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Monday, September 22, 2014

YOU'RE THE WORST Is About "Fists and Feet and Stuff"


‘You’re the Worst’ Season Finale Review

Article first published as 'You're the Worst' Season Finale Review on Blogcritics.


FX’s You’re the Worst stars the best four-man comedy team since Seinfeld went off the air. This week’s first season finale, “Fists and Feet and Stuff,” picks up not long after the group had imploded two weeks earlier (last week was mostly flashback), all four of them separate and alone and miserable. It is inevitable that they must come back together, as they all belong together, but the question is how it will happen and what their quartet will ultimately look like.

Becca (Janet Varney) and Vernon (Todd Robert Anderson) throw a party, the vehicle for the reunion. It’s funny that they are the two doing so because they sure want to be included in something, but aren’t a part of the main ensemble in You’re the Worst, nor does it look like they have a core gang of pals. Their wedding is also the setting of the pilot, the place our romantic leads, Jimmy (Chris Geere) and Gretchen (Aya Cash), first meet, so there’s a beautiful symmetry in bringing us back to the kooky, recurring players now.

As viewers may remember, Gretchen breaks up with Jimmy because she finds an engagement ring in his drawer. She is terrified of commitment, and they haven’t been dating that long. She doesn’t feel like she knows Jimmy very well, and she probably doesn’t, though the audience won’t expect Jimmy to make such a gesture, and as one might surmise, it’s actually left over from when Jimmy dated Becca. But while the catalyst for the split may not be anything new, their relationship is a fresh take on the romantic comedy, so they must reunite.

The other two leads, Edgar (Desmin Borges) and Lindsay (Kether Donohue), are also in a bad place. Lindsay has found her sex addiction again, causing her to cheat on her boring husband, Paul (Allan McLeod), and Edgar, despite getting a job, is living in his car. Neither Edgar nor Lindsay are happy with Jimmy and Gretchen, respectively, so it’s all quite a big mess, that of course comes to a head with fisticuffs and secrets coming out and chaos.

At the end of the climax, most of the party-goers leave disgusted not only with the hosts, but also with our central foursome. That’s OK. At least three of them are the worst, as the title indicates, Edgar excepted. But while they may not be right for society at large, they are right for each other. That’s not say they treat one another the way they deserve be treated, but there is love there, and at the end of the day, they will each overcome their failings in order to make things right with their friends. This group can never be apart for long.

One wonders if Lindsay and Paul might reunite. She dumps on him for so long that he’s fully justified in calling things off. But Lindsay has never been good at letting go of things, even those she doesn’t really want in the first place. I could see You’re the Worst trying to get them back together, and I sort of hope this happens. “Fists and Feet and Stuff” dangles the possibility of a Lindsay / Edgar hook up instead, but I don’t think either character is anywhere near ready for that, a possibility best preserved until Jimmy and Gretchen work their stuff out first.

As the episode winds down, Gretchen turns down Jimmy’s offer to live together, only to be forced to take him up on it after burning her apartment down. This isn’t exactly the way things are supposed to happen, but it seems right for the two, an unconventional pair if ever there was one. Would it have taken something on the level of a fire to get them to ever move forward? Might one argue that Gretchen subconsciously started the flame in order to push herself along? One may never know, but it doesn’t matter. The last shot, their faces full of dread as the fantastic theme song starts up again, is ripe with promise. What matters is we get to see them take this messed up relationship to a whole new level, assuming the series is renewed, which I sure hope happens.

You’re the Worst is excellent from start to finish, without a single bad episode in the ten-week run. It is funny and smart and fresh, each half hour providing rich characters and new twists on classic situations. It’s hard to do the rom-com in any way that doesn’t seem tired these days, unless it just oozes charm and cheese, but You’re the Worst manages it. It may be called You’re the Worst, but it’s kind of the best.

Go Ahead and Squash SCORPION

Article first published as SCORPION Review on Seat42F.

Scorpion Cast CBS

CBS’s new drama SCORPION is labeled as ‘inspired by a true story.’ It tells the tale of Walter O’Brien (Elyes Gabel, Game of Thrones), a genius who was recruited by the government at a young age because of his superior hacking skills, then felt burned when they misused what he developed for them. Now, as an adult leading a group of social outcasts like himself, though each has their unique strengths, Walter is sucked back into the agency he abandoned.

SCORPION’s pilot is extremely entertaining, to say the least. The pacing is fast, the stakes are higher, and action sequences pump up the adrenaline. The characters are all fun and likeable, with a dynamic that is enticing and contains many amusing quirks. Lives are at stake, but as one might expect, the heroes will surely win the day. I would dare anyone to watch this initial hour and not enjoy it.

That being said, the pilot is riddled with holes. How many times can characters stop to talk as the clock ticks down? There are action pauses that don’t make sense, too. Why is Walter the only one who can fix LAX’s computer system when they surely have an IT staff? Why does it take someone with an IQ pushing 200 to think of rolling back a software update that doesn’t work? That’s troubleshooting 101! And don’t even get me started about the big airplane scene.

Which makes this basically summer, popcorn-style fluff. But it’s not airing during the summer; it’s attempting to be a regular-season weekly show that will pump out twenty-some episodes a year. With the current formula, that will get old pretty quick.

The acting is decent. SCORPION has put together a capable cast, a feat dozens of other crime shows have done, too, though this group may be just a bit better. This includes: Robert Patrick (True Blood) as Agent Gallo, the law enforcement representative who shares a past with Walter; Katharine McPhee (Smash) as the hot waitress, Paige, with the genius son who makes a connection with the usually anti-social Walter; Eddie Kaye Thomas (American Pie) as charmer Toby; Ari Stidham (Huge) as anal-retentive Sylvester; and Jadyn Wong (Being Erica) as Happy, who considers herself the ‘normal’ one of the group. I assume Paige’s son, who isn’t listed among the principal cast, isn’t important, though he should be if the series wants character development.

The ‘hook’ about the intelligence level of most of the characters is simply a gimmick. Without that, this is pretty much the same series as Bones, NCIS, The Mentalist, and plenty of others, lacking anything original. What this means is talent is being wasted on a repetitive procedural, though that seems to be CBS’s favorite kind of show, perhaps because of the large ratings the lucky ones garner, a phenomena I do not understand when so much higher-quality fare is readily available.

Now, SCORPION could be very good. I still watch Bones as my one allowed example of this type of series because the cast is so damn delightful that I can’t resist them. SCORPION actually has the potential to replace Bones for me when it goes off the air, presumably soon, if it fixes its writing. I like the characters, the tone, and the pacing. I just hope it allows itself to evolve and build upon its best parts. Even better would be if it goes serial, ditching the case-of-the-week stuff, but I think that’s probably too much to hope for.

Despite its flaws, I like SCORPION, which is not something I can say about all of its peers. Given time, it may grow into something worth watching, though it will never be the cream of the crop. It’s just not very watchable yet.

SCORPION airs Mondays at 9 p.m. ET on CBS.

Take a SELFIE

Article first published as SELFIE Review on Seat42F.

JOHN CHO, KAREN GILLAN SELFIE

ABC’s SELFIE is equal parts straight-up remake of My Fair Lady and a commentary on the current social media landscape. It is the story of a mess of a girl, obsessed with her online followers and ‘friends,’ and an uptight guy who wants to show her how to be what he deems ‘a real person.’ The two clash in predictable ways, and one assumes that eventually both will learn much from the other, whether they become romantically entangled or not (my money is on the former).

Karen Gillian (Doctor Who, Guardians of the Galaxy, NTSF:SD:SUV) plays Eliza Dooley, the lead female at the center of SELFIE. Although from the UK, the actress takes an affected valley girl-esque accent that is super annoying at the start, though surely not the character’s real voice. Gillian is terrific with line delivery and sincerity, eliciting glimmers of sympathy for a person that should not be at all likeable, especially when you feel her pain and see the origin of her persona. While Eliza is awful in most of the pilot, she will grow into someone viewers can get behind, and has already started to do so.

John Cho (Sleepy Hollow, Harold & Kumar, American Pie) matches Gillian beat for beat as stuffy Henry, who takes on the task of remaking Eliza. He is successful and smart, but too judgmental to be truly likeable, either, even if he’s quite a bit more ‘normal’ than Eliza. He’s almost a bully to her at times, and one can tell that his obsession with fixing her is much more about the satisfying challenge it presents to him than helping the girl herself. In this way, Henry and Eliza are near-equals in the growth they need to undergo, and more similar than is immediately obvious.

The lead actors are terrific. The pilot is plagued by an uneven script, but they sell their parts, making sure the characters seem complex even if the language coming out of their mouths isn’t clever. They have immediate chemistry that seems fresh, and they are primarily the reason I plan to set a season pass for SELFIE, as surely it will improve over time.

Not that the pilot is bad. The opening is gross and a huge turn off, but as the story unfolds, it gets better and better. As a fan of the Audrey Hepburn / Rex Harrison film that is quite similar, I think the writers do a decent job of not only retelling the tale, but updating it for the modern age. It’s an interesting spin on an old classic.

The social commentary presented in the series is a reason to watch. Everyone knows at least one person that will remind them of Eliza, even if Eliza is exaggerated to nearly cartoonish proportions. We have become a people obsessed with being online, and Eliza could be the fate of many a girl in the next generation, those who grow up with devices in their hands at all times. Henry isn’t the best spokesman for the opposition, but his lambasting of Eliza’s habits speak to those who wish to keep human contact alive, and hopefully, while the internet is certainly not a trend, our ignorance of everyday life in favor of it will be. Having Eliza and Henry work at a pharmaceutical company is also ripe with as-yet-unexplored satirical possibilities.

SELFIE is buoyed by an excellent supporting cast which includes Da’Vine Joy Randolph (The Angriest Man in Brooklyn) as cheerful receptionist Charmonique, David Harewood (Homeland) as eccentric boss Sam, and Allyn Rachel (Weeds) as Eliza’s nerdy neighbor, Bryn. Each helps with the humor of the piece, and has moments to shine in the first episode, being well used.

This show is also genuinely funny. From instrumental jokes to sassy one-liners to a rhyming rap, it exudes a charm that will amuse many. I laughed out loud a few times, even on my second viewing, and may very well tune in again on premiere night.

Overall, SELFIE isn’t the best new sitcom of the season, but its cast and premise gives it a lot of potential that is barely scratched in the first installment. I have confidence that it will hew to its strengths, minimizing the elements that grate, as it goes on. For that reason, I recommend tuning in when SELFIE premieres Tuesday, September 30th at 8 p.m. ET on ABC.

Sunday, September 21, 2014

Time to Get MARRIED

Article first published as 'Married' Season Finale Review on Blogcritics.

Married FXFX’s Married brings its freshman season to a close with “Family Day.” Everyone goes to visit AJ (Brett Gelman) in rehab for Family Day, where he is supposed to apologize for how he has wronged them. Instead, things devolve into a five-way bicker fest as the various adults who make up the cast begin taking out their frustrations with their own lives on those around them. Luckily, the venting actually helps them release their tension and get on track for a happy ending.

I have to be honest, I tolerated Married more than I enjoyed it for most of this season. FX is a terrific network, and Married is paired with the absolutely fantastic You’re the Worst, so I almost watched it out of reflex or default than any actual desire. Plus, I find it much more difficult to give up a half hour series than an hour-long one, as it just didn’t seem like a big commitment to stick with it through its ten episodes. But it’s depressing as hell and makes the viewer feel bad about themselves, so it’s much harder to get into than other fare. It can be barely be called a comedy.

Somewhere along the way, it slowly grew on me, though. It’s not that my marriage is anywhere near as bad as the one at the center of the series; I’m not beaten down. But there’s both a slight satisfaction in seeing a couple worse off than you, and the optimism sparked in select moments that prove even a seemingly-terrible union can still work, that makes Married eventually attractive.

The more I watch Married, the more I’m convinced that Russ (Nat Faxon) and Lina (Judy Greer) are actually much better off than they appear to be. They are in a very rough patch in their lives, struggling financially and stressed out because of their three young children. Russ wants his old life back, and so does Lina, but she’s the more responsible of the pair, soldiering on under the current circumstances, whereas Russ look for tiny outs, and frequently takes them. Because of the misery of dealing with these factors, they work out their anger on one another far too often, and that’s what makes them look like they’re falling apart. But every once in awhile, we get a glimmer of what brought them together in the first place, and it sure feels like that they’ll get back to that happiness once these outside influences are dealt with and go away.

Because of this, I’ve become very fond of the characters. Faxon and Greer are great, as they have been in other projects, and they do an authentic job of developing two characters that are more realistic and complex than most on television. They make themselves sympathetic, even when you’re understanding why their spouse is ticked at them. They’re real people, in look and in action, and that sells the show.

The supporting cast of Married is much the same. Jess (Jenny Slate) and Shep (Paul Reiser) have complications in their own marriage for entirely different reasons, Jess almost trying to escape motherhood. “Family Day” is probably the most we’ve seen of them relating to one another, but while it’s not obvious, they are in a similar boat as Russ and Lina. AJ is mourning the loss of his wife, and he acts out because he wants back what his friends have. Even recurring Bernie (John Hodgman) shows off some good development in the season finale.

Funnily enough, the final scene of “Family Day” is the lightest of the season. After ten weeks of rough stuff, there’s a cookout and everyone is in good spirits. They talk about death, sure, but it’s in a joking manner. Married finally finds it’s heart, and because it waits so long to do so, it’s a well-earned pay-off.

When next season rolls around, I won’t be recording Married just for the heck of it. I will be eagerly anticipating the return of a series that I really like and is very well made. Assuming it’s renewed, of course, which sadly has not happened yet.

TV is FOREVER Making Procedurals (but this one's good!)

Article first published as FOREVER Review on Seat42F.

Forever Ioan Gruffudd ABC

Make no mistake about it; ABC’s new drama FOREVER is a crime-of-the-week procedural. Those of you who regularly read my reviews will now expect a scathing tear-down of the show. Yet, for some reason, I absolutely love it, or at least, I love the pilot. I expect I’ll probably turn on FOREVER at some point in its freshman season, as many episodes are likely to feel repetitive. However, it sucks me in with terrific characters and an extremely intriguing premise that I really want to know more about.

On the surface, FOREVER could be seen as Castle: Immortal Style. It features a very intelligent, charming non-law enforcement investigator, Dr. Henry Morgan (Ioan Gruffudd, Ringer, Fantastic Four), who begins helping out a tough, independent, smart, at-times-annoyed-by-him female detective, Jo Martinez (Alana De La Garza, Do No Harm, Law & Order). The hook is not that Henry is a writer; he’s an immortal that wakes up naked in the water every time he is killed. And it sure seems like he’s been killed a lot.

Now, Henry is a medical examiner, the type of man who looks at dead bodies and determines their cause of death. This makes him a little more relevant and his involvement a little more appropriate than his counterpart on sister show Castle, which airs on the same network. But I doubt many medical examiners are usually out walking the beat and hunting for clues. The ones shown in other TV shows are usually small, recurring parts, other than in Body of Proof, which is a unique case.

There is a third player who is equally important to the mix, Henry’s friend Abe (Judd Hirsch, Taxi, Numb3rs). The only person Henry has entrusted with his secret, they obviously have been close for a very long time. Abe encourages Henry to help the pretty Jo and tries to get him to engage in life, something Henry has struggled with since the death of his wife. Might now be the time and the place Henry will come out of his shell? Of course it is. Otherwise, there’d be no television show.

When considering why FOREVER stands out above the pack, this central trio, especially the two men, as Jo’s character is pretty stock at this point, are more interesting and colorful than in other programs. Henry has the brains of Sherlock Holmes, but is more centered and calm, having learned much through hard-won experience over hundreds of years. Abe’s role is a bit more murky, but who doesn’t love Hirsch? He brings to the table an engaging personality.

The larger arcs, Henry’s origin and a guy who keeps calling threatening to expose the secret, are dealt with in the first episode, quickly establishing there will be an ongoing story in addition to the procedural. It may just be because this is a pilot, but FOREVER seems to give almost as much weight to this as it does to the weekly case, which makes the hour go down better.

There’s also a heck of a twist at the end that I cannot spoil, and I’m surprised at how surprised I was to see it. But it’s very cool, and I cannot wait for the implications of it to be explored.

The supporting cast includes Joel David Moore (Bones, Avatar), Donnie Keshawarz (The Wolf of Wall Street), and Lorraine Toussaint (Orange Is the New Black). Each plays a co-worker of one of the two leads, and none really stand out much in the initial installment. But that’s par for this type of show. At least they’ve cast people who can handle better material, should it be given to them.

There are a great many crime shows on television, and there are very few I pay attention to, pretty much just Bones, Castle, and Elementary. Somehow, FOREVER seems at least on par with those, a couple of notches better than the Law & Order or NCIS franchises. It strikes a balance between the standardized format and something interesting, and as long as it keeps serious weight on the latter, it could be a show worth watching.

FOREVER premieres Tuesday, September 23rd at 10 p.m. ET on ABC.

Saturday, September 20, 2014

GOTHAM Still Gotham Without Batman

Article first published as GOTHAM Review on Seat42F.

Ben McKenzie and Donal Logue Gotham

FOX’s GOTHAM is one of the most anticipated new shows of the fall. Beginning with the death of Bruce Wayne’s parents, the series follows young, noble detective James Gordon as he encounters the low-lives of the troubled titular town, including many who will become Batman’s greatest foes. What’s not to like in that premise?

DC has long been lagging behind Marvel in its quest to bring the superheroes of its comics to the screen. While Marvel began with some terrific movies, and is now branching out into pretty good shows, DC mostly successfully exists these past couple of decades on the small screen. The thing that strikes me about GOTHAM right off the bat is that it is similar in tone to other properties from this comic book company, and is at least as good as peers Smallville and Arrow.

GOTHAM is highly stylized, with lots of shadows and dark colors, which fits the character of the metropolis at the moment, a city being choked by organized crime and political corruption. If there is any doubt about how grim the show will be, it is immediately erased with the very first scene. This is appropriate, though, and matches other Batman stories before it.

Whatever else GOTHAM may be, it is a Batman story. While the main character may be Jim Gordon (Ben McKenzie, Southland), young, orphaned Bruce (David Mazouz, Touch) and his butler, Alfred (Sean Pertwee, Elementary), are main characters, as well. The fact that so many of Batman’s recognizable antagonists, such as Oswald Cobblepot, a.k.a. The Penguin (Robin Lord Taylor, Accepted), Edward Nygma, a.k.a. The Riddler (Cory Michael Smith, Dog Food), and a teenage Selina Kyla, a.k.a. Catwoman (Camren Bicondova, Battlefield America), are also among the stars makes it feel more like a part of that same franchise. Even a young Ivy Pepper (Clare Foley, Sinister), who will become Poison Ivy, puts in an appearance in the pilot. We may not get the Caped Crusader directly, but we’re definitely in his world.

That may make GOTHAM sound like it has a huge cast, and I’ve not even named half of the principals yet. One thing the series does well is balance all the various personalities and threads. Everyone seems connected somehow, and enough screen time is given to each to set them apart and help the audience define them. Obviously, some are more central than others for now, but the writers have done a terrific job crafting this large game board and the various pieces upon it.

Now, GOTHAM has non-traditional Batman elements. Gordon and his partner, the grizzled Harvey Bullock (Donal Logue, Vikings, Terriers), see the city from a perspective that our hero does not. They are on the ground, in the trenches, not lurking above it. They interact with others as normal people do, more or less, whereas young Bruce almost seems alien in his mannerisms, definitely the type of loner who will never fit into society quite right, though who can blame him after what he sees? Thus, perhaps Gordon is a little more relatable a protagonist, even though his courage and resolution not only set him apart from those around him, but make him a typical TV hero.

Besides Gordon’s familiarity, the other weaknesses GOTHAM faces are the dialogue and the main villain. The first half of the pilot has some extremely cringe-worthy lines, and when introducing each new face, the production hits the nail way too on the head in telegraphing who they will be known as. The primary bad guy Gordon runs up against, Fish Mooney (Jada Pinkett Smith, Hawthorne), is stylish, but lacks teeth, under the thumb of the more seemingly-reasonable Carmine Falcone (John Doman, The Wire). Both of these things feel very comic book-like, not in the best of ways, and keep the quality at a lower level than, say, Agents of S.H.I.E.L.D.

Still, overall, I enjoyed GOTHAM. There’s an intriguing story here, and it’s definitely a different take on the tale. I especially enjoyed the twist of who else, besides Bruce, witnesses the murders. By not tackling Batman head-on, GOTHAM avoids the comparisons to Christopher Nolan’s trilogy, which can only help it, and it’s good enough to rank one of the major networks to carry it, raising DC’s profile more than another CW venture will. Working out a few of the gripes mentioned above, this could quickly become a must-see adventure; it’s not too far from getting it right.

GOTHAM premieres Monday, September 22nd on FOX.

Friday, September 19, 2014

Children Will "Listen" To DOCTOR WHO

Article first published as 'Doctor Who' TV Review - 'Listen' on Blogcritics.

Peter Capaldi in Doctor WhoThis week’s installment of the BBC’s Doctor Who is titled “Listen.” The Doctor (Peter Capaldi) has a theory that something lurks in the dark, the universe’s perfect race of hiders. Embarking on a quest with Clara (Jenna Coleman) to find them, the two are confronted with the pasts of a couple of individuals, including Clara’s new beau, Danny Pink (Samuel Anderson). But they never quite find out whether The Doctor is right.

“Listen” is probably the scariest Doctor Who episode since “Blink,” which introduced us to the Weeping Angels. Written by series creator Steven Moffat, it ruminates on what lurks just beneath everyone’s notice, making this creature-of-the-week hit home. The story The Doctor tells, of a dream featuring something under the bed, is something every person watching can relate to. When Moffat brings the terror right into our own bedrooms, it evokes a primal fear that lands in a way fighting monsters in space and on alien worlds just doesn’t do.

It’s also one of the best stand-alone episodes in recent memory. I use them ‘stand-alone’ label loosely because there are a lot of connections to other Doctor Who episodes and continuity within the hour. But it can be enjoyed without knowing all that other stuff, as a story unto itself. Personally, I prefer large arcs and serial tales over case-of-the-week stuff, but it’s hard to argue with quality as strong as “Listen” exhibits, and if Doctor Who should become completely procedural with every installment on par with this one, I would still count myself a loyal fan and viewer.

The way the threads of “Listen” are worked together is nothing short of brilliant. There are lots of aspects, Clara on her first date with Danny, The Doctor and Clara visiting Danny as a boy (Remi Gooding), The Doctor and Clara meeting Danny’s grandson, Orson Pink (also played by Anderson), at the end of the universe, Clara calming The Doctor as a child, but they all tie together well, even without the monster. “Listen” crafts a cohesive vision of these three players and their interactions, setting up Danny to play a larger role this season, and cementing Clara’s place as The Doctor’s most important companion ever.

I admit, I do not like Clara all that much, my least favorite companion since Martha Jones. However, there is no denying that she is vital to the entire lifetime of The Doctor, not just the current and previous incarnations. She has traveled through time and encountered all his versions. She now is shown to have influenced him before he really becomes a Time Lord, saying words to him that will be (were?) echoed by the First Doctor near the start of the series. When she eventually leaves The Doctor’s side, it will be the end of a huge era, even if she doesn’t stay much longer, and no one else is likely to fill those kind of shoes anytime soon.

I’m guessing the seeds for Clara’s departure are already being planted. Doctor Who pushes her towards Danny quite strongly this week. Their date is disastrous, yet they keep coming back together. She has an instant bond with both the young version of him and his grandson, who seems to be holding something back from her. Might Clara soon be staying with Danny and becoming Orson’s grandmother? I don’t think she and Danny could have kept coming back together, much as they were screwing up their conversation, if they didn’t have a very solid, unspeakable bond. Not all of The Doctor’s companions have left on such peaceful, happy terms of late, and I think it’s time one did. Clara has served well on the battlefield, and it might be time to take an early retirement.

The Doctor himself is examined this week. We know he doesn’t travel well alone, and his obsession with the ‘thing in the dark’ is an illustration of that. This is what he’s up to when no one else is around. It’s a weakness and a vulnerability that make the Time Lord all the more relatable and human. In his dire hour, we see his mettle and how important his companions are to him. They allow him to get past the fear and persistently looming insanity and do the good things that he does.

I am slightly disappointed that we don’t find out about the creature. Surely it’s real, given the scenes with the young Danny Pink. Yet, later, when Clara talks to the boy Doctor, it seems like it’s not. I could have used just a bit more clarification here, but the fact that Doctor Who doesn’t answer those questions only leaves the menace the monster poses greater and more relevant, scary in its lack of explanation.

The one unnecessary thing in “Listen” may be the glimpse of the War Doctor (John Hurt) returning to the barn where Clara meets the boy Doctor. Yet, that moment will surely make fans happy, providing even more connection to past events and faces.

“Listen” is an excellent script with as-usual compelling performances by the show’s leads. It’s a fine addition to the favorite Doctor Who episodes list, and one not soon forgotten.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.