Category Archives: Television

TV Time: Castle 5.19

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Title The Lives of Others

Two-Sentence Summary After Castle injures his knee during a ski trip with Beckett, he’s confined to his loft while the rest of the 12th precinct crew investigates the murder of an IRS agent. However, Castle’s boredom is soon abated with the help of a pair of binoculars and a possible murder across the street, which may or may not have the makings of the best birthday ever for the mystery novelist.

Favorite Lines
Castle: How many murders do you think we’ve solved since we met?
Beckett: I don’t know…Maybe a hundred or so?
Castle: A hundred? Here’s to a hundred more.

My Thoughts When looking at my list of favorite Castle episodes, it became clear to me that my tastes tend to favor the more dramatic fare this show offers up from time to time. However, that doesn’t mean I don’t also love Castle when it’s being fun and funny. I simply like a little substance with my silliness, and that’s the reason I completely adored “The Lives of Others.” It was the perfect way to celebrate 100 episodes of Castle by celebrating what this show does better than any other: effortlessly weaving a web of mystery, comedy, and romance with the help of sharp writing and great performances.

As some of you know, I’m a big fan of Castle’s “genre episodes” (“Heroes and Villains,” “Undead Again,” “The Final Frontier,” etc.), so, of course, I was already predisposed to love this little Alfred Hitchcock tribute. Throughout the episode, I found myself smiling at the nods to Rear Window (especially Stana Katic in that stunning Grace-Kelly-esque dress). Andrew Marlowe and Terri Miller did a fantastic job writing an episode that was a beautiful homage to a classic mystery story while twisting it in a way that was uniquely Castle in its quirky setup and romantic payoff.

Like most of the 99 episodes that came before it, “The Lives of Others” benefitted heavily from Nathan Fillion’s charisma. Ultimately, this episode was a love letter to Richard Castle, and it worked because it reminded us over and over again of why this character is deserving of not one but 100 love letters. Fillion got to show so many facets of Castle’s personality in this episode: his adorable-yet-annoying childishness (whining about when Beckett was going to bring him dinner); his playful sense of fun (The whole bit with the toy helicopter was some hilarious work from Fillion.); and his determination to find the true story behind everything (I loved that his inability to give up on this murder harkened back to his inability to give up on the murder in the pilot.).

One of the things I love most about Castle is the way these characters have grown over 100 episodes while still retaining a true sense of who they were in the pilot. It’s only because we—and the characters—know Castle so well that we’re able to appreciate the twist in this episode for the true joy that it was. Castle is the kind of man who would love nothing more than a murder to solve for his birthday. (In fact, he specifically told Beckett that on Valentine’s Day, which I thought was a cute little thing to bring back.) And Beckett is the kind of woman who understands him enough to get him exactly what he wants. I love when you can feel the sense of history between two characters, and never have I felt that as strongly as I felt it between Castle and Beckett in this episode.

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The Best Thing I Saw on TV This Week (3/24 – 3/31)

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This week in television was an emotional roller coaster, with highs and lows often coming within the same episode. Once Upon a Time may have had its share of frustrating moments in “Selfless, Brave and True” (I will never be over them turning August back into a child), but the quietly beautiful moment between Snow and Charming where she broke the news of her blackened heart to him reminded me of everything that is right with the show. If I were to pick a runner-up for the best thing I saw this week, that scene would undoubtedly be my choice. Castle had its share of great moments this past week as well, with Ryan’s backstory getting some much-deserved attention before the episode concluded with a sweet Castle/Beckett scene and an even sweeter scene between Ryan and Jenny. (Anybody else super excited to see Ryan as the adorable dad we all know he’ll be?)

Although there were plenty of strong moments to choose from, the best of the week came once again from New Girl. “Chicago” was as touching as it was hilarious, giving Nick’s character and the relationship between him and Jess some beautiful new layers. The entire funeral scene maintained the deft balancing act between humor and heart that’s made this show such a runaway success this season. Jess’s Elvis impression had me laughing, but Nick’s eulogy had me in tears from Jake Johnson’s honest depiction of grief. And the moments when Nick first sees what Jess is doing for him and his family and when Jess takes Nick’s hand will never fail to make me feel all warm and fuzzy inside (mainly because of Johnson’s face, which seems to be getting more and more attractive each week).

 

What was your favorite thing about this week in the world of TV?

Celebrating the Big 100: My Favorite Castle Episodes

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Tomorrow, Castle hits the milestone 100-episode mark. I’m proud to say I’ve never missed an episode, from the quirky-yet-charming pilot to this week’s exploration of Ryan’s past. I can count on one hand the number of shows I’ve stuck with from Episode 1 to Episode 100 (actually, I can count them on two fingers: Castle and Alias). Sure, there have been some bumps along the way (Gina…Josh…The “secrets” that took over the last half of Season Four…), but, ultimately, this 100-episode (and counting!) journey has been one of the most fun rides I’ve ever been on in my years as a fangirl.

Castle has given me a love story to root for—a love story that proved to me that a strong but flawed woman can find happiness with someone who truly respects her. Castle has given me one of my favorite fictional characters ever in Kate Beckett—a woman who proves with each episode that she can succeed in a man’s world without ever having to give up her femininity, a woman who’s her own hero as well as a hero in the world at large. Castle has given me a fandom that I’m proud to be a part of, a fandom whose support is largely responsible for the creation of this website.

One hundred hours is a long time to spend with anyone, and I’m thankful that Andrew Marlowe created a show that’s made those 100 hours—these last 4+ years—thoroughly enjoyable for myself and for so many others.

Before I begin a Castle-induced emotional tailspin, let’s get to the point of this post. Out of all 99 episodes of Castle that have aired so far, which are the best of the best? Read on to discover my Top 10!

10. Knockdown (3.13)

knockdown

Yes, this episode will always be known as the “first kiss” episode, but it’s so much more than that, too. “Knockdown” features some truly great moments from Ryan and Esposito, the first time Castle and Beckett acknowledge his role as her “partner,” and the first “Always” of the series—which was also the most meaningful considering what it told both Beckett and the audience about how committed the usually-cavalier Richard Castle was to this woman.
Favorite Scene: “Thank you—for having my back in there…”

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TV Time: New Girl 2.20

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Title Chicago

Two-Sentence Summary The sudden death of Nick’s father brings all four roommates to Chicago, where Jess meets the Miller clan for the first time. As Nick takes on the responsibilities of planning an Elvis-themed funeral, Jess tries to support him in any way possible, while Winston helps Schmidt deal with his intense fear of death.

Favorite Line “I really feel transported to the ghetto.” (Schmidt)

Episode M.V.P. You know a television show has really hit its stride when the whole cast is so good on such a consistent basis that you begin to hate the idea of singling one of them out every week for being better than the rest. “Chicago” provided memorable moments for all of the major characters, and every actor brought their A-game to the table once again.

Although Winston and Schmidt had less emotionally intense storylines than Nick and Jess, they both had standout moments of comedy. Winston’s complete breakdown as he attempted to eulogize Walt was hilarious, and Schmidt’s “butt-ton”-induced panic attack was yet another scene for the Max Greenfield highlight reel. (Why are his strange pronunciations of words so funny?) One more potential addition to that reel: the way Schmidt faced his funeral fears (“All day, son!). But because New Girl is becoming the best show on TV at mixing comedy and emotional sincerity, Schmidt and Winston also had a genuinely sweet moment with Schmidt giving a fake (but very heartfelt) eulogy for his friend. I definitely “awww’ed” when he called Winston “the brother I always had.”

While Winston and Schmidt brought the laughs for the majority of the episode, Jess brought the heart. This was some of Zooey Deschanel’s best and most nuanced work to date. Yes, her Elvis impression was hilarious, but it was the way she played the quieter moments of the episode that had me really admiring her talent as an actress and her understanding of this character. I loved the way Jess interacted with Nick throughout the episode. I’m not sure if it was written as such or if it was a decision made by Deschanel, but from the softness in her voice to the gentle way she held Nick’s hand, it was clear that Jess knew how hard this was for Nick, even when he didn’t want to admit it. The scene between the two of them in the bathroom felt real—there was no other way to describe it—and so much of that came from the honesty of Deschanel’s performance. For so long we’ve all been swooning over how much Nick loves Jess, but that scene made it clear that Jess loves him just as much as he loves her. And yes, I am throwing around “the L-word” because if you didn’t get that feeling from watching Jess tell Nick she’s going to be there holding his hand no matter what (and from watching Nick’s reaction to that promise), then I’m not sure we’re watching the same show.

All three of these actors may have been amazing, but this episode once again belonged to Nick Miller. It’s getting to the point where Jake Johnson not getting an Emmy nomination this year just seems ridiculous. The range he had to exhibit this week was truly impressive. I loved what we learned about Nick through what this episode showed us rather than told us. Nick grew up with way too much responsibility thrust upon him at a young age, so his hatred of responsibility suddenly made complete sense. It’s not that Nick doesn’t know how to function as an adult; it’s that he doesn’t want to because once he escaped that house he didn’t have to be responsible for anything anymore—not even himself. Of course Nick doesn’t take care of himself; he was always too busy taking care of his family. Of course Nick is angry all the time; the burden of high expectations, a strained relationship with your father, and being asked to do too much for your family for too long will do that to a person. It’s amazing how one episode can flesh out a character so fully and in such a believable way.

Anytime I talk about Nick, I have to take a moment to mention Johnson’s incredible nonverbal acting. There were so many subtle moments in this episode where a look from Johnson took a scene from good to great or great to exceptional. I especially loved the way his eyes widened with admiration for his dad when he talked about how Walt was never scared, and my heart broke when his eyes closed as he tried to gather his emotions at the end of his eulogy. But the best of Johnson’s facial expressions in this episode were directed towards Deschanel. Please tell me I’m not the only person who just wants someone to look at her the way Nick looked at Jess throughout this episode. That’s love—pure and simple.

Favorite Moment Nick’s eulogy was such a real moment, and each actor gave subtle and perfect reactions to the situation, making it feel grounded in the kind of genuine emotion that makes New Girl such a unique sitcom. For me, the moment really began with Nick watching Jess try her best at being an Elvis impersonator. It was as if you could see him finally accepting that he’s head-over-heels in love with this woman, and he’s done trying to fight it. I’ve spoken volumes already about the magical powers of Jake Johnson’s face, but it can’t be said enough: The man can make me melt into a big, happy puddle like no one else on TV right now.

The eulogy itself was beautiful—sweet without being saccharine, both funny and heartbreaking in a very genuine way. You could feel Nick’s loss, but you could also sense the complex relationship he had with his father. That strained relationship wasn’t lost just to deliver a big dramatic moment. However, we still got an incredibly poignant moment of grief in Nick’s struggle to maintain composure at the end of the eulogy. The tension visible in just his hands was such a perfect detail, and it made the moment Jess reached for his hand all the sweeter.

When Jess took Nick’s hand, his face both broke my heart and made me smile at the same time. He looked so vulnerable but so happy to have her next to him, and it looked like it was taking everything in him not to kiss her right then.

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TV Time: Castle 5.18

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Title The Wild Rover

Two-Sentence Summary When a baker with connections to the Staten Island mob is found dead, Ryan returns to the undercover life he left behind in order to become a homicide detective. While he works to bring down the mob from the inside and protect a former love, his struggle to start a family with his wife, Jenny, is brought to the forefront.

Favorite Line “Don’t let the looks fool you, boys. You don’t want to mess with her either.” (Ryan, about Beckett)

My Thoughts It took this episode to prove something to me once and for all: My name is Katie, and I am a Kevin Ryan fangirl. I always thought I was more of an “Esposito girl” (because, let’s be honest, you’re usually one or the other), but my taste in Castle episodes says otherwise. Earlier this season, I found myself surprisingly disinterested in the Esposito-centric “Under the Influence,” but I have to admit; both Ryan-centric episodes in the series so far (this one and Season Four’s “Kick the Ballistics”) have been among my favorites in their respective seasons. I’m not sure if it’s the way he’s written or the way Seamus Dever plays him (or, more likely, a combination of those two factors), but Ryan makes a really solid centerpiece for an episode.

I think so much of what makes Ryan appealing to me and to many in the audience is his courage of conviction. If there’s been one consistent thing about this character from the beginning, it’s his desire to do the right thing. Ryan does the right thing even when it’s not the popular choice; he does the right thing even when it could cost him friendships he’s spent years building (see last season’s finale for the perfect example of that). That profoundly moral center was at the heart of this episode on so many levels. Ryan wanted to do the right thing for Jenny in giving her a baby. He wanted to do the right thing for Siobhan in protecting her. And he wanted to do the right thing for the victim by getting justice by going undercover once more, no matter the danger it would put him in. What I loved most about the plot of this episode was that it made sense for what we already know about Ryan.

We know that Ryan trusts authority figures more than any other character on this show, and that makes even more sense after learning that he was undercover for such a long time. If he didn’t follow orders and trust the people he was working for, he would have been in even greater danger than he already was. We know that Ryan always tries to be an upstanding cop, and now we know that some of that probably comes from his guilt over leaving Siobhan the way he did. We know that Ryan is probably the most loyal character on this show, and that made his relationship with Siobhan even more realistically painful. As I’m writing this, I’m starting to realize just how well-developed Kevin Ryan is as a character. Bravo, Castle writers (and Dever) for creating a secondary character on a procedural as rich and nuanced as Ryan has become.

I do think that so much of this episode’s success at building a strong and believable backstory came from Dever’s performance. Throughout the course of the show, Ryan has been a steadfast champion of doing things by-the-book, but he’s never come across as preachy or condescending. So much of that has to do with the earnest way Dever plays him. In this episode especially, you could see the internal struggle Ryan faced between doing the right thing as a husband and doing the right thing as a detective. Dever made you feel the stakes for his character without overacting, which isn’t an easy task. There was a certain gravitas he carried with him in his undercover scenes that had me holding my breath because I understood how much pressure Ryan was under to succeed.

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TV Time: Once Upon a Time 2.18

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Title Selfless, Brave and True

Two-Sentence Summary While attempting to work through her guilt over Cora’s death and the newly-discovered “dark spot” on her heart, Snow finds a wooden August hiding outside Storybrooke. Flashbacks show us how August’s selfish, hedonistic lifestyle led to his turning back into wood, and they reveal a connection between August and Neal’s fiancée Tamara, who is far more evil (and far less interested in Neal) than she appears.

Favorite Line “And I know it better than anyone.” (Charming, talking about Snow’s heart)

My Thoughts This episode proved something that I hope the Once Upon a Time writers take to heart, if not for this season than hopefully for the seasons to come: This show works when it focuses on emotional beats between characters we have come to care about over the course of the show. It doesn’t work when it becomes too plot-heavy or asks us to care about the motivations of characters we barely know. The best moments of this episode focused on characters we as an audience have deep emotional ties to, but those moments were so few and far between that it’s hard to count this episode among the show’s better efforts.

Overall, I didn’t hate this episode with the passion that many in the fandom seem to be feeling today. However, my biggest issue with this episode is my issue with this season as a whole, and it’s getting harder and harder for me to ignore. There are simply too many characters already to justify introducing new ones into the cast. There are so many loose ends for existing characters that need to be tied up, so many unanswered questions that I have, such as: Did Kathryn and Frederick ever find each other? Will Red and Victor ever pursue a relationship? What are Mulan and Aurora doing right now? Where’s Cinderella, and how’s motherhood treating her? What is Jefferson up to?

I understand that some of these questions have to remain unanswered because of casting/scheduling conflicts, but it bothers me that moments of development for characters we already care about are being pushed aside in favor of introducing more and more characters who, frankly, I just don’t care about.

I was drawn to Once Upon a Time because of the Charming Family: Snow, David, Emma, and Henry. Last season, there were so many beautiful moments between these characters, but this season—when there should be even more reason for them to have meaningful, emotional conversations—their relationships are watered down for the sake of the increasingly complex plot. I know that this is a personal preference, but I don’t watch this show for the plot twists; I watch it for the relationships. And this episode left me feeling disappointed with some missed opportunities: When are Emma and Charming going to have a real father/daughter-type scene? Will Charming ever find out that either he or Snow could have gone through the wardrobe with Emma? Will Emma ever find out that her mother tried to commit suicide by begging Regina to rip out her heart?

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The Best Thing I Saw on TV This Week (3/17 – 3/24)

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This was a great week for me as a television viewer (even without a new Parks and Rec). One of my favorite reality shows, Dancing with the Stars, was back with some promising contenders for this season (I’m looking at you, Jacoby Jones). Castle gave us a fun take on the horror genre as well as some genuinely sweet moments between Castle and Beckett (“Be with Kate” was a close second for this week’s favorite TV moment). And Once Upon a Time continued its journey into the murkier waters of morality and featured one of the most powerfully acted scenes it’s ever had in a dramatic showdown between Snow White and Regina.

Although these were all great episodes, there was no real debate for what would be my pick for the best of this week in the world of television. For some time now, New Girl has been delivering must-see moments on a near-weekly basis. This week’s “Quick Hardening Caulk” ended with a kissing scene that was equal parts hilarious (“You’re so annoying with your little shorts!”) and HOT (because when Nick Miller kisses like a man, he really kisses like a man). New Girl has become the new standard for mixing comedy with sincere moments of emotion and character development, and this moment between Nick and Jess was showcased that balance perfectly.

And on a purely shallow note, it’s impossible to look at Jake Johnson in this scene and imagine that anything else on TV could possibly be better than his face (and ridiculously beautiful jawline).

 

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

TV Time: New Girl 2.19

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Title Quick Hardening Caulk

Two Sentence Summary Nick’s newfound sense of responsibility makes Jess more attracted to him than ever, leading to a pain-pills-induced confession of lust after a trip to the hardware store goes awry. Meanwhile, in the aftermath of Cece’s engagement, Schmidt becomes obsessed with acquiring a rare tropical fish, and Winston helps him on his quest.

Favorite Line “I know this is a dumb question—but will a number two help?” (Winston to Schmidt, after he’s unable to pee on Schmidt’s jellyfish-stung face)

Episode M.V.P. This was an incredibly hard choice this week. Every member of the cast turned in solid performances, and every character had their chance (or chances) to shine. Schmidt’s storyline was full of laugh-out-loud moments (his temper tantrum at the aquarium and his reaction to getting stung—“IT BURNS!”—were two of my favorites), but, once again, Max Greenfield was able to ground the moments of broad comedy with a feeling that Schmidt’s antics were coming from a place of really genuine (and therefore really heartbreaking) pain. Schmidt’s fish quest also showcased the friendship between him and Winston in a way we haven’t seen before. Winston’s scene with Cece was a standout moment for me because it felt so real, and that’s a credit to the poignantly direct writing and honest performances.

Zooey Deschanel perfectly played Jess’s growing attraction to Nick spilling over into unbearable sexual frustration (I was especially fond of her bolting from the room when Nick complimented her dress and her yelling at him to leave when he started to talk about wanting to iron his shirts). From her medication-induced Judy Garland impression to her priceless reading of Nick’s hardware store shopping list, Deschanel’s performance was a true highlight.

However, this episode belonged to Nick. In order for this episode to work, Nick Miller had to be more attractive than ever, and that was accomplished on so many levels. Jake Johnson is on fire this season, and his balance of adorable enthusiasm for self-improvement, genuine confusion over how to handle Jess’s high-as-a-kite proposition, and raw desire finally set free was nothing short of perfect. Nick may be a terminal adolescent in a lot of ways, but there’s no question that he’s a man when it comes to his relationship with Jess. The way Nick refused to do anything with Jess while she was on her pain meds was both surprising and not surprising at all. Like their first kiss, Nick wants their relationship—every bit of it—to be real. You could almost see an echo of his “Not like this” confession on his face as Jess told him she wanted to sleep with him. That facial expression was beautifully contrasted with the hope and happiness on his face when Jess finally tells him that she wants him for real. Johnson is so good at using his facial expressions to both make the audience laugh and make us forget how to breathe. That last scene, with him running the gamut from longing to passion (I might just be a little obsessed with the vein in his neck popping out as they’re kissing and fighting) to comedy, was some of his best work in a season that has mentions of Emmy nominations being thrown his way (as they should be).

Also, the man is just really attractive…I dare anyone to disagree after watching this episode.

Favorite Moment The final scene between Nick and Jess demonstrated what New Girl does better than any show on TV: mixing the broadly comedic with the genuinely emotional. Everything about that scene felt true to the characters and their relationship as we’ve seen it develop. There was something so deliciously exciting about watching the two of them playfully argue about Jess being a gold-digger as she stepped closer to Nick, and I actually held my breath when Nick told her to prove that she wasn’t. (Like I said, I’m finding Jake Johnson incredibly attractive right now.) And I loved that what followed was like a powder keg of sexual tension exploding. It was messy, it was full of arguing over random annoyances (Nick’s anger over Jess’s shorts was my favorite), and it was the only way a scene like that between Nick and Jess should be at this point. New Girl is special because it manages to find moments of realism amid comedy, and that’s exactly what happened in this scene. The comedy that was there was perfect, and the realism was…Well there’s no other word to describe it except HOT. I can’t be the only girl who finally understood what it means to swoon when Nick told Jess to take off her damn clothes (His voice!) and when he kissed her “like a man” (Now that is a “damn fairytale” kiss, Nick Miller.) I don’t know how this show has been able to hit every beat between Nick and Jess in a way that is both creative and simply right for the show and the characters. But they’re doing it. And I can’t wait to see where it leads.

A New Girl GIF* For My New Girl Feelings

i want him bad jess

I agree, Jess. Everything about this episode worked: the jokes, the friendships, the tension, and the payoff. But the thing that worked most of all is Jake Johnson. Who would have thought that Nick Miller would be known as the best kisser and one of the most swoon-worthy characters on TV back when this show started? Things have certainly changed…and it’s definitely a change for the better.

*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 5.17

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Title Scared to Death

Two-Sentence Summary The death of a young woman leads Castle and Beckett to a mysterious DVD that promises to bring death at midnight of the third day after its viewing. While Beckett attempts to solve the case with reason by tying it to a serial killer and his brother, Castle begins to work his way through his bucket list, believing his death is imminent.

Favorite Line “You’re a cop. And I’m a cop…helper.” (Castle)

My Thoughts After the intense drama of the last two episodes of Castle, it was nice to shift gears and return to a lighter take on the procedural genre. I’ll admit that my expectations for this episode weren’t sky high, but I was pleasantly surprised by how much fun I had watching this episode. I think I’d even go so far as to say it was some of the most fun I’ve had watching Castle this season, and this has been a pretty great season to be a Castle fan.

My favorite Castle cases are the quirky, somewhat nerdy cases: the zombies, the sci-fi convention, the vampires, the ghost hunters, the soap opera writer, etc. So this case was incredibly enjoyable for me. I loved the callbacks to the best of the horror genre because they were integrated perfectly into the plot: the cabin in the woods, the creepy video, the meeting in the mental hospital. Even Castle rejecting Beckett’s propositions made sense within the context of the episode and Castle’s character as we know him: Sex is never a good thing in a horror movie, and it’s definitely in Rick Castle’s personality to buy into that superstition 150%.

The horror plot also gave us that deliciously fun phone call with Wes Craven. I adore reminders that Castle is rich, famous, and well-connected, so this was like a surprise gift in the middle of an already-fun episode.

So much of the “fun factor” in “Scared to Death” came from the interactions between Castle, Beckett, Esposito, and Ryan. But I would be remiss if I didn’t mention Perlmutter’s presence as well. I love Lanie, but Castle and Perlmutter’s continuing antagonistic relationship is a beautiful thing to behold. One of my favorite moments in the entire episode was Perlmutter calling him “Defective Castle.”

The entire group in the 12th precinct was firing on all cylinders this week in terms of their comedic timing and chemistry. I’ve always loved the natural divide between the skeptics (Beckett and Esposito) and the “believers” (Castle and Ryan), but this episode edged Esposito just a little bit closer to the believers. And it was hilarious to watch. The scene where Beckett tried to get the two detectives to watch the DVD was perfect, with Seamus Dever and Jon Huertas showing off their own comedic chops. I also laughed out loud when Esposito had his “startled…not scared” reaction to the creepy hotel owner sneaking up on them.

Beckett’s logic clashing with Castle’s wild theories has always been a source of great comedy for Castle, and it worked to great effect again this week. Just because they’re in a relationship doesn’t mean Beckett is going to stop being annoyed by Castle’s theories, and that’s a good thing. For as fantastic as character growth is—and for as rich as Beckett’s growth has been—this episode was a nice reminder that she’s still the same logical cop we met in the pilot episode and that her relationship with Castle is always going to be that mixture of oil and water that keeps the banter alive. Character consistency is just as important as character development.

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TV Time: Once Upon a Time 2.17

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Title Welcome to Storybrooke

Two-Sentence Summary Flashbacks to the first days of Storybrooke reveal Regina’s isolation and boredom as she watches its cursed inhabitants relive the same day over and over again—until a man and his son who were camping in the woods when the curse created the town enter its limits, and Regina discovers that a child might be the way to fill the emptiness in her heart. In present-day Storybrooke, Regina embarks on a quest to cast a spell on Henry that would make him believe he really loved her, Snow’s guilt turns suicidal, and the boy who entered Storybrooke in 1983 is revealed to be Greg, the hospital patient.

Favorite Line “You know what my problem is? I never learn from my mistakes.” (Regina)

My Thoughts I know this episode is a divisive one, and I’m not even sure how I really feel about what the writers are trying to say and what direction the rest of this season is going to go in. But I think there’s one thing we all can agree on: That last scene between Ginnifer Goodwin and Lana Parrilla was nothing short of brilliant. No matter what you feel about this episode, it gave us that brutally powerful moment between two actresses who are both masters of genuine emotion—perhaps one of the strongest scenes of the entire season.

I’ll talk more about the combined brilliance of Goodwin and Parrilla later, but first I think there’s one more thing the entire Once Upon a Time fandom can agree on: It’s always good to see Sheriff Graham again. It’s been too long since that beautifully scruffy face and swoon-worthy accent were on my television screen. The only bad thing about seeing Graham again was the reminder that I loved him and Emma together so much more than any other option we have now. (Don’t get me wrong, I am a fan of both Emma/Hook and Emma/Neal for different reasons, but Emma and Graham’s second kiss will be difficult if not impossible to top, in my opinion.)

I love all of the flashback portions of this episode. I know it’s weird to say, but I kind of missed cursed Storybrooke and its inhabitants. There was something reassuringly simple about the Storybrooke of Season One, before the chaos that this season has brought descended on the town. I loved the unsettling take on Groundhog Day, and I loved the way Parrilla played Regina’s initial glee and then growing restlessness over the results of the curse. I especially liked her interactions with Mary Margaret. Regina’s glee over Snow not recognizing her husband was only bested in my opinion by her frustration with Snow’s fighting spirit being taken from her. Regina wants Snow to suffer—not this little mouse who barely resembles the strong woman she was challenged by back home.

Regina is a woman who wants to have everything because she was a girl who grew up with nothing—no love from her mother, no support from her father, no hope of love after her mother killed Daniel…So even the curse isn’t enough for her; she wants her subjects to love her because they choose to, not because she’s forcing them to. This is the reason she clings to Owen—because he genuinely seemed to care about her and wanted to bond with her. But Regina is so broken, so damaged by growing up with a (literally) heartless mother and spineless father that she has no idea how to show Owen that she cares about him. She’s so desperate for love that she becomes blind to logic and the feelings/needs of the person whose love she desires, which is something we see again and again from Regina. It’s a tragic flaw, and Parrilla does such a wonderful job of allowing you to see the tragedy inherent in the incompatibility between Regina’s twisted obsession with love and her inability to show love properly.

That dichotomy between wanting love and being unable to differentiate between healthy and unhealthy means of obtaining it is beautifully paralleled in Regina’s relationship with Henry. For a woman who was so desperate to find someone to love her out of their own free will, she seemed frighteningly quick to take away her son’s free will in this episode. That spell showed me just how broken Regina is. While I may not sympathize with her as much as some do, it’s hard not to understand why she is the way she is. Regina has never been irredeemably evil, and so much of her complexity comes from Parrilla’s tortured performance. I wanted Henry as far away from Regina as possible at the start of this episode, but after she destroyed the spell, I actually found myself angry that he ran to hug Emma rather than Regina. If that’s not a sign of a truly complex relationship between villain and audience, then I don’t know what is.

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