made and pain inflicted on people who can’t understand it. Betrayal by her husband and the hope that someone else won’t do what she did. A flashback to her father taking everything and holding the spectre of her mother over her.

The show draws these connections to weave the tapestry. She’s the withholding mother, yes. But she withholds because the decisions that were made for her took everything from her. The love of her mother taken by some far away war. Her father is a product of the times which made everything he did acceptable. Her dreams taken by some one night fling. Even her marriage’s sanctity taken by another. She may have done unforgivable things, but did she ever really have a chance to feel the love she needed? Did Bojack? Was that family doomed from the moment Crackerjack went off to war?

The brilliance of Bojack Horseman lies in a lot of things. But chiefly, it lies in a storyline like this, that understand why people do the things they do, why the decisions they make stick and reverberate through lives and generations. That try as we might, the traumas of our parents will be ours and will be our childrens, even if we never understand why. People are bad, but people are broken just as often.

That’s why the final moment of episode 11 is so important. Beatrice gets a moment of lucidity, realizing that Bojack is with her. She asks where she is and rather than getting the tell-off he wanted, Bojack simply offers her one final comforting delusion.

She’s back home. With all her family. In the house she was in before everything went wrong. And everything is okay. Bojack hates her, but he can’t give her that pain, because in the end she was just as doomed as he is.



Game of Thrones Season 7, Episode 7: The Wolf and the Dragon

Where Is Everybody?

  • King’s Landing
    • The Targaryen-Stark team finally meets with the Lannisters to prove Climate Change the forces of the Night King are real. Cersei “agrees” to help. Jaime finds out she won’t and FINALLY tells her to fuck off.
  • Dragonstone
    • Theon goes on a journey to find his sister.
  • Winterfell
    • Arya and Sansa finally get their shit together and get on the same page. Littlefinger can finally no longer talk.
  • Narrow Sea
    • BOATSEX.
  • Eastwatch
    • And down comes the Wall.

What Worked?

For a finale to a show that spent so much time in the throws and thralls of intense action and breathless forward momentum, it seemed shocking that the finale would be undoubtedly the season’s slowest episode. Focused on a few bigger interactions and operating by and away as the chattiest episode of the season so far, this was an episode moving its final relationships and plot points into place and focusing on the drama that’s pushed these people into this situation.

To be frank we haven’t had a real talky episode in a while. Especially in the last couple seasons, more focused on a traditional fantasy operation, the show has lost its sense of the politics, of how to persuade with words rather than with action. While no worse, it’s certainly a different show, so I was curious to see what would be of an episode that focused on the earlier diplomatic mode.

So, keeping that in mind, “The Wolf and the Dragon” is a show that has transformed those discussions and dialogues into essentially a form of action, something direct and driving. It’s not always brilliant plotting, but the show is so clear about its characters and how to sell their performance and their needs that it ends up working regardless.

I think specifically here of the scene between Tyrion and Cersei, their first confrontation since Tyrion fled King’s Landing at the end of Season 4. It’s Emmy-worthy work from both Dinklage and Headey, Dinklage’s open and raw pain and sadness and the way he twists and holds every line like a weapon impacting just the right way clashing against the seething rage that Headey barely holds underneath her dagger eyes and strugglingly-stiff upper lip.

Beyond just the performance, it’s the negotiation within the scene. Admittedly, it’s blunt, this part of the show is going to be blunt basically no matter what. But the two dance and prod and push back against each other, Tyrion laying out and breaking down defenses and Cersei throwing them back up. It’s exciting and direct drama that pushes the momentum forward even without the more immediate adrenaline thrills of a huge battle sequence.

This episode’s willingness to take the time is an asset, executing a lot of important things in the little time they’ve had this whole season (an extra long episode is still making up for 3 missing hours) in ways that are largely satisfying to see.

I’m of course speaking about the resolution to “Littlefinger tries to put one last wedge in the Stark Family.” Whether you like the way it’s been doled out this season or not, the finale here is a remarkably cathartic moment of television. I nearly lept out of my seat when “Lord Baelish” came out of Sansa’s mouth and seeing someone like Littlefinger finally punished for every wrong he’s visited is exactly the kind of win the show ended up needing.

Finally, the sequence at the Wall easily explained the rest of the episode’s relative low cost. The Wall coming down was a huge moment that had to be done right and done right it definitely was. The Night King riding in on the Ice Dragon is just one of the coolest images this show’s ever had.

This is an episode of completion, resolving the threads to pull onto two sides for the final showdown. It worked, it did that, and it did that with a lot of strong and impressive character work.


What Didn’t?

This season’s tendency for circumventing the A to B paths never stood out worse than in this episode. Twice, we essentially saw the results of something the show had never set up, Cersei deciding to pledge her help and Sansa/Arya’s final collaboration. While it never feels false to the moment, the show’s expedience is feeling more like slack than a need to rush through.

Your mileage will definitely vary on seeing Jon and Dany get it on, especially being here underscored as an act of incest. The reveal? Cool. The incest? Not as palatable per se.


Who Got A Win?

  1. The Night King
    • Brought down the wall with a sweet-ass Ice Dragon pretty much accomplishing his main thing. Westeros is fucked.
  2. Arya and Sansa
    • Finally learned to trust each other and got the sower of dissent out of their midst.
  3. Jon and Dany
    • Made some pretty important alliances and solidified their power structure, we’ll see how well that goes.

Who Made A Mistake?

  1. Littlefinger
    • Overplayed his hand with Arya and Sansa and he’s dead now.
  2. Cersei
    • Lost Jaime, her last real thinking ally. Sycophants and zombies are all she has, which isn’t good for holding on to power.
  3. Jon and Dany
    • Probably fell into a trap with Cersei. Got into incest. Oops.


Episode Ranking

  1. The Spoils of War
  2. The Dragon and the Wolf
  3. The Queen’s Justice
  4. Dragonstone
  5. Stormborn
  6. Eastwatch
  7. Beyond the Wall

Season MVPs

The Season MVPs aren’t necessarily the most important parts or the consistently best parts of the show. Emilia Clarke or Kit Harrington wouldn’t necessarily be the best contender for a spot like this, nor would Lena Headey or Peter Dinklage or supporting actors like Liam Cunningham or Gwendoline Christie or Kristofer Hivju.

It’s a mix of both importance and quality confined to this specific season, the people who’s work in Season 7 made it particularly special or interesting. Whether it’s in front of the camera or behind the scenes, Season 7 wouldn’t fit together without what this MVP did.

  1. Nikolaj Coster-Waldeau
    • Jaime has definitely been a character that fluctuates with the season and how interested any given set of writers is in him, but Season 7 has almost certainly been Coster-Waldeau’s finest hour. Partially because it took him out of the sidequest hole and partially because it took him out of the hole of only ever really being involved with Cersei, Coster-Waldeau did some of his best work this season, including his confrontation with Olenna, his reunion with Tyrion, and (I know I just shit-talked this) his final scene with Cersei. Coster-Waldeau gives Jaime a principled nobility that’s rare, a man of his times blinded by a thousand allegiances and willing to do what he thinks is right at the end of the day. It’s a compelling character to watch and rarely has that mattered as much as in Season 7.
  2. Matt Shakman
    • Director of “The Spoils of War” and “Eastwatch,” Shakman is probably the best large setpiece crafter not named Sapochnik the show has. His direction on “The Spoils of War” made for a strong and well-crafted piece of television up until its final battle, which kicked it over the top. Field of Fire 2.0 is one of the most thrilling bits of televised warfare ever from the arrival of the Dothraki to Jaime plummeting into the lake and it is Shakman’s direction that made it so exciting.
  3. Sophie Turner
    • Sansa is done being kicked around. Turner’s performance this season was the transformation fans have been waiting for. Even with her uneven decision making, Turner pulls off a calculating and icy-cold performance as much Stark as it is Lannister and Baelish. The moments of warmth only amplify how good it is to finally see Sansa take control of things for once.
  4. The Night King
    • This one is going to the character rather than the incredibly able performer behind the makeup and effects. The Night King provides the show a thematic and narrative focus that it’s never quite had, moving towards an existential threat of evil that overrides the pettier human concerns. The menace he conveys in a few short moments is what Game of Thrones needs in these last moments, a common enemy to bring these warring factions together.
  5. The Special Effects Team
    • This was an expensive and fucking MASSIVE season to pull together, near unprecedented in television. So kudos to the hardworking Visual and Special Effects teams that had to make demon kings and dragons and wolves and massive hordes and collapsing walls all real and all convincing.

What’s Worked on the Whole?

On the whole, the buzzword of this season was “forward momentum.” The show has long left its political drama roots behind in favor of a high fantasy narrative, a show about struggle between kingdoms and the ultimate defeat of an evil at the root of our souls.

Yet, Game of Thrones really has ultimately shone under that lens. The show feels fun and propulsive in a way it never has and feels epic and grandiose on a scale no television show has. The reason this show has such a hold on the zeitgeist is how impressively it has clasped to our imaginations, how much it wonders and amazes with the images it can show us.

This is a show now of legacies and mythologies, a show letting a deep well of history show all of its excitement before us. The sense of this season of Game of Thrones is that almost nothing has been like it and that it’ll be hard to imagine anything will be quite the same after.

All the stuff that has worked throughout the run of this show still works here. This is still a cast, though no one pulls all the focus, that is an impressive and endlessly remixable ensemble. Everyone works together, feels natural together. No one’s work is incredible, but everyone’s work is strong. Watching Dinklage in concert with Clarke and Harrington and Headey and whoever else come along is a rare delight and every permutation this show has pulled off remains worth watching.

This is an action show now, defined by its move towards the end. Even when it’s slow, you feel the machine churning everything towards an ultimate end. That works, that’s compelling. That’s the stories that need to be told and they way it need to be told.

What Needs To Get Fixed?

I’ve been remarkably positive about this season, so let it not shock you too much that I do have criticisms and misgivings. Things that have worked on an individual basis about Season 7 are troubling trends when pulled to a larger whole.

I think much of the negativity towards this season (what’s been out there in at least my critical bubble) is directed towards this show going towards a more traditional high fantasy direction. The show has become decidedly less Martin and Tolkien going more towards Peter Jackson or Dungeons and Dragons.

While the bones of that change I’m in favor of (and also believe it was the only way this story could actually end), it’s definitely meant a lot of writing and narrative decisions that have altered the storytelling qualities of the show.

The dialogue has definitely suffered. Without the Martin material to pull from, this show has definitely moved towards functionality and lost its grace and intelligence in speaking. Characters used to weave wars with words, now they beat each other down. It’s a change reflecting a more functional storytelling style and a greater sense of momentum, but it’s a change I am sad to see.

More concerning is the narrative convenience this show has become too quick to indulge in. While the timeline stuff mostly feels like the concern of continuity geeks and internet commenters seeking clicks, the show’s lack of connective tissue is a bigger problem.

It felt like a lot of stuff just…happens in this show. Characters make decisions to justify narrative choices, narrative choices are made without set-up or follow-through, and point D is reached from point A. It’s lazy, frankly. The show has a lot to get through, I understand, but it needs to get there.

Tyrion can’t make mistakes just because the show needs him to. Jon can’t almost die and get saved just because the show needs him to. Sansa and Arya can’t fight just to trick the audience. This show needs justification and purpose and what’s been happening threatens to make for an unsatisfying ending.

At its best, Game of Thrones peers into a world. At its worst, Game of Thrones reveals the strings manipulating it. In the books, it’s every side quest and artificial reason that Martin has taken to prevent getting to its end. In the show, it’s every artful dodge and slight of hand that Benioff and Weiss have taken to speed to its end.

A show written without an ending needs to avoid the missteps when it’s finally there. Let’s hope there’s some time taken, or at least some though, with the last season.

Where’s This Going?

We’re in the final stretch, so what has this all been about?

For me, Game of Thrones is a show about power and how badly human nature fucks it up. That we’re trapped in these petty struggles that function as a cycle. Power cannot change, power can only put new people wielding it. Breaking the wheel, as Dany often says she will do, requires a fundamental altering of the system, not just a different hand guiding it.

Time and time again, this show has been about the mistakes of legacy. Of people repeating the same mistakes of their mentors, their parents, their ancestors, and their predecessors. Of seeing the same patterns and doing nothing to stop it. Tyrion seeks to prevent a Mad Queen as Dany teeters towards burning those who will not submit, Jon seeks to not become Ned again as he makes the same honorably foolhardy decisions, Cersei seeks to prevent her family falling apart as she pushes the last members of it away.

Power corrupts and institutions are no match for those who seek to use them. The only thing that can interrupt is understanding the larger threats the world faces. The existential threat of the Night King, something more insurmountable than any individual one of them. Game of Thrones’ ultimate question is “Can humanity put their nature aside and work for a collective good? Or are we doomed to repeat our mistakes again and again until we all die together?”

The Night King is climate change, The Night King is nuclear warfare. The Night is anything and everything that has ever threatened us as a whole and asks whether our politics will ultimately be enough to save us.

So where does this show go? How does this show do that?

I don’t know for sure is the honest answer. Game of Thrones is undeniably pessimistic and unsure that we can escape that cycle. A few standing up loudly is not enough to overwhelm the forces who would do nothing but their own interest. There’s a part of me that suspects any broken wheel would lead to the creation of a new one. That Dany retaking power and creating a society free from the Lannister control would lead to her own tyranny. That the show ultimately wants power itself to be broken.

But perhaps that’s the show’s aim. The Song of Ice and Fire, Jon and Dany, is what can finally end all of this. The pain and the suffering and the terror from beyond the world. I think there’s a chance this show ends in something better, in a look at a world that breaks the power structures that put them in this place and can defeat the threats that face it.

Will it require sacrifice? Probably. The remnants of the old (Jaime and Cersei) will probably have to go and the new will have to give something up (Jon). There’s no chance everyone makes it to see the New World.

But Game of Thrones is now in its final moments. The moment where the Wheel spins the fastest. Whatever stops its, breaks it, keeps it moving on is still to come.

Game of Thrones Season 7, Episode 5: Eastwatch

Where Is Everybody?

  • Roseroad
    • Jaime and Bronn managed to survive the lake. The Tarlys don’t manage to survive dragonfire.
  • Winterfell
    • Arya has a few issues with how Sansa is running things around here. Littlefinger keeps an eye on that.
  • Oldtown
    • Sam is really just not enjoying his internship. Gilly makes the biggest discovery of the whole show and no one cares.
  • Dragonstone
    • Jon pets a big lizard and has a big idea. Tyrion is getting concerned about all this.
  • King’s Landing
    • Cersei has some big news for Jaime. Gendry finally stops rowing and joins Davos.
  • Eastwatch
    • Some kinda…Suicide Squad…takes a mission to get a wight.

What Worked?

After three episodes in a row ending on an adrenaline-racing, pulse-pounding spectacle of a battle, I actually do have to admit that it’s nice to get a bit of a breather. There’s surely a lot to come in the supersized last two episodes of this season (71 and 81 minutes) and so it’s really nice to get a second to just put the pieces in place, move a few things around, and let these character combos breathe and operate dramatically for a second.

Which is by no means a bad thing when a show is as dramatically and narratively en pointe as this season of Game of Thrones has been. I’ve said it enough, but the shuffling of characters and the steady drawing together of them all has been the biggest shot in the arm for this season. These actors have had years to dig in and letting them bounce off each other in a story that is now almost entirely forward momentum is a rare delight.

Some of those are the reunions that are now happening. Coster-Waldeau and Dinklage have always really pulled the best out of each other (Dinklage’s best moments are with the Lannisters, Coster-Waldeau best moments are with anyone who isn’t Cersei) and even the brief scene they share is just truly heartbreaking to watch. The betrayal on Coster-Waldeau’s face, the desperation of Dinklage trying to reconnect and get something out of his brother. Just good stuff.

But it’s also the fresh combinations the show is managing to create and how those build on the ideas and themes already made.

Let’s take, for example, the new folks Jon Snow is about to deal with. This episode’s fan-favorite highlight was the return of Gendry, Robert Baratheon’s bastard son. Joining up with Jon lets the show recreate season 1’s relationship between Robert and Ned (even directly calling back to Ned point out Robert’s weight) with the power dynamics shifting. It was a short scene, but I’m hoping to see more out of Young Christian Bale in the show to come.

The other set of new folks is Jon Snow’s Magnificent Seven riding off to capture a wight to prove to Westeros that the threat is real. It’s an undoubtedly exciting dynamic, time-tested, to put a group of people who have good reasons to hate each other (Mormont v. Tormund, The Hound v. Other People) but need to come together to face a bigger threat. This whole thing works so so well because we’ve had the time to see these fault lines grow and to make the existential threat known. This is a story that works based on seasons of growth and an impressive amount of charisma and forward momentum, and it’s a delight to see the new things it can unveil.

Speaking of unveiling, I will comment on the boldness of the show dropping what is almost certainly the single biggest plot revelation so far so casually. For those of you who didn’t notice, Gilly’s reading included mention of an annulment by Prince Rhaegar and his marriage to someone else. This is almost certainly Lyanna Stark, which would make Jon Snow the true-born son of a Targaryen-Stark household and would give Jon the strongest claim to the throne, completely rewriting the dynamics of the show so far. Sam hears it, doesn’t much care, and moves on. But sending Sam back North seems important.

On a general note for the whole episode, director Matt Shakman (returning from the gangbusters previous episode) does some really strong work here. The moment between Jon and Drogon is a moment of mythic grace the show doesn’t indulge in near as often as it should, and Arya’s stalking of Littlefinger and its quick reverse is just a wonderful little bit of staging.


What Didn’t?

The temporality of this show is definitely something that can and should rightfully drive folks insane. It never necessarily breaks the show’s own reality (no inherent contradictions in the narrative) but how does any of this shit work?


Who Got A Win?

  1. Gendry
    • He got out of King’s Landing and made some new friends. Good for him.
  2. Sam
    • Said “Fuck it” and left his terrible internship. Good for him.
  3. Jaime and Bronn
    • They didn’t drown in a lake. Good for them.

Who Made A Mistake?

  1. The Tarlys.
    • Burned alive by a dragon and basically ended their whole line.
  2. Those Gold Cloaks
    • Got greedy and got a hammer to the face.
  3. Arya and Sansa
    • Littlefinger’s exploiting them new Stark dynamics. Don’t fall for it Arya!

Game of Thrones Season 7, Episode 4: The Spoils of War

Where Is Everybody?

  • Winterfell
    • Bran makes Littlefinger shit himself and is a dick to Meera. Arya and Sansa reunite and Arya sword fights like a motherfucker.
  • Dragonstone
    • Jon and Dany uncover some ancient drawings that prove Jon Snow knows something. There’s a disagreement over the next step to take.
  • King’s Landing
    • A Lannister pays her debts.
  • Roseroad

What Worked?

It’s hard to top this almost immediate reaction. When a show is this consistently strong and pushing the limits of scope and scale on TV action and genre conventions, it’s rare to feel like anything but an event episode can take you off-guard or really and truly thrill you.

I have a feeling that this will become a cliché over the increasingly high budgets of these last episodes, but the final battle sequence ranks among the show’s best. It’s rare to be able to make such a thrilling sequence out of such a brutal beat-down but my god if director Matt Shakman doesn’t pull it off. The ominous beating of the hooves turning into the terrifying whooping of the Dothraki soldiers descending down on the Lannisters, facing a kind of enemy they never have before. Christendom being beaten by the Mongol Hordes. That sheer terror you see on the trembling soldiers, the prepping for a battle is so well-done and the tension gets ratcheted so high.

Then the dragon comes screaming over the hill and Dany speaks “Dracarys” and the whole thing jumps to the next level. We’ve seen what the dragons can do and heard tale of their warfare. But Game of Thrones pays off that build-up in the most spectacular of ways, showing us exactly what all this lore actually is. The dragon is TERRIFYING here, the touch of seeing the soldiers turned to ash and blown away is one of the best touches I’ve ever seen in a battle, an image up there with Jon facing down the Bolton Cavalry.

But what especially makes this sequence work is a point the creators made in the behind the scenes feature at the end. This is the first time we’ve seen two main “hero” characters face off against each other. Dany vs. Jaime, we’ve got our attachments to both and the emotions are swirling. Tyrion watching his brother charge into near-certain death is exactly what works about this, that sickening feeling of how these powers are going to push against each other. The stakes are high, even if we know nobody can die, because our characters are now forcing each other to suffer setbacks, the people we’ve been rooting for can win or lose by each other’s hands.

But let me not solely praise this episode for its final battle, though it’s the easiest to remember. This episode stages some truly great drama that deserves recognition.

The Starks slowly begin to congregate back at Winterfell with Bran still acting weird after his trip abroad (because he’s functionally no longer human). The dynamic they’re playing here is interesting, with Bran acting like an asshole because it’s becoming increasingly clear that he’s functionally no longer Bran. Along with Arya’s shapeshifting, the idea that the Stark’s reunion has come at the cost of them all losing some part of their Stark identity (minus Sansa, Bran is the three-eyed Raven, Arya is No One, and Jon is a Targaryen) provides that melancholy undercurrent to what has largely played as the show’s happier storyline as of late.

Oh yeah, Arya is back at Winterfell. This continues the play with Arya’s storyline turning from one of its most brutal to one of its most joyous and oddly comedic. Her mocking the guards is certainly a fun sequence. But the undoubted highlight is the sword fight between her and Brienne. Not only some of the show’s best fight choreography in some time, but it’s rare to see these character just get to show off. Maise Williams definitely has a future in action roles, just a thrill to watch her go for it.

Outside of a brief sojourn to King’s Landing, the other main event of this episode is at Dragonstone, as Jon and Dany get closer and Jon reveals the ancient drawings of the Night’s King and his forces. The impasse between them is frustrating, but deliberately so, there’s a slowly developing dynamic between the two of them pushing and pulling against each other. Clarke and Harrington are not often this show’s most dynamic actors, but there’s an increasing chemistry between them that works.

A chemistry that Davos comments on. This is a great episode for Davos, one of the show’s more understated characters. His role as Jon’s advisor has been a consistent delight and he does so much with even just a few lines.

What Didn’t?

The show’s shortcuts still show through the seams from time to time (how’d the Dothraki get there? How many ships are still left?) but this is an undoubtedly strong episode of television.

Who Got A Win?

  1. Dany
    • Injured dragon aside, this was a brutal and decisive victory against the Lannister forces. The Field of Fire 2.0 harmed their siege capacity and made it clear that the Lannisters only have so much they can do against the forces Dany has assembled, how much what she brings is foreign to Westeros. A win for a character who hasn’t had many.
  2. Bronn
    • Dude knocked a dragon out of the air. Once in a lifetime.
  3. Jon
    • Serious progress on getting Dany to work with him and growing towards actually maybe getting someone to fight the Night’s King.

Who Made A Mistake?

  1. The Lannisters
    • Dany beat their ass down. They’ll be fine, but DAMN that’s a morale shaker.
  2. Littlefinger
    • Bran made it clear that he know what Littlefinger has done. That plus the return of Arya who takes no shit means that Littlefinger loses the backing role he plays and has the vices closing in on him.
  3. Bran
    • Gotta stop alienating people around you. I get you’re the Three-Eyed Raven but damn dude.

Game of Thrones Season 7, Episode 3: The Queen’s Justice

Where Is Everybody?

  • Dragonstone
    • The Song of Ice and Fire begins as Jon and Dany finally meet. A few bum notes get hit as the King in the North and the Mother of Dragons feel each other and their situations out.
  • King’s Landing
    • Euron finally gives a gift to Cersei, which she immediately breaks. The Iron Bank comes to check on its debts.
  • Winterfell
    • Bran gets back from his time abroad and things between him and his commander sister Sansa are a little awkward.
  • Oldtown
    • Sam gets some credit for actually saving Jorah.
  • Narrow Sea
    • Theon gets fished out of the sea.
  • Casterly Rock
    • Under Tyrion’s master plan, the Unsullied take Casterly Rock, but it’s a little too easy…
  • Highgarden
    • As Jaime has taken the forces to take the seat of House Tyrell. Olenna gets one last fuck you in.

What Worked?

It’s shocking to realize how much faster this season of Game of Thrones has been than basically almost ANY other season. It’s not just the fact that the season has 7 episodes and by that virtue needs to be moving through its story at a rapid clip. It feels like the operation of this season is to finally bring everything to fruition and that once this history gets on the march, there is no stopping it.

To say “The Queen’s Justice” is a phenomenal episode simply because so much happens kind of does a disservice to how strong the material here is. There is a thrill in seeing so much happening and in seeing everything we’ve been teasing for 7 seasons actually exploding out. The war has begun.

But it’s because Game of Thrones really is at its best when things are going down. Season 5 was its weakest simply because it spent so much time grinding to a halt and spinning its wheels. When it has forward momentum, the writers, the directors, and the actors really dig in and pull the richest veins of this material.

Take for example the performance of our Lannister Twins. Lena Headey has done extraordinary work since Cersei really slid into full-bore evil queen supervillainy. As she’s started to move towards solidification of her hold on power and her revenge on the whole of the land, Headey has seized on the theatrical evil it takes to achieve to sell the pain and the base pleasures that have always driven Cersei. It’s just strong and interesting work that is based in the move towards the end.

But that forward momentum has also enormously benefited Nikolaj Coster-Waldeau. Jaime has been an underrated portion of this show, but the thread of what exactly to do with him has been lost for some time. But the increasingly rapid march to the end has given him a lot to do outside of Cersei. His scene with Olenna is some of his finest work, that pained look when she tells him that she killed Joffrey is phenomenal. But he finally gets to dig in to his increasingly dark feelings about his sister and his place in a kingdom she rules.

On the whole, that forward momentum also has benefited this show trimming down to the bare essentials. The Tyrells are gone, the Dornish are officially a closed loop, sides are all basically chosen and families are reunited. Basically every scene is moving something forward, creating something or closing something. The show finally feels like it’s able to do the things it’s been setting up forever.

For example, that Jon and Dany meeting. Look, it’s been set up since the beginning. This is the Song of Ice and Fire. It was hard to know what exactly this was going to be when it happened, but the tense and terse back-and-forth feeling each other out, Dany trying to assert and Jon with no patience for anything but his earnest quest, is certainly displaying the show’s capacity to surprise.

These characters are now getting put in place, their situation and preparations for war actually based in the arc that brought them to this place. I’m really impressed with where Game of Thrones has brought itself. A show this huge managing to pull down to the characters is a rare feat.

What Didn’t?

I’m still not entirely sure the failure of Tyrion’s plans is getting narratively justified. Tyrion’s failures as a general are perhaps supposed to be the reasoning, but it’s just not quite set up within what’s actually happening so far. It’s more convenience and moving its pieces than anything else. I’m hoping that’s knocked back into place.

Who Got A Win?

  1. The Lannisters
    • They tactically out-maneuvered their major challengers, took and rebuked one of their biggest defectors, are currently keeping the Iron Bank on their side, and Cersei and Jaime managed to take revenge on both of the people who killed their kids. It’s rare anyone’s had such a good episode.
  2. Jon and Dany
    • While Dany suffered a big set-back, the Jon and Dany partnership took a real huge step-forward by warming up their initially frosty relationship. They’re gonna need a whole hell of a lot more to make this work, but a good first step.
  3. Jorah
    • He got a new shirt!

Who Made A Mistake?

  1. The Sands
    • They’re going to die very slowly and painfully.
  2. Dany and Her Allies
    • Their three largest Houses of supporters have basically been crushed under foot and they wasted soldiers on what appears to be a fool’s endeavor. What a setback.
  3. The Tyrells
    • They died relatively quickly and painlessly.

Game of Thrones Season 7, Episode 2: Stormborn

Week 2 of Game of Thrones got straight up gratuitous. All the murder, sex, and gross body stuff you could ever imagine, as well as plenty of the Great Game that keeps you coming back week after week.

Where Is Everybody?

  • Dragonstone
    • Varys gets cleared. Tyrion and Dany reveal their plans to their backers in the Houses of Tyrell, Sand, and Greyjoy and Dany gets some advice. Grey Worm and Missandei finally reveal their feelings and consummate their relationship over the course of a century.
  • King’s Landing
    • Cersei and Jaime try to get some kingdoms back on the Lannisters’ side. It also turns out you can hurt a dragon…ominous.
  • Winterfell
    • Sansa and Jon hopefully learn the value of having a meeting before your meetings as Jon decides to go meet Dany and Tyrion. Later, Jon has an incredibly satisfying moment with Littlefinger.
  • Riverlands
    • Arya learns from Hot Pie that she can go home again and meets up with an old friend who is a Direwolf.
  • Oldtown
    • Sam rules and managed to figure out how to cure Jorah. It’s real gross though.
  • Narrow Sea
    • Euron kills the Sand Snakes in a big-ass sea battle and finds his way into our hearts.

What Worked?

Before we get into all else, let’s focus on the most surface level pleasure of this episode. “Stormborn” ended on a massive naval battle that ranks among the best action sequences of this show (minus the season-climax battles that always stand above). Euron’s ship sailing ominously through the dark, the flickering sparks through the air illuminating the battle by burning fire, Euron’s wild-eyed gaze as he brutally tears through Yara’s forces. It’s a scene tense and pulse-pounding and well-composed, a reminder of the particular thrills of a show like Game of Thrones that does manage to pull off such large scale action week by week.

But there’s also an emotional portion of this scene I really love. At the end of the battle, Euron has taken Yara hostage and is taunting Theon with her. Given the chance to return the good she once did for him, he runs and jumps overboard, leaving Yara in the clutches of their sadistic uncle.

It’s an incredibly moving moment, for the sort of sadness this show really can evoke. The trauma done to Theon doesn’t just leave, he’s not just going to be okay. He’s not ready to be a hero and this show isn’t interested in pat blazes of glory or resolutions that tug the heartstrings. Theon is broken and he leaves the carnage behind him as someone stronger tries to take power, the sorrow at his cowardice and at Yara’s feeling of betrayal is never said, but it hangs heavy in the air. A seriously great choice on the part of this episode’s writers.

As Game of Thrones continues down the path to the end HBO doesn’t want to see coming (seriously, HBO has nothing on this scale and they are terrified of when it ends), our storylines are increasingly converging. Last season was about setting up the endgame, this one appears to be about putting all the pieces in place, including pushing the characters into their final alliances.

“Stormborn” shows us just how fun seeing these characters we’ve spent 6 other seasons getting to know in new combinations can be. Strong personalities with seasons of history bouncing off new walls is an absolute delight. Yara and Ellaria’s ribald fliration (interrupted by Euron’s terrifying attack) is worth the watch of the episode alone. Seeing Jon throw Littlefinger up against the wall is amazing. Sam getting to do the right thing for the son of Mormont and Dany consulting with Olenna Tyrell and dressing down Varys are things that only work this late in the game, with such a clear idea of who these people are and what’s happening to them.

It’s important to note just how good an endgame has been for this show. As it focuses, the tightness of the narrative makes everything feel urgent. Everything is now pointing to a future, all the fat has been trimmed off the story’s movement.

From a totally petty perspective, I’m also just glad we saw the Dorne portion of the story cut off. The show’s completely bungled its handling of it, and the death of (2 of) the Sand Snakes was a great way to close off the story and reestablish Euron’s threat. I mean, we knew they would die, these are not fan-favorite characters.

What Didn’t?

At this point (don’t @ me) Game of Thrones pretty much has figured out what works and what doesn’t. Missteps are on the basis of miscalculation rather than blatant mistake.

Let’s take Missandei and Grey Worm. The scene was a long-time coming and honestly the idea and set-up was truly spectacular. But it went on just a hair too long, just past the necessary point. It felt like a moment of the show grinding to a halt when it doesn’t have the time to waste.

Also, how did Grey Worm learn how to go down on a woman? Is there a bard going around singing about the glories of cunnilingus who’ll teach you how for a copper?

Who Got A Win?

  • Euron
    • Euron basically decimated the Greyjoy opposition and struck a major blow to impress the Lannisters and get them back on his side for a claim to the Iron Islands.
  • Arya
    • Arya again gets a nice, sweet moment of grace and learns that she does indeed have friends. I’m just so happy for her.
  • Jorah Mormont
    • It looks like he’s got that greyscale fixed. Yay!

Who Made A Mistake?

  • Jon and Sansa
    • CAN THEY NOT HAVE ONE FUCKING FIVE MINUTE MEETING BEFORE THEY ACTUALLY HAVE THESE BIG DECLARATIONS. Jon sucks ass at actual politics and Sansa needs to figure out how to guide better. Littlefinger is creeping into that growing divide.
  • Tyrion
    • Olenna’s words are ominous and the current alliance worries me if Dany decides to turn back on Tyrion’s frankly fantastic plan.
  • Theon and Yara
    • Their forces were decimated, Theon ran, and Yara’s in Euron’s hands. About as bad as it could get for them.

Saturday Night Live Season 42, Episode 20: Melissa McCarthy joins the Five-Timers Club!

How’s the Cold Open?

I’ve definitely been critical of Baldwin’s performance as Trump in recent weeks as largely being a “Fill-In-The-Blanks” impression, and it isn’t as though this week’s showing was necessarily any better about that.

I feel like this week was just to some degree the most absurd and stupid week in the history of the Trump Presidency, where the sheer vain idiocy came so far to the forefront of President Wario’s actions that any repetition would be deeply amusing in a sort of “Laughing at the Mushroom Cloud” sort of way.

So, yeah, Baldwin is doing his standard shtick, but I couldn’t stop stress-laughing remembering how barely exaggerated the actions were this week. The actual comedy star of this one was Michael Che as Lester Holt, whose delivery of the line “Nothing matters” taps into that weird pervading nihilism about the whole thing.

Also, any time we can mock Paul Ryan, let’s do it. Bring ice cream you Randian motherfucker.

I’m mad about politics this week. The sketch was funny.

Who’s Hosting?

It always kind of surprises me that Melissa McCarthy didn’t come up through SNL. She seems like the sort who would have been a smashing success here, a brilliantly broad comedic performer with a penchant for really digging underneath the characters. She’s always been SNL-adjacent anyway, kicking off the superstar portion of her career in a movie starring Kristen Wiig, so what would it have hurt to have had it every week?

She enters the Five-Timers Club this week, the second this year (there will ultimately be three), and she is absolutely deserving. No non-cast member has felt quite so at home as McCarthy, she’s up there with luminaries like Steve Martin, Alec Baldwin, or Justin Timberlake.

What Sketches Are Worth Watching?

“First Birthday”

A weird recurring sketch that tries to explain those suburban mom trends, I’m a fan of weirdly sinister comedy and this absolutely has it in spades. A bizarre, Stepford-esque escalation of finding “your animal” and your nature, the great little weird behavior details and the increasingly dark/glassy-eyed performance from everyone all builds to a nice comedy crescendo.

“Production Logo”

A perfect 10-to-1 sketch, the kind of sketch that you’re not sure what exactly the thought process was that led to it, but you’re happy someone thought of it. Absurd, but played with a totally straight face. Don’t know what made me laugh so much about Melissa McCarthy’s depressed logo woman, but made me laugh it did,

“Kyle and Leslie”

This romance between Kyle Mooney and Leslie Jones has been one of the more surprising delights of this season, a romance surprisingly sweet and funny as it is weirdly told and well put-together. It actually pulls from a real place if this romance existed (their varying levels of success) and then pushes it in a legitimately interesting way until it takes the comedy turn, which actually may be the hardest I’ve laughed this season so far.

No shit. I was scream-laughing.

“Sean Spicer Returns”

Spicey, Sean Spicer if you’re nasty, may legitimately be McCarthy’s greatest character, a bundle of anger and rage and genuine nervous fear that explodes in comedic service of a total buffoon. McCarthy plays Spicer with everything she’s got, and I think it’s one of the few that finds no diminishing returns. Yeah, Spicey has thrown shit before, but that column throw is a legitimately hilarious escalation, it always feels like you’re finding something new. Even if you’re just reciting what happens (Spicer really did hide “among” the bushes), McCarthy finds the comedic gold therein and pulls it out, not just reciting.

Plus, I will never not laugh at the use of the podium.

“Film Panel”

Considering real-life Classical Hollywood was only slightly more dehumanizing than these folks describe, I’m impressed how much they manage to pull out and the delight with which McKinnon and McCarthy’s old actress describe all manner of twisted things. Just a great duo performance, and the showcase for McKinnon’s talents that works every time.

“Melissa McCarthy Mother’s Day Monologue”

Just a fun little piece to kick off the show, I always love the various shenanigans they pretend are going on behind the scenes at SNL and I’m also a fan that they keep McCarthy’s Llama recurring.

What Didn’t Work?

“Amazon Echo”

Reasonably committed, but honestly, there’s not really any gags that haven’t 100% been done before, this is just kind of your standard group of old people gags given “relevance” by tying it to a new piece of technology.

“Game Show”

Carried entirely on McCarthy’s physical humor here, it kind of runs into a rut a little too fast, telegraphing all its gags from the first pie-to-the-face. I’ll admit to laughing at the “washing off” stuff, but everything else is just not all there.

Weekend Update!

In a weird way, this week more than ever, Weekend Update is feeling the strain of keeping up with an exceptionally dumb administration. One has to wonder what it would have been like for this show to operate under Nixon, keeping up with the vitriol and the stupidity and the sheer weird baffling behavior is plenty of material that you’re still never going to feel better comedically than the dark joke of seeing it actually happen.

At this point, there’s just a general need for a little catharsis, a barely concealed need to throw up the hands and just ask “What the fuck?” While these guys aren’t as good as Seth Meyers (As far as mainstream goes. When you’re talking non-mainstream sources, no one is beating Chapo Trap House for the cathartic political comedy), Jost and Che are getting a few good shots in this week, my favorite being Jost hitting Spicer and Trump over Spicey diving in the bushes without warning as that’s usually Trump’s move.

Correspondents were good this week. Cathy Anne actually made me laugh this week with a solid group of hits that were clearly connecting on Trump. The concept of the character as a woman at her last rope is finally coming through here, and it’s funnier than she’s been in her past. Pete Davidson also did a nice little personal bit about being in rehab, and I hope all goes well for him.

Did You Actually Watch The Musical Guest?

Oh yeah. HAIM is the bees knees.


An ensemble show largely, but Cecily KILLED it as a straight-man this week, so major props to being able to do that. And Cathy Anne actually worked this time around.

Beck Bennett – 4
Cecily Strong – 3

Kate McKinnon – 2
Bobby Moynihan – 2
Mikey Day – 2
Vanessa Bayer – 1
Jost and Che – 1
Leslie Jones – 1
Kyle Mooney – 1
Kenan Thompson – 1
Melissa Villaseñor – 1
Ensemble – 1

Final Thoughts!

A great week, one almost certainly buoyed by having Melissa McCarthy’s comedic presence around. While not quite as experimental or sheerly-skilled as some of the better episodes of this season, it’s a solid group of sketches that land more hits than misses.

Season Rankings (Shamelessly stolen from SNL Scorecard)

  1. Dave Chappelle
  2. Tom Hanks
  3. Kristen Stewart
  4. Lin-Manuel Miranda
  5. Louis C.K.
  6. Emma Stone
  7. Aziz Ansari
  8. Chris Pine
  9. Melissa McCarthy
  10. Scarlett Johansson
  11. Alec Baldwin
  12. Kristen Wiig
  13. Margot Robbie
  14. Casey Affleck
  15. Benedict Cumberbatch
  16. John Cena
  17. Felicity Jones
  18. Octavia Spencer
  19. Emily Blunt
  20. Jimmy Fallon

Next Week: THE SEASON ENDS. Dwayne Johnson also joins the Five-Timers Club.