Game of Thrones Moment of the Week: “Winterfell”

Welcome, friends, to our final round of Game of Thrones analysis before our watch ends! If you’re new to these posts, each week I’ll break down a different moment that I loved in that week’s episode. However, the comments are open for you to talk about any and all aspects of the episode that you loved. There are always more moments I want to discuss, and I’m usually just looking for one magical commenter to give me an opening! I can’t wait to take one last journey through Westeros with all of you, so join in the fun whenever and however you can!

The Moment: Arya Reunites with Gendry

Setting the Scene: After Gendry arrives in Winterfell, Arya visits him to ask him to make her a new weapon.

Why It’s Awesome: “Winterfell” was an episode filled with reunions—Tyrion and Sansa, Jon and Bran, Jon and Sam—but many of the most emotional and compelling centered on Arya. As we all expected, her embrace with Jon was a moment of joy and love that was worth all the years we spent waiting for it, and her scene with the Hound was filled with the complex mixture of antagonism and respect that made their relationship one of the show’s most interesting. However, the moment I’ve found myself rewatching the most was the surprisingly sweet—and dare I say, flirtatious—reunion between Arya and Gendry.

I’ll admit it—part of me loves this scene purely because it put a ship I thought was long dead back into circulation. (I shipped these characters from early on in my reading of A Song of Ice and Fire and still think that Ned and Robert’s discussion about the marriage of their daughter and son was actually foreshadowing Arya and Gendry as a romantic pair.) With the passage of time and plenty of growing up on Maisie Williams’s part, it now feels okay for me to say that there was some real sexual tension in this scene that was fun to see. (Sparks were flying for reasons beyond the smithing, if you know what I mean.) It was playful and coy, and those are unexpected tones for Game of Thrones, especially for a scene featuring Arya.

Characters don’t get to smile a lot on Game of Thrones, so when a genuinely happy moment happens, it deserves to be treasured. And what I’ll remember most about Arya seeing Gendry again after so many years and so many changes was seeing her smile. Even in the scene with Jon, there was a hesitancy and a tension there—after the initial relief and emotional payoff of all these years of waiting, viewers were left with a sense that Jon, once again, knows nothing. He has no idea what kind of killer his sister has become and has no idea how strongly she’s aligned herself with Sansa, adding a layer of discomfort to their final hug. In contrast, there was nothing ambiguous about Arya’s demeanor with Gendry. She’s never going to be a cheerful character or even a relatively light one, but this was the most consistently at ease we’ve seen her since the show’s early days. And in showing this side of her, it made her feel like a more well-rounded character.

And that’s what made it so important. Arya is a young woman—she’s not a killing machine. And sometimes it feels like the show forgets that she is a person and that people have different dimensions and desires and emotions beyond their primary motivating factor (in her case, revenge). But in this scene, Arya got to behave in many ways like a young woman who hasn’t seen the death, destruction, violence, and trauma that have plagued her since the start of the show. She laughed and grinned and bantered and flirted with a young man in the same way she might have had her life not been upended by her father’s death all those years ago. And that’s all I have ever wanted for this character—for her to have a normal moment of happiness, even if it’s only for a stolen moment in the darkness of the coming winter.

I loved the way Joe Dempsie played Gendry’s realization that the girl he left behind had grown into a woman—and a woman he’s found himself attracted to. As his initial—almost comedic—tongue-tied reaction gave way to that fun place between warmth and heat, I felt like I was watching two partners remember the steps to a dance they thought they’d never do again—while also discovering some new moves along the way.

Although I’m a sucker for any time a man tells a woman “As you wish” (and we all know the writers are genre-savvy enough to know what that line means), my favorite part of the whole scene was Arya literally twirling around to give him one last look as he stood staring at her, completely transfixed. This is Arya discovering a whole new kind of power and loving it and Gendry loving it too. It’s Arya getting to have a moment of being desired for something beyond her skills as an assassin and relishing in it. And it’s the show giving its characters a moment of pure, uncomplicated, relatively innocent fun before tragedy strikes.

Game of Thrones is at its best when it allows its characters to have room to breathe and be human beings in between all the battles and killings, and this scene is a perfect example of that. It added a fun new dimension to Arya’s character while upping the emotional stakes of the battle to come because both Gendry and Arya now have something else to lose in it—the hope of what might be if they acted on those sparks between them.

Honorable Mentions: Sansa and Tyrion reunite, Arya and Jon hug, Sam tells Jon the truth, Jaime sees Bran across the Winterfell courtyard

What Are You Watching? Fall 2018 Edition

Welcome, fellow TV fans, to NGN’s longest-running feature! This is my seventh fall TV season here at NGN, and I’m ready to once again share my viewing schedule with all of you.

Today is the first day of fall, which puts me in the mood for pumpkin spice everything, long sweaters, and new television shows. Luckily, this week kicks off the official start of fall TV season, and while my schedule is a bit lighter than it used to be (due in part to both life changes and a bit of a down year for pilots and premieres), I’m still excited for so many of my favorite shows to be back.

I hope this list inspires you to share your own fall TV schedule in the comments! I know that I’ve often used the recommendations shared in this post to try new shows that ended up becoming favorites of mine. And if you want to use my list to find new shows to try, I’ve listed the dates, times, and networks the premieres are airing on, and any new pilots I’m checking out are highlighted in pink.

(Just as a reminder: I don’t include reality shows on this list because I watch way too many of them but don’t watch them in any regular kind of viewing schedule.) 

I know this post isn’t quite the behemoth it once was, but I also have plenty of returning favorites coming back in early 2019, which means it might finally be time for me to do a midseason one of these in a few months! Until then, I hope this post reminds you of your favorite shows, introduces you to something new you might love, and inspires you to share a show you love that you can’t believe I’m not watching yet.

Monday
Manifest (9/24, 10 p.m. on NBC)
If you’ve spent any time around these parts, you probably know of my deep love for Josh Dallas. He was the reason I became hooked on Once Upon a Time as instantaneously as I did, and as such, I will pretty much follow him anywhere. I’m not usually one to sign up for shows that seem inspired by Lost (because I will always compare them—and they will almost always come up short), but I will buy anything Dallas is selling at this point. The trailer also made me feel as if this might be more of a sincere, relationship-driven story than one propelled only by its central mystery, and that’s always a kind of show that speaks to me. Although I might not watch it until I get back from my own flights to Disney World next month (What can I say, I’ll always be a nervous flier!), it’s still on my list of pilots to try.
Series Premiere September 24

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TV Time: The Americans 6.01

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Source: ign.com

Greetings, Comrades! Welcome to the final season of The Americans posts here at NGN! I’m so excited to analyze every last detail of this last season with all of you, and if this episode was any indication, we’ll have much to discuss! So please share your thoughts in the comments because if any show begs for deep conversations, it’s this one, and I need some people to talk to if I’m going to get through this season without having a complete mental and emotional breakdown.

Title: Dead Hand

Episode M.V.P.: Keri Russell
I’m going to write this into being: This will be the year Keri Russell wins her long-overdue Emmy for playing Elizabeth Jennings. I’ve been beating that drum for years now, but if this episode is any indication of the work she’s going to be doing this season, I can’t imagine a world where she doesn’t win.

The thing that has always made Russell’s acting in this role so compelling is also the thing that I think makes it so underrated: It’s all about her body language. Of course she delivers her lines with a sharpness that makes them feel even more deadly than that knife to the security guard’s neck. (Her “I know you love to talk” to Philip was one of those moments that literally knocked the wind out me with how biting it was. It was reminiscent of her legendary work in Season Four’s “The Magic of David Copperfield V.”) But she also brings a uniquely purposeful physicality to the role that lives in the silences that make this show so special. I’ve always believed there is a connection between Russell’s history as a dancer and her ability to use her body as one of the strongest tools in her acting arsenal, and this episode may have featured the best use of those tools yet. So much of what’s going on with Elizabeth is happening under the surface—even more than it usually is because she can’t even let her guard down completely with Philip anymore—so Russell has to use her posture and her movements to let us see inside this character.

And what’s happening inside Elizabeth Jennings is like a car accident—you can’t look away, even though you know you’re staring at utter destruction. Elizabeth is broken, perhaps even more than Philip was at his lowest point. But Russell lets us see the effort she uses to try to hide that from everyone except her husband at the very end—when she’s too tired to be anything but herself. Exhaustion is a hard thing to play convincingly, but Russell makes Elizabeth’s burnout feel painfully tangible because it’s in every physical detail of her performance. It’s in the slump of her usually straight shoulders when she’s alone, it’s in the slower steps she takes, and it’s in the unfocused look in her eyes at times.

Elizabeth isn’t just tired, she’s crumbling from the inside out, and she has no one to lean on. Her isolation is a major visual motif in this episode—she’s by herself a lot. And when she’s alone, she’s often physically curled in on herself, hunched over and looking much smaller than she usually does. It’s been days, and I’m still haunted by one shot in particular: Elizabeth, having just murdered someone to protect Paige’s identity, standing in the rain and smoking a cigarette, shivering with her arms crossed over her body and staring out into the night. This is Elizabeth at the end of her rope, somehow both completely drained and a live wire at the same time. It’s the personification of an exposed nerve—completely frayed by her circumstances. And in that moment, I was both moved by Russell’s performance and terrified by it. Elizabeth at wit’s end could do anything, which was also reflected in that final shot of her with the cyanide necklace. The complete emptiness in her expression and the way Russell let us feel the weight of that necklace like it was a thousand pounds made my whole body tense up as I wondered just how much more she could take of the demands of this lonely life.

The Americans has always excelled at following the “Show, don’t tell,” maxim, and it’s because it has a cast that can tell entire stories without dialogue. This season, I can already see that the story Russell is telling us about Elizabeth—her isolation, her exhaustion, and her desperation—is going to destroy me.

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What Are You Watching? Fall 2017 Edition

Even though we’re in the midst of a crazy heat wave here in Western New York, it’s still the official first day of fall. And although I love all the same cliche things about the season as everyone else—the pumpkin spice lattes, the clothes, the apple cider—my favorite thing about fall is that it brings some much-needed renewal to my fangirl soul. My favorite sports (football and hockey) are back, the fall movie season begins with blockbusters mixed in with early Oscar contenders, and, of course, new television shows and seasons are found everywhere you look.

The return of this most wonderful time of the year means the return of our longest-running feature here at NGN. Whether this is your first time visiting this post or your sixth (Time flies when you’re writing about good TV!), very little has changed. Below you’ll find my fall TV viewing schedule with premiere dates (or next episode dates for shows that returned early), times, and networks included to help make your scheduling easier. And as always, new pilots I’m checking out will be highlighted in pink (because of course they will be). I’m also going to stick to scripted shows and leave out reality TV and variety shows because there’s just too many of those to keep track of!

After you finish perusing my picks, tell me what your fall in TV Land looks like in the comments. I always love comparing viewing schedules with my fellow fans!

Monday
The Gifted (9 p.m. on FOX)
The X-Men were my first favorite group of superheroes (I learned all about them from my comics-loving cousins as a kid.), so media about mutants and young people with special powers will always be a kind of catnip for me. For being someone who adores superhero movies, I haven’t found a ride-or-die superhero show yet (especially after The Flash disappointed me in Seasons 2 and 3), so I’m trying a couple of new ones this season and hoping one will stick. This one looks like it has a great cast (Amy Acker!) and an intriguing premise (What happened to the X-Men?), which might finally be enough to satisfy my superhero-loving heart.
Series Premiere October 2

Tuesday
black-ish (9 p.m. on ABC)
This is one of the returning shows I’m most excited about. The way this incredible cast blends humor, real conversations about real issues, and just enough sincerity to tug at your heartstrings is unlike anything else on television, and I can’t wait to see where this next season takes one of my favorite TV families.
Season Premiere October 3

This Is Us (9 p.m. on NBC)
I’ve stocked up on plenty of tissues in preparation for this season premiere. Although I’m ready to put the focus on Jack’s death behind us (the uncertainty surrounding it made me incredibly anxious last season) and I know the show is certainly not, I’m still looking forward to seeing what this incredible cast brings to the table every week. With two-time Emmy winner Sterling K. Brown leading the way, my emotions are certainly going to get a workout.
Season Premiere September 26

Brooklyn Nine-Nine (9:30 p.m. on FOX)
I feel like I start every season of this show wondering how the writers are going to work their way out of the corner they backed their characters into, and they have yet to disappoint me in how they do it. In fact, I have loved every season opener of this show, and I expect this premiere to be no different. The Nine-Nine has been my TV “happy place” for years now, and I’m read to be back there among one of the funniest casts on television and a writing crew who has managed to outdo their own brilliance year after year.
Season Premiere September 26

The Mayor (9:30 p.m. on ABC)
This is the new show I’m most looking forward to trying out this season. First and foremost, my love for Lea Michele and the characters she plays is well-documented around these parts, so even though I still wish she’d return to Broadway, I’m excited to see what she does in this role. But even more than my support of former Glee cast members, what drew me to this show was the heart the trailer showed. This seems like more than a satire; it seems like a show about someone who learns to become a part of something bigger than themselves, which is my favorite kind of story. There’s a real story to be told here about neglected communities, civic engagement, and what it takes to make real change—and I’m hopeful that this show will be brave enough to tell those stories with laughter and love.
Series Premiere October 3

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Game of Thrones Moment of the Week: “Dragonstone”

Welcome (or welcome back) to a feature that used to be a staple here at NGN: our weekly discussion of my favorite moment in each episode of Game of Thrones! I took some time off from this feature because the show itself had become too violent for me to handle on a week-to-week basis, but I have returned from that hiatus feeling more excited than ever before to talk about the world (and especially the women) of Westeros with all of you!

The Moment: A call for equality in the North

Setting the Scene: As Jon settles into his role as King in the North, he makes a proclamation that all Northerners—including girls and women—should be trained to defend themselves and their lands. When his judgment in this matter is called into question, Lyanna Mormont makes the case for the women of the North to be trained to fight for what’s theirs.

Why It’s Awesome: “Dragonstone” was a reminder that Game of Thrones is at its best when its female characters are allowed to be women of action—exactly the kind of women Jon calls them to be in this moment. This scene was the perfect example of the fact that this world may have its rigid gender norms, but it is also populated by women who defy those norms outright or use those norms to change the game from the inside.

The three main women in this scene—Lyanna, Brienne, and Sansa—all represent women who are willing to fight for what matters to them. As Lyanna made her case, I was once again struck by the thought that I’d follow that girl into battle today if she asked me. The confidence and strength she possesses are so clear that no man—no matter how old or how powerful—would dare challenge her. And I loved the way the camera cut to Brienne during her speech. The slight smile on Gwendoline Christie’s face said it all; in this girl, Brienne sees a kindred spirit, and in this place, she has finally found somewhere to belong. She’s no longer a freak; she’s exactly who Jon wants the women of Winterfell to aspire to be as they train. The affectionate pride Christie showed in her reaction to Lyanna’s speech was such a small but powerful nod to the fact that Brienne may be a warrior, but she has a gentle and kind heart—a heart that is devoted to protecting and serving other strong women.

I also liked that the camera cut to Sansa when Lyanna talked about not letting other people fight for her. Just because Sansa isn’t skilled with a sword, that doesn’t mean she’s not a fighter. She uses a different skill set—words and appearances, courtesy and strategy—but she is every bit as fierce as Lyanna and Brienne. And as she proved by bringing the Knights of the Vale to the Battle of the Bastards, she’s not one to sit around and let other people fight her battles, either. She may not hold a sword or a bow, but she is still a force to be reckoned with.

It makes sense for Winterfell—under the watchful eye of Jon—to be a place where women are treated as equals in combat. Jon has always been a champion of strong women—even as far back as his close relationship with Arya before everything went to hell. And once he fell in love with Ygritte, he became even more convinced that women could fight just as fiercely in battle—and die just as bravely—as men. Jon’s time with Ygritte changed him forever, and it changed him for the better. Her spirit was in that room with Jon when he promised to put a sword or a spear into the hands of every person in the North, and she would have been proud of him in that moment.

“Dragonstone” allowed the women of Westeros to shine in all their complex, fierce, and frightening glory. Just as Lyanna, Brienne, and Sansa are all strong women but none show their strength in exactly the same way, the other prominent female characters in this world are also uniquely strong and powerful, and this episode focused on each of them as women with an incredible amount of agency who now face the question of what to do with it. Jon gave all the Northern women a kind of agency by proclaiming that they will learn to fight for themselves, but the main female players in this episode didn’t need any kind of proclamation to do so. From Cersei and Sansa to Arya and Daenerys, these women play the game on their own terms and won’t back down when challenged—whether it’s by an enemy (Arya slaying all the Freys in the episode’s most badass moment) or by someone who they believe means well but doesn’t know the world the way they do (both Cersei and Sansa dealing with brothers who disagree with their methods of trying to protect their worlds). These women are fighters in every way a person can be—using their swords, their wits, their sexuality, and any other weapon at their disposal to get the job done and done their way. And when one achieves a victory (like Daenerys finally coming home in one of the single most emotionally satisfying and cinematically beautiful scenes in the series), it’s her victory—not anyone else’s.

As the final battlefields are set and the final chess pieces are moved into play, one thing has become crystal clear: The women of Westeros will fight for what’s theirs, and they’re not to be underestimated.

Honorable Mentions: Arya takes out all the male Freys, Sansa shuts down Littlefinger, Euron pledges his two good hands to Cersei, Sandor deals with his guilt, Daenerys finally comes home

TV Time: The Americans 5.01

Welcome back to our weekly discussion of the best show on television, comrades! I can’t wait to spend this season talking about mothers, grain supplies, my deep love for Paige Jennings, and wigs with all of you!

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Source: Uproxx.com

Title: Amber Waves

Episode M.V.P.: The hole
You didn’t think I was going to discuss this episode without singling out the hole, did you? Everything about that scene was made for digging into deep analysis (pun intended), and it set up the season in such a revelatory way that I’ve found myself unable to think of much else when I look back on this episode. “Amber Waves” didn’t spend a lot of time with one character or actor, which made it difficult for me to pick an actor for M.V.P., but it did spend a lot of time with the hole—so much time, in fact, that I could see why it might have bothered other people. Devoting the final 10 or so minutes of your penultimate season’s premiere to a mostly wordless scene involving digging in the darkness is something no other show on television today would even attempt. The scene called for a mixture of storytelling patience, actors who can convey huge amounts of thoughts and emotions without words, and an audience comfortable with long periods of silence—and The Americans has proven that it has all three of those things in spades.

The scene also called for an incredible amount of confidence from the writers and director—confidence in both the moment they were creating and confidence in their audience to appreciate it. The entire scene was a ballsy move, especially in a season premiere, and the risk paid off. It showed the relative monotony of realistic spy work while still leaving viewers on edge, and then it reminded us brutally that no one is safe in this world and that we can never let ourselves be lulled into a false sense of security by the show’s moments of silence and methodical spycraft.

Yes, the scene was gutsy in its monotony and shocking in its conclusion, but that’s not why I think it was the most valuable part of the episode. It was the way it set up what appears to be some of this season’s major themes that made me believe it’s going to be one of the most valuable scenes of the entire season when all is said and done. Philip and Elizabeth keep digging themselves in deeper; that’s a metaphor that was hard to miss. They’ve been digging a hole for years that could very well be their grave. But it was Hans’s fate in the hole they dug that struck me the most in terms of what it means for the future of this show. Philip and Elizabeth made it out of the hole they dug, but Hans didn’t—sweet, idealistic, young Hans who trusted them (especially Elizabeth) almost as parental figures; this was especially evident in the way Elizabeth reassured him in a motherly tone that things were going to be okay before she shot him. Literally one misstep was all it took for Hans to fall into the hole they dug and become exposed to something deadly and dangerous. And once he was exposed to it, there was no way out; there was only one way for his story to end. Elizabeth being the one to shoot Hans was the perfect choice; for her, practicality has always come before emotional ties. But the look she and Philip shared afterward showed that these kinds of choices and sacrifices aren’t easy for either of them.

Philip and Elizabeth were aware of the risks they faced in that hole, but Hans was supposed to be relatively safe from his place above it. It reminded both of them—and us as viewers—that even simply being around the hole Philip and Elizabeth have dug and the deadly possibility at the center of it is dangerous.

If you just read all of that and somehow managed to not be terrified for Paige and Henry (especially Paige), you must have nerves of steel. This season seems to be about children (both real and stand-in) and their parents, and ending the premiere with the image of Elizabeth and Philip’s wide eyes after she shot the agent who was like a spy son to her seems to point to dark and dangerous moments and difficult choices ahead for Philip, Elizabeth, and their children.

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TV Time: Once Upon a Time 6.01

Welcome back, fellow Oncers! I can’t wait to spend another season discussing all the fairytale fun and feelings with you, so don’t hesitate to jump in and start a conversation in the comments. Just remember, we like to keep things as positive and respectful as we can here at NGN!

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Source: ibtimes.com

Title The Savior

Two-Sentence Summary As Hyde and the others from the Land of Untold Stories arrive in Storybrooke, Emma struggles with side effects of being a Savior, including visions of her death. Meanwhile, Rumplestiltskin attempts to wake Belle, and Regina tries to work through her grief after losing Robin.

Favorite Line “I choose to believe that this story will have a better ending.” (Regina)

My Thoughts If Once Upon a Time has taught us anything, it’s this: We have the power to choose how our stories end. We have the power to push back against the forces that try to tell us what our story will be. And that power comes from belief—belief in our own strength, belief in those who love us and want to help us, and belief that light and love is stronger than fear and darkness.

In “The Savior,” that lesson—that the only way we can get a happy ending is by believing we can have a happy ending—was at the center of its three main storylines: Rumplestiltskin’s quest to wake Belle, Regina’s difficulty working through her grief, and Emma’s discovery of her decidedly unhappy fate.

Like most Once Upon a Time season premieres, this one spent a fair amount of time setting up conflicts for this season. However, it also featured a surprising number of emotional moments for a season premiere, especially for a show that tends to favor plot over prolonged character beats. The return to a Storybrooke setting certainly helped: Less world building means more time can be spent on the characters and relationships we already know and love. And it seems that this season is going to explore the benefits of characters actually dealing with what has happened to them in a healthy way, which is a wonderfully realistic approach to emotional health for a story about fairytale characters.

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The Best Thing I Saw on TV This Week (9/18 – 9/25)

The fall 2016 television season kicked into high gear this week, starting with Sunday’s Emmy Awards, which featured some nice surprises (Tatiana Maslany) and beautifully sincere speeches (Jeffrey Tambor, Sterling K. Brown, Sarah Paulson, and Julia Louis-Dreyfus). On Monday, Dancing with the Stars gave us “TV Night,” and little did we all know how empty our lives had been before we saw Laurie Hernandez dancing to the theme from DuckTales. Also on Monday (and Thursday), The Good Place proved to be the smart, funny, and emotionally engaging comedy I was hoping it would be. On Tuesday, Brooklyn Nine-Nine returned with a hilarious look at Jake and Captain Holt’s life in the Witness Protection Program; New Girl reminded me why I fell in love with the show years ago, thanks to a stellar season premiere; and the pilot of This Is Us lived up to every expectation I had for it. Wednesday’s ABC comedies were all excellent, with a perfect Breakfast Club tribute on The Goldbergs; a fantastic pilot episode of Speechless; an entertaining return for Modern Family; and a fun Walt Disney World trip on black-ish. On Thursday, the pilot of Pitch showed enough heart, style, and substance to hook me from the start. And Friday’s episode of Girl Meets World reminded us all of a very important lesson: You can’t control every aspect of your life; you can only control how you react to what happens in your life.

Overall, this was the best week of television I’ve watched in a very long time. I wasn’t disappointed with anything I watched, which is impressive because I often have unrealistically high expectations for premieres and pilots. I enjoyed every minute of television I watched this week, and I watched many minutes of television.

Grouped together, I loved the three big twists that new shows served up this week, which shouldn’t be a shock to anyone given how much I love when television shows can still pleasantly surprise me.

SPOILERS FOR THE GOOD PLACE, THIS IS US, AND PITCH AHEAD!

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What Are You Watching? Fall 2016 Edition

To me, fall has always felt like a season of new beginnings—from first days of school to season premieres of favorite television shows. The long hiatuses are finally over, and we can finally reconnect with our favorite stories and characters as if they were friends from school we’d missed during summer break. And there’s always the hope that a new show will come in to steal your heart just like a cute new kid walking in to your homeroom on the first day of class.

This is now my fifth of breaking down my list of must-watch season and series premieres to share with all of you, and it has continued to bring me joy year after year. This is NGN’s longest running feature, and I think it’s had staying power because it’s filled with the one thing that has kept this site going since the beginning: excitement. It’s been fun to see how this list has changed (and grown!) over the years, with shows that are now some of my favorites showing up as pilots I wanted to check out back when I first started this list. This year—with many of my favorite shows saying their goodbyes in the last couple of years and others not starting until the winter—I have a large number of new pilots I want to watch, and I’m hopeful that at least one of those will join the ranks of Nashville, Brooklyn Nine-Nine, and black-ish as shows that started as possibilities on this list and have since stuck around on it for years.

To kick off our fifth TV season at NGN, here are the shows I’ll be watching this year, along with their season or series premiere dates. This doesn’t include reality TV shows like Dancing with the Stars or variety shows like Saturday Night Live. New pilots I’ll be checking out will be highlighted in pink. And don’t forget to share what you’ll be watching this season in the comments!

MONDAYS
Jane the Virgin (9 p.m. on The CW)
This show was one of my TV happy places last season. It always felt like coming home when I spent an hour with the Villanueva family. No matter what kind of crazy drama was happening, I always found myself laughing, crying, and often doing both in the same hour. After the intense cliffhanger that ended last season’s finale, I’ve been waiting all summer to see what’s next for Jane, Michael, Petra, and the rest of this amazing cast of characters.
Season Premiere October 17

Conviction (10 p.m. on ABC)
Part of me wants to be angry with this show, since the day it was announced was the day I knew Agent Carter was a goner, but once I saw the trailer, it was love at first sight. Shows featuring complex female characters who learn to let themselves care and become a part of something bigger than themselves are my ultimate weakness, and that’s exactly what this show seems to be about. Add in the fact that its supporting cast includes Merrin Dungey (who I’ve been a fan of for more than a decade) and it stars one of my favorite actors on television (Hayley Atwell), and there is no doubt that this is one of the new shows I’m most looking forward to adding to my viewing schedule.
Series Premiere October 3

Timeless (10 p.m. on NBC)
I have a soft spot for time travel, and the trailer for this show hooked me immediately by including World War II-era scenes, which has always been one of my favorite historical periods. This show seems like it could strike a great balance between action, drama, science fiction, and romance, and that is a winning combination in my book. Also, if the success of this show means the excellent Abigail Spencer won’t show up on Suits anymore to ruin my Donna/Harvery shipper dreams, then that’s even more of a reason to watch it.
Series Premiere October 3

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TV Time: The Americans 4.01

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Source: blogs.wsj.com

Welcome back (or welcome to any newcomers!) to our weekly discussions of The Americans here at NGN! I can’t wait to write about another season of this incredible show and to discuss it with all of you. After you finish reading, remember to share your thoughts with us in the comments!

Title: Glanders

Episode M.V.P.: Alison Wright
“Glanders” was an episode that arranged the chessboard for the season to come, but in the middle of all the plot setup, there were still moments of startling emotion. I didn’t expect to cry during this season premiere. But two little words from Martha, delivered multiple times with such devastating grief and panic from Alison Wright, sent my tear ducts into overdrive.

“Oh no…”

While Matthew Rhys and Keri Russell deserve every word of praise sent their way (Rhys, in particular, was outstanding in this episode—a portrait of a rubber band pulled so tightly that it could snap at any moment.), Wright has become this show’s secret weapon. Martha is one of its most tragic characters, and so much of that comes from how realistic Wright has made her feel. And in the moment Philip revealed to Martha that he killed her coworker to protect her, I felt Martha’s fear and loss so acutely it was almost oppressive. Wright was at the center of a storm of emotions in that scene, and she grounded them all in a sincere vulnerability that was best reflected in that broken refrain of “Oh no…”

In that scene, I also felt Martha’s guilt, as she asked “What have I done?” with such heartbreaking horror. “Glanders” spent a lot of time dealing with characters wondering what their choices say about who they really are. Many of its main players were wracked with guilt, but perhaps none more than Martha in that moment. However, the most heartbreaking part of “Glanders” wasn’t Martha wondering what she’d done; it was Martha making the choice to continue doing it—to continue helping Philip despite knowing what he’s done. Wright broke me with her breakdown earlier in the episode, but what’s still haunting me today was her stoic acceptance of her continued role as Philip’s link to the FBI (which I’m sure was connected to the gut-wrenching gratitude she showed him when he opened up to her in such a small way about his past).

For so long, I wondered if Martha was going to have to die, but this—choosing to keep helping Philip even with the knowledge that he killed her coworker—might be worse. It’s like watching someone lose their soul in an effort to keep a relationship that’s not even real, and Wright is making every moment of that tragedy resonate with me on a visceral level.

Favorite Scene: Paige can’t say the Pledge of Allegiance
It’s not easy being a teenage girl and trying to carve out your own identity. It’s even harder when you’re a teenage girl who found out her entire life—and her parents’ lives as she knew them—is a lie. Just as Philip and Elizabeth’s story addresses universal questions about marriage and parenthood, Paige’s story addresses questions we all have as we grow up: Who am I? How am I different from my parents? What do I really care about? And it’s so heartbreakingly clear that Paige doesn’t know the answers to any of those questions anymore, which is such a change from the girl who was so strong in her convictions and her sense of self until she learned the truth about her parents last season.

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