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About Katie

I'm a writer and editor; a dancer and choreographer; and a passionate fan of more things than is probably healthy. I love film, literature, television, sports, fashion, and music. I'm proud to be a Nerdy Girl.

Thankful Thoughts

Today is a day for giving thanks, and I would be remiss without taking a moment to count my blessings. Running Nerdy Girl Notes continues to fill me with joy, pride, and a deep sense of purpose every day, and I am so thankful to have a place to express my thoughts and feelings about the media I love so much.

More than anything, though, I am thankful for all of the people who help make NGN something to be proud of. Sometimes, I look at other websites and am saddened by the negativity and nastiness found in the dialogue between fans. So I am incredibly grateful that NGN has become a place where people can engage in intelligent discussions that are conducted with respect for all opinions. I can’t even begin to describe how happy it makes me to watch this website grow into a place known for its positivity—because there’s already enough negativity in the world, don’t you think?

NGN is a reflection of the people who visit this site every day. I’m so thankful for each and every reader and commenter—your readership, your insight, and your passion inspire me to continue to make NGN the best it can be. And they inspire me to be a more positive person myself.

I’m thankful for every Tweet, Facebook Like, Tumblr post, and message board mention about NGN. I’m floored with gratitude when I think of how much love has been sent NGN’s way since this site began, and I appreciate everyone who visits this site and takes the time to talk so enthusiastically about it (and even make gorgeous things on Tumblr with my writing as inspirations—don’t think your beautiful work has gone unnoticed).

I’m especially grateful for all of my incredibly kind, supportive, and talented contributors. I feel blessed to be able to call you not only my cohorts but also my friends. I was lucky enough to spend time with both Leah and Heather (along with my graphic designer Nikki and fellow blogger/frequent NGN commenter Kelly) in New York City a couple of weeks ago, and I would like to take this moment to say they are even lovelier in person than they appear to be through their writing. On this day of giving thanks, I feel forever indebted to the Internet for allowing me to form some of the most inspiring friendships I’ve ever had.

I hope all of you who celebrate this day have the happiest of Thanksgivings. And even if you don’t celebrate the holiday, I wish all of you a day—and a season—filled with warmth, love, and an abundance of things to be thankful for.

TV Time: Castle 6.10

Castle 610

Title The Good, the Bad, and the Baby

Two-Sentence Summary After a dying man abandons a baby at a church, Castle and Beckett must solve not only his murder but also the mystery behind the baby’s identity and connection to the case. Until they do, they take the baby in, which allows both of them—especially Beckett—to take a glimpse into their future and the possibility of having children of their own someday.

Favorite Line Upon walking into the loft to see Martha holding a baby while Castle and Beckett are sleeping near her: “How long have I been gone?” (Alexis)

My Thoughts In honor of this episode’s Thanksgiving theme, I would like to turn this week’s review into a little list I like to call: “10 Things to Be Thankful For in ‘The Good, the Bad, and the Baby.’”

1. An Excellent Opening. The opening of this episode, with the victim stumbling into the church while the cantor was singing and the service was going on was just unsettling enough to be memorable. Part of me was a little frustrated that the chilling events of last week’s episode went completely unaddressed in “The Good, the Bad, and the Baby,” but that’s sadly to be expected from a procedural. However, I did get a good dose of goose bumps from this opening scene without being as terrified as I was by “Disciple,” which is just what I want from a holiday-themed Castle episode.

2. Playful Pocahontas. Between last season’s “Secret Santa” and this episode, I really enjoy watching Castle and Beckett share holiday traditions—even made-up ones. I had a feeling Castle was kidding about his Thanksgiving costumes, but I loved that Beckett was willing to play along. Even more than that, though, I loved that she was smart and sassy enough to get him a costume just in case he turned out to be kidding.

3. A Family Affair. It warmed my heart to see Beckett and her father included in Castle’s family festivities for Thanksgiving. I have always loved that the Castle Family feels like a real family, with history and traditions that are special to them. And now I love that Beckett and her dad are becoming a part of this warm and welcoming family. From Beckett helping Castle shop for the Thanksgiving meal to Alexis talking to Jim Beckett on the phone, there was a very natural, domestic feel to this episode, and that tone was perfect for a holiday episode. It further proved to me that this season of Castle is all about confidence, and now that extends to confidence in the characters’ abilities to form their own big, happy family without having to make a big deal about it in the plot.

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Nerdy Girl Goes to the Movies: Gravity

gravity poster

Title: Gravity

Rating: PG-13

Cast: Sandra Bullock (Ryan Stone), George Clooney (Matt Kowalski)

Director: Alfonso Cuarón

The Basics: Gravity is a story of survival in a world where life is factually impossible. After being detached from the space station she was working on as part of her first mission, NASA medical engineer Ryan Stone finds herself adrift in space, with a rapidly depleting supply of oxygen. Tethered to veteran astronaut Matt Kowalski, Stone must fight seemingly insurmountable external obstacles to get back to Earth, which mirrors her internal struggle to survive after the death of her young daughter. The way the themes of isolation, birth, death, and survival are developed and reflected in every moment of the film is nothing short of masterful. Technically, this film is like nothing that has ever been seen before, but the reason Gravity is so special—such a masterpiece—is that it never lets its technical achievements overshadow its emotional ones. Anchored by the best performance of Sandra Bullock’s career, this film is about so much more than the terrifying beauty of space; it’s about the struggle for a woman to survive in both a physical and emotional environment that would destroy most people.

M.V.P. (Most Valuable Performer): Sandra Bullock has been known as many things throughout her career—adorable, funny, sharp-tongued, relatable, and warm. But after seeing Gravity, I think the best word to describe her work as an actress is fearless. Her performance in Gravity is astoundingly brave in its vulnerability, its humanity, and its incredible mixture of strength and weakness. Ryan Stone feels like a real woman—not a superhero. For most of the film, she’s terrified, and Bullock makes that fear almost painfully palpable. We see so much of this film from Stone’s perspective; her voice is the only one we hear for most of it; her helmet is the one we see the chaos through. And in order for Gravity to succeed, the actress bringing Stone to life needed to be someone who could captivate audiences on her own for nearly the entire 91 minutes of the film’s runtime. Bullock is exactly that; she’s utterly captivating every moment she’s onscreen. Ryan Stone is a fascinating character, a woman whose strength manifests itself not in big moments of heroics but in choosing to live rather than give up, despite having every reason to want to die. We see Ryan as a hero because we are able to believe her at her lowest—in the quiet depths of her grief and the panicked extremes of her fear—and at her best. Her hero’s journey is a story of rebirth, and Bullock makes it resonate with an emotional intensity and honesty that should put her at the top of any Best Actress race this year.

Scene Stealer: From the very first moments of Gravity, I was in awe of its score. Steven Price’s work is unsettling from the start, and its hold on my emotions never let up. It made the hair on the back of my neck stand up, it made me hold my breath, and it even made me cry. Price’s score captures the grandeur and danger of space as brilliantly as it captures the grief and hope coexisting in Stone’s character. I don’t normally single out a film’s score as something worthy of intense praise, but this wasn’t any ordinary film—or any ordinary score, for that matter.

Bring the Tissues? I cried way more than I was expecting to during Gravity. Bullock’s fierce vulnerability has a way of getting under your skin and going straight to your heart. When she reveals how her daughter died, I started tearing up, but once she started talking to a man back on Earth (whom she reached while trying to unsuccessfully contact Houston), I started genuinely sobbing. Her loneliness—both in the vastness of empty space and in the grief-stricken life she lived back on Earth—moved me beyond anything else I’ve seen in a movie theater so far this year.

Most Memorable Scene: On a technical level, I’m not sure any scene in any of this year’s Oscar contenders will be more memorable than the opening minutes of Gravity. Filmed in one, unbroken shot, this scene builds spectacularly from awe-inspiring to terrifying. The way Cuarón captures the feeling of weightlessness is extraordinary; it puts you off balance just by watching the action unfold. And that’s all before the debris begins to rain down on Stone and Kowalski. In that moment, the strange serenity of space is turned into sheer panic, and the feelings it invokes are oppressive in their intensity. I felt like I was holding my breath through the entire sequence, and I know I was gripping my armrest with white knuckles. The direction, the sound mixing and editing, and Bullock’s performance all combined to create one of the most visceral experiences of panic I’ve ever felt while watching a movie. It was—at the risk of sounding hyperbolic—breathtaking.

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The Best Thing I Saw on TV This Week (11/17 – 11/24)

With Thanksgiving right around the corner, there was plenty to be thankful for this week in the world of television. Sunday’s Once Upon a Time gave us one of the best twists in the show’s history and ended on one heck of a controversial cliffhanger. That hour was followed up by another stellar hour of The Good Wife. Monday gave us our first glimpse of this season’s Dancing with the Stars finalists as well as a terrifically terrifying Castle episode no one will be forgetting anytime soon. Tuesday’s New Girl introduced romance back into the lives of Coach, Cece, and Winston, and The Mindy Project featured another funny showdown between the doctors and the midwives. Wednesday’s Nashville reminded me why I love the idea of Avery and Juliette getting together someday (and reminded me why I hate “fake baby” stories). And last night’s Saturday Night Live made me love Josh Hutcherson even more than I already do.

It was difficult to choose the best of the best, and in any other week Tamala Jones’s excellent work in Castle‘s “Disciple” episode would have taken the cake. However, the reveal of Peter Pan’s identity on Once Upon a Time was so shocking and yet so right for the characters and the story that nothing else on TV this week could compare. “A child can’t have a child” may go down as one of the most chilling and perfect lines ever said on Once Upon a Time, and the way that one revelation affected so many of the relationships on this show was astounding. It also allowed for the brilliant showdown between Pan and Rumplestiltskin where everything was finally laid on the table. Watching Robbie Kay and Robert Carlyle go toe-to-toe has been a treat for this entire season, and they’ve never been better together than they were here.

What was the best thing you saw on TV this week?

TV Time: Parks and Recreation 6.08/6.09

After a brief hiatus, Parks and Recreation recaps have returned to NGN, and this week, Heather‘s taking the reins! 

parks and rec cones of dunshire

Title Fluoride/The Cones of Dunshire

Two Sentence Summary In “Fluoride,” Tom helps Leslie persuade the city council to vote for adding fluoride to the water supply while April, Donna, and Craig choose spirit dogs for their coworkers. In “The Cones of Dunshire,” Chris and Leslie defeat Councilman Jamm in the quest to get the Pawnee Commons project up and running, Ron tries to sell one of his cabins, and everyone loves Ben Wyatt.

Favorite Lines “What’s next, cookie dough toothpaste? Bad example, that would be amazing” (Leslie) – “Fluoride”

“Wait a second, that’s not pizza. Those are calzones. I love calzones!” (Ben) – “The Cones of Dunshire”

My Thoughts I just really love Parks and Recreation. Why is January—and the return of the show—so far away?

“Fluoride” gave me so many things to love. Craig came back to the parks department office with all of his intensity, Tom showed off his marketing skills, Ron decided that Moby Dick was completely free of symbolism, Chris and Ron bonded a little over their unborn babies, and most excitingly, Donna Meagle got more character development and made April give her a hug.

I really hope this show continues to explore Tom’s aptitude for marketing. First of all, I’ve always liked Tom best when he’s doing something he gets to be excited about. All of his passion comes out, and that’s my favorite quality in a character. Second of all, I love the commentary about how ridiculous marketing can be and how easily swayed people are. I’m not immune to the desire to earn a new achievement on a Facebook game or app so making H2Flow interactive and reward-driven was actually a pretty good idea on Tom’s part.

I really loved the subplot with Craig, Donna, and April. I will always be excited to see Craig in all of his over-the-top ridiculousness. Everything he said cracked me up. Most importantly, we got to see Donna and April bonding. I love that Donna completely understands April and managed to pick the perfect spirit dog for her. Her insight into those around her is something we’ve seen before when she understood that Ben’s “Treat Yo Self” day wasn’t the same as hers and Tom’s, and I loved seeing it again. Donna has become so much more complex this season. She’s no longer just the person who cares about her Benz and fine leather goods, and I love this show for that. I want the references to Retta’s flawless tweeting to continue, but I also want to see Donna get more of the spotlight.

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Nerdy Girl Goes to the Movies: Catching Fire

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Just as a warning, this review is not spoiler-free, so read at your own risk if you haven’t seen the movie yet! 

Title: The Hunger Games: Catching Fire

Rating: PG-13

Cast: Jennifer Lawrence (Katniss Everdeen), Josh Hutcherson (Peeta Mellark), Liam Hemsworth (Gale Hawthorne), Woody Harrelson (Haymitch Abernathy), Elizabeth Banks (Effie Trinket), Sam Claflin (Finnick Odair), Jena Malone (Johanna Mason), Lenny Kravitz (Cinna), Donald Sutherland (President Snow), Stanley Tucci (Caesar Flickerman), Philip Seymour Hoffman (Plutarch Heavensbee)

Director: Francis Lawrence

The Basics: The Hunger Games: Catching Fire is the second of what will be a four-film franchise based on Suzanne Collins’s trilogy of Young Adult novels. This installment focuses on Katniss Everdeen’s inadvertent role as the spark behind a revolution in the 12 districts of Panem after she defied the Capitol to keep herself and her partner, Peeta Mellark, alive in the 74th Hunger Games. While still plagued by crippling nightmares and PTSD after the Games, Katniss attempts to return to life back home in District 12 after a grueling Victory Tour, but a surprise twists sends her and Peeta back into the arena to fight amongst other former victors in the 75th Hunger Games. Catching Fire was my favorite book in Collins’s trilogy, and this film met even my high expectations. The special effects, the character development, and the chemistry between all of the major players was even better than it was in the first film in the franchise. And it doesn’t hurt to have Jennifer Lawrence leading the way with a performance as fearless and as faithful as any fan of Katniss could hope to see.

M.V.P. (Most Valuable Performer): Jennifer Lawrence was born to play the role of Katniss Everdeen. In the novels, everything we experience comes from Katniss’s point of view, but the films don’t have that luxury (and thank God we haven’t had to deal with cheesy voiceovers to make up for that fact). Somehow, though, Lawrence makes you feel every single one of Katniss’s emotions—from the most painfully open ones to the ones she hides even from herself. Lawrence acts with every fiber of her being; she’s such a physical actress—her whole body shakes with fear in one scene and rage in another, and she makes both feel so completely different from one another. Lawrence’s eyes are a character all on their own; pay special attention to the very end of the film when they are her only tool to convey what’s going on in Katniss’s head and heart, and marvel at how she makes you want to cry, cheer for, and even fear this girl on fire who has everything and nothing to lose. The Hunger Games franchise is Katniss Everdeen’s story, and it’s not a simple story to tell. It requires an actor whose fearless pursuit of honesty makes every moment she’s onscreen crackle with an intensity that dares you to look away all the while knowing you will never be able to take your eyes off her for a moment. Lawrence is such an actor—perhaps the best one of her generation.

Scene Stealer: Every member of the supporting cast of Catching Fire was wonderful, but I have to give special recognition to the actor who surprised me the most. That was Elizabeth Banks, who gave Effie so much depth and compassion in this film while still maintaining the same sense of overbearing propriety that made her such a strong source of comedic relief in The Hunger Games. Banks manages to bring both the laughs (another excellent “mahogany” reference) and the tears in this film. Her work in the reaping scene is incredibly powerful in its subtlety. The war waging in Effie between her need to maintain decorum and her overwhelming sadness at watching these people she’s come to care for go back into the arena has to stay just under the surface, but you can feel it in every second the camera spends focused on her tear-filled eyes. And her goodbye to Katniss and Peeta was one of the most moving moments in the film. Banks’s control over her emotions was brilliant, and it made those rare moments when Effie’s prim and proper exterior begins to crack all the more powerful. I didn’t care about Effie all that much while reading the books, but Banks makes it impossible not to care about this woman who has grown from an annoying symbol of the Capitol to a beloved member of a team bonded by love and loss.

Bring the Tissues? If you think the answer could possibly be “no,” then you have no idea what this series is about. The big emotional moments deliver with a breathless kind of power, but there’s a special kind of potency to the film’s smaller moments of love and friendship, too. A show of unity among the former victors, Peeta’s face when the Quarter Quell is announced, Haymitch hugging Katniss, and Peeta helping Katniss through her nightmares with a perfectly-delivered “Always”—each of those moments blindsided me with how much they moved me. And if you’ve read Mockingjay, some scenes will be almost brutally sad to watch because you know what’s coming for these characters in the next films. (I’m thinking especially of Peeta and Katniss’s last kiss and an early conversation they have about favorite colors.)

Most Memorable Scene: It was almost impossible for me to choose just one scene. I could have picked the District 11 Victory Tour scene for its emotional impact, the announcement of the Quarter Quell for the great performances put on display without any of the actors saying a word, the jabberjay scene for its ability to bring one of the most powerful scenes in the book to life, or the beach scene between Katniss and Peeta for its quiet intimacy. However, the scene that is still haunting me a day later was the scene between Katniss and Haymitch near the end of the film. I didn’t think anything could equal the power of that scene in the book, with Katniss trying to scratch Haymitch’s eyes out over his part in saving her and letting Peeta become a prisoner of the Capitol, but this scene matched it in every possible way. Lawrence astounded me with how fearlessly she attacked that moment; she made Katniss’s pain, grief, and anger so palpable it made me grip the armrests of my theater seat.

The whole film builds to this moment of Katniss lashing out in response to people controlling everything about her life, and it’s even more powerful because she’s lashing out at Haymitch, one of the only people she trusted. Lawrence makes you believe that losing Peeta has finally pushed Katniss over the edge; he was her anchor in this film, keeping her from getting lost in the darkness because she had someone to navigate that darkness with her. And now he’s gone, a prisoner of the Capitol because others—including Haymitch—deemed Katniss more important to save. The sense of betrayal Katniss feels knowing Haymitch left Peeta to die—or at least to be tortured—is so visceral, and it hurts even more because we understand it. The juxtaposition of that scene and the earlier beach scene puts everything into perspective; Katniss is the only one who needs Peeta, and when he’s gone (with Haymitch being partly responsible), she has no one left to trust. The absence of Peeta for mere moments has such a profound impact on Katniss, and it’s an impact that will reverberate through the rest of the series. To see both Lawrence and Woody Harrelson approach this brutal scene with such honesty was something special. It broke my heart, but it made me feel proud that such brilliant actors were bringing to life a book I love so much.

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TV Time: New Girl 3.09

Title Longest Night Ever

Two-Sentence Summary When Cece and Coach decide to go on a date, Jess is left to take care of Schmidt. Meanwhile, Winston and Nick attempt to find Furguson after Nick left the loft window open, and their travels put Winston a little closer to getting back in the dating game.

Favorite Line “She’s on a flip phone, Jess, which means she’s either poor or a time traveler.” (Schmidt)

Episode M.V.P. “Longest Night Ever” was a strange episode, and sometimes that was good, and sometimes it wasn’t. I didn’t love the Coach/Cece storyline. I thought it happened way too fast, and it could have built over the course of a few episodes instead of just one. I just can’t get a handle on where they’re going with Coach’s character yet, so I don’t think it’s time for that big of a storyline for him yet. I also kind of hated that I felt bad for Schmidt in this situation; he’s the one who screwed up, and yet I was sad for him that Cece was moving on with Coach. But I suppose that’s what happens when Max Greenfield turns on the vulnerability I love so much in his work as Schmidt. That last scene with him and Jess in the car was very realistically sad.

The best (and probably strangest) storyline in the episode belonged to Nick and Winston and both Jake Johnson and Lamorne Morris made every awkwardly hilarious moment work perfectly. New Girl plays very real awkwardness for laughs better than perhaps any other show on TV right now, and all of those scenes in Bertie’s apartment showed that perfectly. Both actors had perfect reactions to the odd things happening around them, but I also genuinely believed that Nick could see Winston’s happiness at hitting it off with a woman and wanted his friend to be happy. The only way all that weirdness could work was if both actors completely committed to it, and they definitely did.

Favorite Scene It was strange, it was awkward, and it was uncomfortable, but I loved Winston and Bertie’s weird flirting (especially the bologna conversation). The things that turn these characters on are often so strange, but that’s what makes them feel like weird, quirky people instead of boring TV characters. This flirtation could have gone horribly wrong, but instead it was so wrong it was right.

I have to give an honorable mention to Jess hitting Schmidt with her car because for some reason, I will always find people getting hit by cars hilarious (when it’s played for humor—not in real life of course!). What can I say—I’m a sucker for physical comedy.

A New Girl GIF* For My New Girl Feelings

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A lot of weird stuff happened in this episode. Sometimes it was funny; sometimes it missed the mark. But it was definitely like nothing else I’m going to see on TV this week.

*I have no talent for GIF-making. Thankfully, I am highly skilled at searching Tumblr for the best GIFs. I take no credit for this beauty.

TV Time: Castle 6.09

STANA KATIC, NATHAN FILLION

Title Disciple

Two-Sentence Summary The team at the 12th precinct investigates the murders of a man and woman who bear disturbing resemblances to Esposito and Lanie. The intimate connection to the precinct leads Castle to believe that Jerry Tyson—the infamous 3XK—is behind the murders, even though Tyson is supposed to be dead.

Favorite Line “Don’t chase ghosts, Castle, okay? It’s not worth it. Trust me.” (Beckett)

My Thoughts Raise your hand if you’re still a little scared to go anywhere alone after watching “Disciple.” (For the record, I am virtually raising both hands as high as they can go.)

“Disciple” was unlike any other episode of Castle I’ve ever seen. We’ve been given chilling episodes before, suspenseful episodes, even gruesome ones. But we’ve never been given an episode so deeply unsettling, so psychologically disturbing. It put the audience and the characters on the same level—one step behind the killer, frantically trying to put together clues until the realization crept up on us with an overbearing sense of dread. Of course it was 3XK. It made perfect sense and yet was perfectly shocking at the same time. That’s a hard balance to achieve, but writer David Amann seemed to strike that balance with ease.

I also liked that there was a balance between dread and levity throughout the episode. TV—much like life—can’t be overbearingly tense at all times. So we got to see Castle and Beckett bantering about honeymoon locations and Castle bristling at Dr. Nieman’s use of the word “potential” when it came to his looks. The small bits of light amid the darkness of the episode never felt like drastic tonal shifts; they felt like realistic breaks in the tension. Without them, the hour would have felt oppressive.

Even with the small moments of levity sprinkled throughout, there was no escaping the chill this episode put in your bones. It was there right from the first shot of Lanie’s doppelganger, standing still on the docks until we came to see that she was actually hanging there—her feet just inches from the ground but telling us all we need to know about her horrible fate. Rob Bowman’s direction and Robert Duncan’s score combined to make every nerve in my body feel like a live wire in that moment, and the feeling didn’t let up until the promo for next week’s episode started.

Every member of the 12th precinct family had their moment (or several) to shine in this episode. I’ve said it before, but it bears repeating: For as much as I love a lighthearted or nerdy episode of Castle, my favorite episodes are the more dramatic ones. I feel like this cast really rises to the occasion when they get to play with serious stakes, and this case had painfully high stakes for all involved.

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TV Time: Once Upon a Time 3.08

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Title Think Lovely Thoughts

Two-Sentence Summary Rumplestiltskin and Regina rejoin Operation Henry just in time for them to attempt to rescue the boy before Peter Pan takes his heart and uses it to become immortal, but Henry’s desire to be a hero proves to be his own undoing. In flashbacks to Rumplestiltskin’s childhood, we discover just how well he and Pan know one another.

Favorite Line “You said no magic; I agreed. But I’m not walking in there with nothing but my good looks.” (Rumplestiltskin)

My Thoughts That was definitely the most intense episode of Once Upon a Time so far this season, but I’m not sure it was the best episode. In fact, for as many cool twists and strong scenes as this episode featured, it also reminded me the most of some of the things I disliked about last season—too much plot and too little emotional investment and characters behaving more as plot devices than as people. This episode was probably a big hit with people who felt this Neverland arc was moving too slowly, but I thought this episode didn’t move slow enough. There were some truly great moments in “Think Lovely Thoughts,” but overall, for an episode that featured a huge twist and a shocking “death,” I found myself less emotionally invested than I’ve been all season.

My favorite part of this episode was the way the big reveal of Peter Pan’s identity began to dawn on me more and more as the episode went on. It built from the immaturity shown by Rumplestiltskin’s father to his dreams of Neverland and, finally, to that exquisite moment of perfect plotting when he told Rumplestiltskin that a child can’t have children. When he said that line, I was floored with the knowledge of what was about to happen, and I loved every second of it. For the longest time, I had guessed that Rumplestiltskin and Pan were going to turn out to be brothers, but this twist was even better. It made so much sense for the plot, but, more importantly, it made sense for the characters.

Can I just take a moment here to congratulate the casting department on doing an excellent job once again? Because the casting for young Rumplestiltskin was absolutely perfect. Wyatt Oleff looked like he could be a baby version of Robert Carlyle, and he had just the right line delivery and accent, too. Also, Stephen Lord was a great casting choice for Rumplestiltskin’s father and the man who would become Pan. His laugh was exactly the same as Rumplestiltskin’s, and something about his eyes and posture connected very strongly with Robbie Kay’s work so far this season as Pan.

For a show that I often praise for the way it handles its female characters—especially its mothers—I have to give credit to the Once Upon a Time writers for the incredibly painful, broken, and believable “sins of the father” narrative they’ve created with Pan, Rumplestiltskin, Neal, and Henry. This episode built upon everything we know about these men and their weaknesses in a way that gets even more interesting the more you think about it.

It seems that each generation improved from Pan’s grievous abandoning of Rumplestiltskin, but they all could only get so far in terms of breaking the cycle of abandonment. Before becoming Pan, Rumplestiltskin’s father didn’t want the responsibility of fatherhood, so it made sense for him to choose the power of eternal youth—the power of Neverland—over his son. But just because it made sense, it didn’t make his betrayal any less painful. Watching young Rumplestiltskin get taken by the Shadow (voiced with perfect creepiness by Marilyn Manson) absolutely broke my heart. And it both helped me understand why Rumplestiltskin was so afraid to use the portal with Bae and made me even angrier with him for not taking the chance for a fresh start that he was denied with his own father. As an adult, Rumplestiltskin has always appeared a tragic character, and never more so than now that we know he let go of Bae the same way he was let go of by his own father.

Rumplestiltskin did feel remorse and regret instantaneously; something that couldn’t be said for his own father. But he chose the power of magic over his son in the same way his father chose the power of youth and Neverland. Hundreds of years later, Bae also faced a choice between power and love. He found power in his distance from his father, in his new life as Neal. By leaving Emma (and unknowingly, his unborn son) and then choosing not to go back for her after the curse was broken, he chose to hold on to the power he had in being free of his father and his past instead of fighting for the person he loved. But unlike the men who came before him, once Neal knew he’d abandoned his son, he worked to do the right thing for the little boy he left behind without even knowing. Neal’s role as Henry’s father played a very prominent role in this episode, and I liked seeing him fight for his son in an episode that highlighted fathers who didn’t fight for their sons when they had the chance.

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The Best Thing I Saw on TV This Week (11/10 – 11/17)

After a great weekend of adventures in New York City with some of my favorite Nerdy Girls (more on that will come later this week), I’m ready to get back to business! 

This week in television started strong once again, with Once Upon a Time‘s return to Storybrooke and another excellent outing for The Good Wife. Monday’s Dancing with the Stars featured some great surprises, and Castle reminded us all of the great story Castle and Beckett are writing together. Tuesday’s New Girl brought all of the cast together in some very fun ways, and The Mindy Project had one of its best episodes of the season. Nashville brought some serious emotion to Wednesday night, with Deacon and Maddie finally getting to bond as father and daughter. And I’m eagerly anticipating devouring the episodes of Parks and Recreation and Scandal I have saved on my DVR from Thursday night.

For another week, Sunday set the bar incredibly high in terms of the quality of the television shows on display. Once Upon a Time proved that Emma is more than just a prize at the point of a love triangle—she’s a mother whose journey to save her son is more important than any journey towards romance. So when Hook reassured her without any doubt that she would get her son back, “I’ve yet to see you fail,” suddenly became one of the most romantic lines this show has ever had. Emma’s role as a mother is all she can focus on right now, but it’s interesting to note that Hook was the one she let her guard down in front of when she began to doubt her ability to fulfill all that role entails. And his complete lack of doubt is exactly what she needed. Emma Swan isn’t used to people believing in her with that kind of sincerity, especially not in her as Emma rather than the Savior. But Hook gave her that—unconditional belief in her ability to save Henry, in her strength as a woman, as a mother, and as a fighter.

Yes, all the stuff about winning her heart was swoon-worthy (mainly because of Colin O’Donoghue’s gift for being completely sincere and sexy at the same time), but Once Upon a Time is a show about belief even more than it is about romance. And in this scene, Hook’s belief in Emma gave new depth to one of the most interesting relationships to develop so far in Season Three.

What was the best thing you saw on TV this week?