ONCE UPON A TIME Improvements in "Sight"

Article originally written for Seat42F.

Last night’s installment, “Shattered Sight,” may be my favorite this fall for ABC’s ONCE UPON A TIME. Ingrid The Snow Queen’s (Elizabeth Mitchell) spell falls over Storybrooke, making practically everyone turn against one another. Ribbons prevent Emma (Jennifer Morrison) and Elsa (Georgina Haig) from fighting Ingrid directly, bound as they are to her by the love injected in the material, so they seek out Regina (Lana Parrilla) to break the enchantment with her pure hate. But the real key to everything may be missing memories, some of which are shown via flashback.

Ingrid’s arc has been a moving one. She loves her sisters dearly, and the tragedy that befalls her at a young-ish age is an understandable reason why she turns cold. Her sole mission is to regain the love she’s lost, casting Elsa and Emma in the role of her sisters. Ingrid does not act out of cruelty, and while she doesn’t care if others get hurt, being selfish and narrow-sighted, she only casts the “Shattered Sight” spell to get to her end goal.

Which is why her heroic self-sacrifice is tragic. It doesn’t make up for everything she has done, but had she lived longer, I’m sure she would have worked to do so. The scenes we see of her with a young Emma (Abby Ross) prove that she does care about some people. Sure, the found-letter from Ingrid’s long dead sister proclaiming that she still loved Ingrid and regretted what she did to her is a little convenient, but it makes sense for a fairy tale, which is what this is. That does not cheapen Ingrid’s end, though, a bittersweet conclusion for a mostly-excellent arc.

It’s also a little too easy for Elsa and Emma to get Regina to break the ribbon bond. That was the result of something Ingrid spent decades planning, and Regina can make it go away in a second, accidentally? Then Elsa and Emma run from Regina, who is fully reverted back into Evil Queen, and manage to get away from her? And they’re not even worried about what unleashing the Evil Queen into the town will do?

That being said, Elsa and Emma are busy, so maybe they decide that letting evil Regina out is a risk they have to take. Plus, Regina goes to the jail, which leads to an awesome fight scene between her and Snow (Ginnifer Goodwin), so it’s hard to complain too much. In fact, the whole sequence with Snow, Charming (Josh Dallas), and Regina, ending in an uncomfortable laugh as the three try to process the emotional toll of what they just went through, is terrific. It’s some of the best work Goodwin has done in the series, and as much as I adore redemption-path-Regina, it’s fun to see her as the Evil Queen once more. Regina is my favorite character on ONCE UPON A TIME, and “Shattered Sight” affords Parrilla another opportunity to play her brilliantly.

One character nearly absent from “Shattered Sight” is Rumple (Robert Carlyle), and that could very well be why the hour is so good. Rumple arguably has the best plot in the show from its inception up through the middle of last year. Since then, all his development has been tossed out and he’s been ruined worse than just about any character on television I can think of. His story line this fall has been abysmal, completely out of the established persona, and while Carlyle remains a fine actor, Rumple has been an anchor weighing ONCE UPON A TIME down lately.

Unfortunately, the conclusion of this episode means that Rumple’s “scheme” hasn’t come to fruition, so my guess is that he will be front and center next week. Assuming the writers stay consistent with what they’ve done with Rumple recently, ignoring the previous version of him, he’s bent on power and getting his family away from Storybrooke. I just can’t bring myself to look forward to that, still sad about what’s been lost here.

Because Rumple isn’t important in “Shattered Sight,” though, with the focus on Ingrid, who is mostly well developed, and the episode contains some emotional and fun scenes, with a great battle and an exciting climax, it works very well. I kind of wish it were the fall finale so ONCE UPON A TIME could go out on a high note, but even though it isn’t, that doesn’t take away from a heck of a memorable hour.

ONCE UPON A TIME concludes this run next Sunday at 8 p.m. ET on ABC.

"The GRIMM Who Stole Christmas"

Article originally written for Seat42F.

This week’s holiday-themed GRIMM on NBC, “The Grimm Who Stole Christmas,” which is weirdly not the last episode the series will air before December 25^th, finds some evil elves destroying decorations. They aren’t actually elves, though. They are Kallikantzaroi, a Greek Wesen that experience twelve nights of hairy puberty somehow linked to this time of year. Get past that strange conceit without explanation, and the hour is better than many this fall, starting to get the show back on track.

GRIMM is best when it’s serial, even if there are strong procedural elements to the show. Recently, many episodes have relied too heavily on the monster-of-the-week format, without enough movement in the character arcs. “The Grimm Who Stole Christmas” strikes a bit better balance, still involving a creature, but also letting several in the ensemble progress a bit.

Nick (David Giuntoli) is back to being a Grimm, a welcome development since his loss of power slowed down the narrative quite a bit. This means Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) finally feel comfortable leaving town on their honeymoon, which they will be taking next week, not this one. Bud (Danny Bruno) gives the team important clues as to who is terrorizing the happy couple. Juliette (Bitsie Tulloch) may just be pregnant, which might have happened while she looked like Adalind, meaning the baby could be strange. None of these are major plots; well the last one sort of is but not yet featured majorly. Combined, though, they start to give the series the development it needs to move the characters along.

More notably, Josh (Lucas Near-Verbrugghe) decides he wants to go home and Trubel (Jacqueline Toboni) chooses to accompany him. This comes a little out of nowhere, since Josh seems quite satisfied to be there and learn about his dad, and maybe even wants to be a Grimm, too. Trubel, though, is ready for a mission she can undertake without Nick looking over her shoulder. Now that he’s back to normal, it makes sense for her to want to go off on her own, doing something that matters, not just serving as back up from him. Josh provides a convenient way to do so, and given how they leave, it’s likely their story will re-connect with the main one later this season, so no fan should be too disappointed.

This leads to a very touching scene between Nick and Trubel, which is a long time coming, but can really only occur under these circumstances. Personally, I don’t much care for her character, though I like the idea of her. But it’s nearly impossible not to be moved by her teary-eyed farewell, and Nick clearly is. He has done something very important in helping her. Might this be a way to move Nick’s character forward, offering similar assistance to others like Trubel?

Wu’s (Reggie Lee) investigation is brought back up, though it’s still moving frustratingly slow. Next week’s preview indicates this will finally get some focus, and it is long overdue. Renard (Sasha Roiz) tells Nick that whatever Nick tells Wu, Nick shouldn’t tell Wu about Renard, which is slightly puzzling. So Renard is OK with Wu knowing about Wesen, but not about his own captain? Why? Does Renard have some reason not to trust Wu? This dialogue puzzles and intrigues me.

While “The Grimm Who Stole Christmas” does spend at least two-thirds of its running time on the Kallikantzaroi, that story is fun and seasonably appropriate. Add to that a number of wonderful scenes that highlight the cast, which remain a definite draw for the show, and the episode ends up being pretty good. It’s not a perfect installment, but it’s an improvement over what GRIMM has been delivering lately. I appreciate that.

GRIMM next airs this coming Friday at 9 p.m. ET on NBC.

ARROW / THE FLASH Crossover Is "Brave" and "Bond"

Article first published as ARROW Review Season Episode 8 The Brave and the Bold on Seat42F.

On this week’s installment of the CW’s ARROW, “The Brave and the Bold,” Oliver (Stephen Amell) and company get one step closer to figuring out who killed Sara, with a little help from some friends. It’s a crossover event that works well by serving ARROW’s main player more than the guest stars, using the visitors effectively, and handling a matchup with grace.

When I first heard about the ARROW / The Flash crossover, I was skeptical. That sort of thing is usually a stunt, which values showiness over quality. When the ads starting airing, billing this as being Arrow vs. The Flash, that seemed even worse. Why does the network need to pit two superhero friends against one another? Yet, what ends up emerging in the actual broadcast are two separate, excellent stories that highlight the similarities and differences between the series, while still staying true to the show they take place on.

The Flash’s first hour is very different in tone than ARROW’s second outing. ARROW is dark and gritty, firmly rooted in reality since its titular character has skills, not powers. The Flash is fun and flashy (pun intended), in keeping with the spirit of the young man who accidentally gains super speed. When Oliver visits The Flash, he seems out of place because he’s too serious for that world. When The Flash visits Arrow, he seems out of place because he takes things too lightly. They are perfectly matched to their own environments, and it’s clear that while The Flash may be a spin-off, it is also its own thing.

In The Flash episode, Oliver tries to teach Barry (Grant Gustin), a.k.a. The Flash, to be more aware of his surroundings, training him to be a better crime fighter. It’s a great scene, but it’s even better when Barry tries to apply this lesson in “The Brave and the Bold.” It’s a little corny that he thinks he’s mastering those skills after only a week of practice, but I like the interplay between the two, and how they learn from one another, Barry helping Oliver find his buried humanity.

Oliver may be serious and use brutal tactics, but that doesn’t mean he doesn’t care about people. We’ve seen him go from killing the bad guys to only wounding them to get information, and he acts selflessly to save innocents. Part of this is because Team Arrow is helping to humanize its leader, Oliver’s friends reminding him that there are consequences to his actions and challenging him to be a better man. Having an outsider like Barry come in and reinforce that trend, able to make a more distanced judgment, allows Oliver to really see himself as others see him and extend that change.

It’s also loads of fun to see the two teams intermix. Cisco (Carlos Valdes) and Caitlin (Danielle Panabaker) are appropriately impressed with Team Arrow’s hideout, being the geeks that they are. Felicity (Emily Bett Rickards) makes some improvements in The Flash’s base, and Cisco returns the favor. The chemistry between this mix is charming, and I love that Roy (Colton Haynes) is so amused by the newcomers. I also love the casualness in how Barry accidentally reveals his identity to someone. Basically, any scene in which several main characters from both shows are together, “The Brave and the Bold” shines.

As mentioned, this ARROW installment does have its own semi-self-contained story. The villain from The Flash doesn’t carry over, which is smart because it doesn’t make sense for that to happen. Instead, The Flash characters visit more naturally, just anxious to see the base, and end up getting involved in Oliver’s investigation of a former A.R.G.U.S. agent because they are there.

The bad guy, Harkness (Nick Tarabay, Spartacus: War of the Damned), a.k.a. Captain Boomerang, is a very dangerous man. The fight scenes with him are intense, and he certainly poses a challenge to the efforts of everyone combined, which proves more team-ups might just not be welcome, but necessary in the future. He also brings Lyla (Audrey Marie Anderson) further into the series’ story, which is great because she’s someone who really matters to Diggle (David Ramsey) and whom we haven’t seen enough of. She’s a valuable connection for the team to use.

At the end of all that, a showdown between The Flash and The Arrow is promised, but not shown. How can it be? In The Flash episode, they fight for a justifiable reason, Barry being under the influence of a bad guy, and they seem pretty evenly matched, which satisfies both fan camps. When they go to rematch, just for fun, it isn’t shown. Neither fan base wants to see their man lose, and there are many crossover viewers who can’t root for either to fail. It’s better to assume they both have their strengths and weaknesses and are both heroic men.

The flashback this week, seeming even more unnecessary than normal because I wanted to keep getting back to seeing the casts together, who has a limited window to play in, is actually pretty relevant. It illustrates Oliver’s loss of humanity at the same time Barry is helping Oliver realize he’s finding it again. As well as that fits together, though, it would be better to drop it and have some more bits of Cisco and Caitlin with Roy and Felicity.

The ARROW / The Flash crossover seems to me an unqualified success. It’s also structured in such a way to allow many such repetitions of the event in the future without seeming forced or hokey. Let’s hope the writers and producers make that happen, as difficult as it might be to do, production-wise.

ARROW will air its mid-season finale next Wednesday at 8 p.m. ET on the CW.

"Enter" MARVEL'S AGENTS OF S.H.I.E.L.D.

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 9 Ye Who Enter Here on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. tees up a heck of a winter finale next week in its latest installment, “Ye Who Enter Here.” The team locates the hidden city and immediately goes to it, Hydra hot on their heels. Secrets are stumbled upon and the game unfolds unpredictably as the show rockets through plot at a quicker pace than it ever has, while still maintaining some good character-driven stuff.

It’s hard to tell how many of Whitehall’s (Reed Diamond) moves are planned and how many are on the fly in “Ye Who Enter Here.” He uses the S.H.I.E.L.D. tracking device in Raina (Ruth Negga) to follow her to the city and get her back, but is that something he figures out late in the game, or does he set Raina up in an elaborate machination? It certainly seems like Whitehall is thinking on his feet, which is a welcome leveling of the playing field, Hydra having been working at a distinct advantage for most of the season.

Of course, that advantage may be regained by the end of this hour. With both Raina and Skye (Chloe Bennet) in Hydra’s clutches, thanks to a newly recommitted Ward (Brett Dalton), Hydra hovers over the mysterious location and has The Bus at its mercy. At this point, Whitehall might be smart to kill everyone, which is exactly what he orders, though we don’t yet have the chance to see it play out.

Certainly the entire S.H.I.E.L.D. team will not be killed; without them, there would be no show. However, MARVEL’S AGENTS OF S.H.I.E.L.D. doesn’t shy away from knocking its leads out of their current orbits. Ward’s reveal as a villain is an example of that, and in the latest installment, Mac (Henry Simmons), who is not a main character but has become a much-valued member of the team this year, is changed, possibly forever, and possibly killed.

We’ve only scratched the surface of the hidden city so far. Mac is the first one down, after the drones lose power, and he transforms into some kind of super human. We don’t know why or how yet, but no amount of pleading with him will awaken the real Mac from this berserker body that attacks everyone else. The confrontation ends with Bobbi (Adrianne Palicki) accidentally sending Mac falling down a shaft, which he may or may not survive, given his new state.

Coulson (Clark Gregg) seems a little callous when he tells Bobbi simply that that wasn’t Mac. He’s right, but we don’t know if Mac still exists inside the body or if Mac’s personality can come back to the surface. I certainly hope it does, as I would miss that character. But I’m more disturbed by Coulson’s transformation than Mac’s, as Coulson needs to still care deeply about his people, even if he’s finally finding the distance of leadership he also needs.

If Mac is gone, Fitz (Iain De Caestecker) is in trouble, as Mac is the one friend keeping Fitz going. Fitz and Simmons (Elizabeth Henstridge) finally talk about the state of their broken relationship, but rather than hammer it out and make up, Fitz announces he’s transferring to the garage with Mac. It’s a heart-breaking development, even if it makes sense, because Mac really helps bring Fitz out of his shell and begin to heal. If Mac is out of the picture, Fitz might need Simmons back, whether he wants to admit it or not.

There are signs that a reconciliation is possible. Simmons has her own friends, too, sharing great scenes with Trip (B.J. Britt) and Bobbi in “Ye Who Enter Here.” But she also has time for Fitz, and seems less happy with the dissolution than he does, a decision he makes unilaterally. She still finishes his thought at the city entrance, so their bond is still there. I just can’t believe they are fully over, in large part due to the truly excellent chemistry the two performers share.

I can’t help but feel that Skye is key to what will happen next. She’s now a prisoner, but this week’s episode shows she’s progressed enough in her combat training to handle herself in a tough spot, so that’s not super worrying. Raina makes a number of references to Skye being special, something more than human, but not alien. Fans of the Marvel comic books are full of theories about Skye’s connection to the Inhumans, a subspecies of Homo sapiens created by the Kree, who are mentioned in “Ye Who Enter Here.” That is fascinating and I’m excited to see what introducing the Inhumans will do not just MARVEL’S AGENTS OF S.H.I.E.L.D., but the whole Marvel franchise. However, I’m much more interested in Skye’s personal journey and how it may shift due to this.

I can’t end my review without mentioning how awesome it is to have Patton Oswalt playing not one, but two Agent Koenigs this week. The humor he brings to the proceedings is simply invaluable, and the man simply radiates talent. He is able to get a bit dramatic when confronting the killer of one of his brothers, and I think that’s a good layer for the Koenigs to have, but it’s also very valuable to have him tease others about how many brothers there are and have each of the two siblings featured this week claim the other is shorter. This is gold that show should continue to mine. He would make a valuable main character addition if they can lock him down.

MARVEL’S AGENTS OF S.H.I.E.L.D. has had an interesting fall run, perhaps not as intense as last spring’s story, but with some wonderful fresh faces and the foundation of another big arc. I am confident that next week’s fall finale is going to be a memorable one.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

2014 Disney Movie Gift Guide

Article first published as 2014 Disney Movie Gift Guide on Blogcritics.

Every December holiday season, there are numerous Blu-ray titles from which to select gifts for your loved ones. Although I mainly watch television shows, I’m far from immune to the draw of a good film, and Disney had a pretty solid lineup of choices this year among its offerings. This guide serves as a short summary of some of the best choices from “The Mouse.”

Sleeping Beauty Diamond Edition (Blu-ray / DVD / Digital Combo) ~ I already had Sleeping Beauty on DVD, but this new edition is pretty sweet anyway. One of the old Disney classics, the story is timeless, if not quite as relatable as some of the studio’s other films. There’s a magic to it, enhanced by Tchaikovsky’s score. Older viewers will love the nostalgia, while the young should appreciate a movie that isn’t as dated as they might think. There’s a reason Sleeping Beauty got a new, fancy release, packed full of extras, and it’s deserved.

The picture and sound quality on this thing are remarkable! If you already bought the Platinum Edition Blu-ray from a few years ago, this is the same presentation, so there’s no need to shell out again. But if you’ve only watched this film on DVD or (shudder) VHS, I recommend taking the opportunity to upgrade. It’s well worth it, as clearly much time and effort has been spent making a remastered version to be proud of. This is also the first edition offering a digital copy, so that’s worth noting if you want to protect your physical discs from the kids.

Maleficent (Blu-ray / DVD / Digital Combo) ~ You’ve seen Sleeping Beauty, so now check out the other side of the story. This live-action movie stars Angelina Jolie, spectacularly playing the titular “villain.” I recently did a full review of the movie, but suffice it to say, despite some issues with the story, the effects are mostly terrific, and the core performance makes this picture worth checking out. Plus, if you’ve already viewed the original, why not go a little deeper into what make Maleficent tick? It’s an interesting take on motivations and back story. And yes, Sleeping Beauty put in an appearance!

Frozen Sing-Along Edition (DVD / Digital Combo) ~ Frozen has swept the country, if not the world, by storm. If you’re around kids at all, you’ve heard lots about it, as well as its famous song, “Let It Go.” The best Disney animated feature in years, it is the story of two sisters, one with a power she doesn’t know how to control. It’s sweet, full of positive female role models, and amusing to boot. Even some of my peers, in their twenties and thirties, enthusiastically count themselves among the fan base.

This edition, sadly, has no Blu-ray disc. That’s OK, though, because it’s really for the kids, who will love it, and probably won’t notice the quality difference as much as the older folks would. It offers two options: play the full film, with lyrics appearing on screen during the musical bits, or play just the songs from the movie, which is equally popular with the young crowd. Even if that child you’re shopping for already has the regular release, this is something to consider, given that latter feature.
 
Captain America: The Winter Soldier (Blu-ray 3D / Blu-ray / Digital Combo) ~ In my opinion, this is the best of the recent Marvel slate of movies. Besides being action-packed, it’s also a political thriller co-starring Robert Redford, which might raise the opinion of anyone who has unjustly dismissed it as a simple popcorn flick. Follow Captain America (Chris Evans), Falcon (Anthony Mackie), Black Widow (Scarlett Johansson), and Nick Fury (Samuel L. Jackson) as they take on a figure from the Cap’s past in a battle that forever completely changes the franchise. It’s really, really good stuff.

As with other Marvel titles, the best way to experience this is in 3D. If you have a 3D television available, I recommend taking full advantage of it to get the most out of the visuals, which are finely detailed and quite impressive. If not, the regular Blu-ray is included in the box, which pack quite a punch all on its own.

Guardians of the Galaxy (Blu-ray 3D / Blu-ray / Digital Combo) ~ While Captain America is dramatic and serious, Guardians of the Galaxy is loads of fun while being a little dramatic and serious. The movie introduces a whole crop of new superheroes, set away from the Earth. It has an excellent retro soundtrack that helps lock the tone and style of the piece. August theatrical releases aren’t usually as big as those earlier in the summer, but because this one is so well-crafted, Guardians succeeded in the box office and as a quality film.

Like Captain America, I do recommend watching this in 3D if you can. It has even more impressive effects, with the often-present CGI necessary for a space-setting rendered naturally. Not once did I question the believability of the piece, grounded with authentic characters and a moving climax, and  I look forward to Marvel’s continued expansion if this is the type of direction they will be going in.

"The Akeda" Big Move for SLEEPY HOLLOW

Article first published as SLEEPY HOLLOW Review Season 2 Episode 11 The Akeda on Seat42F.

“The Akeda,” besides being the title of the mid-season finale of FOX’s SLEEPY HOLLOW, refers to the biblical story of Abraham being asked to sacrifice his son, Isaac, to God, a story discussed in the episode. This is an appropriate use of the term, considering the installment deals a lot with father / son relationships and sacrifice, including the heroic death of a main character.

As the episode opens, Abbie (Nicole Beharie) and Ichabod (Tom Mison) are hot on the trail of Moloch and his plan to end the world. Events are already in motion, but they have a sword that can slay a demon, so they may be able to stop them. The problem is, wielding said sword will burn the soul of the one who uses it. Luckily, Irving (Orlando Jones) isn’t in possession of his soul at present, and so may provide a loophole to the rule.

Irving does manage to stop the Horseman controlled by Henry (John Noble), but dies in the process. This is a huge shame. Irving is an interesting part that has been sorely wasted this season, spending much of it locked up or in hiding. His lack of soul is an intriguing layer. Rather than really explore this, though, SLEEP HOLLOW kills him off. It feels too soon and without enough consequence since, while the Horseman does die, Irving doesn’t stop Moloch (Derek Mears) nor Henry.

Other than Irving’s untimely demise, “The Akeda” is an excellent hour. The way the team, which includes Abbie, Ichabod, Irving, Jenny (Lyndie Greenwood), and Katrina (Katia Winter), pulls together is inspiring. Finally, they are united in their battle and methods. Standing together, Moloch doesn’t really stand a chance. By the end of the hour, they possibly have a new ally or two, too, which makes them stronger than ever.

One such possible recruit is Henry. Henry has long operated from a place of pain caused by being seemingly abandoned by his parents. Henry views Moloch as a replacement father, one who actually values him. But “The Akeda” finds Moloch revealing how little he actually cares for Henry, which spurs Henry to use the sword against Moloch. We don’t yet know the effect this might have on Henry’s soul, but it seems to stop Moloch, at least for now.

Something Henry takes notice of this week is how Ichabod refuses to abandon him. Henry is loathe to accept any excuses from Ichabod, who was unaware of his son’s existence, and thus unintentionally absentee. Yet, when Ichabod has the chance to kill Henry, he doesn’t. Ichabod won’t give up on his son. Might Henry’s actions be somewhat motivated by Ichabod’s love, and might Henry be tempted to embrace that?

Standing in the way of this is Katrina, whom did know about Henry and abandoned him anyway. However, Ichabod and Katrina aren’t in a good place right now. Katrina betrayed Ichabod, too, and the simmering tension building between them this season erupts spectacularly in “The Akeda.” If mom isn’t in the picture, perhaps the son can be persuaded to give dad a chance.

Katrina’s emotional state is confusing. She shows much compassion for Abraham (Neil Jackson) and saves his life. Ichabod overhears her telling Abraham she cares for him, which could be a ploy, but also seems to bear some truth in it. If Katrina’s heart is torn between the two men who once battled for her affections, which destroyed their friendship, her marriage may very well be over.

Honestly, I’d like to see Ichabod and Abraham reconcile more than Abraham and Katrina get together. She’s kind of a selfish jerk, whereas Abraham acts in the name of love. He may do stupid, downright evil things in that name, but that’s the reason he does what he does. How great would it be if he, too, shuns Katrina, unable to trust her shifting affections, and finds a way to work with Ichabod? After all, Moloch casts out Abraham as well as Henry.

The fact is, “The Akeda” turns several relationships upside down as it brings us to an exciting climax. Because of this, I greatly look forward to the handful of episodes left this season. The number remaining is so small that I’m puzzled why a mid-season finale is necessary at all. But still, they should be good.

SLEEPY HOLLOW will return to FOX after a brief hiatus.

ONCE UPON A TIME Suffers Huge "Fall" in Quality

Article first published as ONCE UPON A TIME Review Season 4 Episode 9 Fall on Seat42F.

In the antepenultimate episode of ABC’s ONCE UPON A TIME autumn run, “Fall,” the residents of Storybrooke race against time to find a way to stop the spell of shattered sight, knowing it will cause them to turn on one another. Anna (Elizabeth Lail) may be the key to that, but she’s still missing. Elsewhere, we witness what happens to Anna after she is unfrozen from the Snow Queen’s (Elizabeth Mitchell) spell.

The spell of shattered sight had got to be the slowest spell ever. Ever. It takes an entire day to hover over Storybrooke before covering it? It’s not like it’s slowly advancing across the town, as everyone becomes affected at once. How effective, exactly, is a spell that is seen long before it becomes relevant, giving its would-be victims ample time to plan a defense?

I also don’t understand why the Snow Queen’s spell on Arendelle melts when it does. Clearly, all of her ice doesn’t dissolve because her wall stays up and Marian stays frozen (or so we can assume). These Storybrooke ice sculptures exist at the same time as the Arendelle ones for at least awhile, so it’s not because the Snow Queen has moved realms or over-extended herself. What’s going on?

Please correct me in the comments if I’m wrong, but Anna has to have been frozen more than the thirty years that “Fall” claims, no? When she visits David in the Enchanted Forest, that’s only three decades before the present? That doesn’t seem to me to gel with the already established events in that realm shown over the past few seasons. The coincidences that follow, with Hans, (Tyler Jacob Moore), Blackbeard (Charles Mesure), and the trunk being pulled from the sea at the last moment are equally ridiculous.

Though the sisterly reunion is sweet, and I’m very glad that loveable Kristoff (Scott Michael Foster) gets to come to Storybrooke, too. There has been more than enough separation between loved ones. What’s up with that mysterious bottle that somehow tags along?

Worse than these weird plot elements, though, is the absolute and total ruination of Rumplestiltskin’s (Robert Carlyle) character. This has been a frequent topic of complaint for myself and other ONCE UPON A TIME fans recently, and “Fall” just piles on. Rumple makes a deal with the Snow Queen to leave the town and take Belle (Emilie de Ravin) and Henry (Jared S. Gilmore) with him. That she agrees isn’t surprising, since he is somehow immune from her spell and can cause trouble for her. But thinking Belle and Henry will stay with him after fleeing is a leap Rumple is smart enough never to make. He knows they have big hearts and care about others, so abandoning everyone else will surely make them turn against him.

Also, Rumple has never been shown to be power-hungry. He’s addicted to magic, sure, but mostly learned his lesson long ago, one that has been reiterated time and again. To abandon all of his growth and his hard-found knowledge with some generically evil scheme is far beneath this role, and one that the series should never have attempted to do with him.

Why does Belle, who won’t leave the diner with Rumple when he first shows up, suddenly agree to do so just before he locks her in the shop? A few words from him about not trusting fairies and she changes her mind? Not to mention, Belle is a hero, not a coward or submissive wife. It’s very frustrating.

I find it very odd that, as the spell finally does come down, Snow (Ginnifer Goodwin) and Charming (Josh Dallas) worry only about themselves, locking each other in jail cells. They are supposed to be leaders for the community, but do nothing other than send a messenger to tell people what’s happening. Shouldn’t they be making arrangements to help their people get through it, rather than leaving themselves helpless (and stupidly next to each other) and ignoring the townsfolk? Plus, giving Emma (Jennifer Morrison) the task of defeating the Snow Queen and taking care of her baby brother at the same time makes no sense.

I don’t believe Hook (Colin O’Donoghue) would betray everyone quite as severely as he does. Sure, he’s a pirate who wants to save his own skin, so working for Rumple is a conceivable bit, up to a point. But knowing he’s about to lose everything, Hook still doesn’t find the heroic side that the show had been cultivating in him? Dumb.

This episode isn’t without its moments. Regina (Lana Parrilla) and Robin Hood (Sean Maguire) have a touching scene that, while a bit repetitive, is moving. Watching the Blue Fairy (Keegan Connor Tracy) be taken down, surely temporarily, is dramatic. Emma has some emotional stuff that works for her.

However, this is overshadowed by all of the weaknesses in the hour. It’s true you could argue some of my points and we could agree to disagree on motivations. What there’s no denying is there are a TON of plot and character inconsistencies. When added together, this makes for a very disappointing and uneven episode, and the sheer number of them defies defense. I’ve mostly enjoyed the fall run, other than the decline in quality of Rumplestiltskin, but things are coming completely apart at the end and that’s not a good sign. ONCE UPON A TIME has almost always been uneven. “Fall” is some of the worst of that.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

Moving "Coda" On THE WALKING DEAD's Fifth Season

Article first published as THE WALKING DEAD Review Season 5 Episode 8 Coda on Seat42F.

The “Coda” on the first half of the fifth season of AMC’s THE WALKING DEAD is a strong one. Rick (Andrew Lincoln) decides to go through with the peaceful prisoner exchange, even after one prisoner forces his hand by fleeing. But the meeting doesn’t go as planned, of course, and one of our beloved, long-time group members goes down.

Killing off a main character is an essential element of THE WALKING DEAD, but losing long-time performers must be done sparingly because there aren’t a lot of them left. Beth (Emily Kinney), who perishes during the hand-off, isn’t an original; she joined the cast in season two. Her loss is still felt severely, though, because not only has she been around awhile and is loved dearly by several other players, but she also has had a heck of a lot of growth recently into a capable combatant, someone who can take care of themselves in this bleak world. She did not start out that way.

Beth is introduced as a young, scared girl, and it takes a couple of seasons for her to even kill a Walker. She relies on others to protect her, even Daryl (Norman Reedus) when the two are separated from the main contingent after the fall of the prison. This season, though, in a couple of hours we see Beth prove herself against Dawn (Christine Woods), the brutal dictator of the hospital, and even kill a man who threatens her. And so when she dies stabbing Dawn to defend Noah (Tyler James Williams), she goes out nobly and heroically, not as a victim.

THE WALKING DEAD tends to kill characters after they’ve completed a journey. Whether it be Meryl’s redemption or Shane’s descent, there’s a way to predict who might be next based on past experience. The fans that thought Beth becoming tough might save her, myself included, have fallen for an avoidable trick the writers played, following an established pattern. Hopefully, like Beth, we’ll wise up in the future, and also hopefully, the writers will continue to stay a step ahead.

Beth’s passing will be rough on Maggie (Lauren Cohan), her last living relation. Maggie has to deal with the idea that Beth is gone amid much other chaos previously. Now, as the group reunites, she is given hope again, only to have it ripped away when she sees Daryl carrying Beth’s body. Maggie is tough, too, and I have no doubt she’ll be able to get through it. But I do think she may take inspiration from hearing Beth’s tale and it will harden her a bit more than she currently is.

Daryl will also be affected, having formed a bond with Beth. He feels responsible for losing her last season, though it isn’t really his fault. While he may take comfort in what he taught her, he may also feel responsible for trying to teach her how to survive. Had Beth stayed subservient, she could have survived the showdown. Though, she very likely wouldn’t have lived to make it to that point, so that’s moot.

Carol (Melissa McBride), too, will grieve (though I am incredibly relieved it isn’t Carol who is dead). Carol knows or will know that Beth saved her life. She owes the young blond, and will live with that spirit.

No one will mourn the passing of Dawn (except those who truly appreciate the excellent performance Woods delivers). She may have kept the hospital running, but there are other ways to go about that. Her own people don’t act to take revenge for her death, and let Rick, Noah, and the others walk away unharmed. If I were Rick, I wouldn’t trust that to last, given what happened with The Governor, and I’d get my people out of town. But I also highly doubt that the remaining cops will come after Rick, probably happy to dodge a blood bath and have a horrible person removed from their midst.

How horrible was Dawn really, though? Sure, she makes cold, calculating moves. But she does have respect for Beth in “Coda” and sees her as an ally. I think her facial expression in the aftermath shows she killed Beth by instinct, not on purpose. She is doing her best to keep things together; her best just isn’t good enough. When Rick kills Dawn’s fleeing man in “Coda” just because he runs, the similarities between the two become more clear, and the way Dawn’s people, except for Noah, don’t cling to Rick as a savior show they must not have hated her fully, or saw some kind of wisdom in what she built there. The leadership style of these two characters is different in small ways, not big ones, and this world only supports the kind of leaders who can make some very tough decisions.

Father Gabriel (Seth Gilliam) also shows us how others view Rick, having fled because he feared Rick’s people, who probably would have let him walk out the front door had he insisted. Out in the world, Gabriel sees evidence that the group has been honest with him and realizes why he needs their protection, which sends him right back to them. But had he not made that personal investigation on his own, he wouldn’t trust them, and it’s easy to see why.

Where does THE WALKING DEAD go from there? I’m thinking they have to travel to D.C. Not only does that happen in the comics, though they learn the truth about Eugene (Josh McDermitt) much closer to the capital, but it makes sense, Eugene’s lie being based on a logical assumption that if there is a cure, that’s where it’ll be. As I mentioned, given past history, it’s probably not a good idea to hang around Atlanta. Plus, Morgan (Lennie James) seems to be heading there, too, so if we’re lucky, he can join them.

“Coda” is an excellent mid-season ender, with some terrific character moments infused with grief and self-sacrifice. The death is well done, and the hour still has time to teach us a lesson without being too preachy about it. The dynamic and morality of our characters keeps changing, which makes for compelling television. I will be waiting with bated breath for its return.

THE WALKING DEAD will be back on AMC in February.

"Tears" for GRIMM

Article first published as GRIMM Review Season 4 Episode 6 Highway of Tears on Seat42F.

This week’s GRIMM, “Highway of Tears,” starts out far more promising than previous weeks, then sadly devolves as the hour goes on. I’m not sure why NBC thinks they need to reign GRIMM back into a case-of-the-week procedural, or even if that’s a decision being pushed at a network level. But especially when the beginning of an episode reminds us of what GRIMM can be, it’s super disappointing when the rest of the installment returns to formula.

The best plot in “Highway of Tears” is Juliette (Bitsie Tulloch) deciding to help Nick (David Giuntoli) become a Grimm again. She has to turn into Adalind (Claire Coffee) and sleep with Nick to do so, which awakens feelings of jealousy in her. However, once Juliette makes the decision that this must be done, made so that Grimm Nick can protect her harassed friends Rosalee (Bree Turner) and Monroe (Silas Weir Mitchell), she takes the situation in stride, finding humor and nobility to help her through it.

Juliette hasn’t always been the strongest character, at times whiny or helpless. “Highway of Tears” has her stepping up, being strong, and saving the day. She is pretty much the hero of the hour, making a hard sacrifice, not just in the moment, but also giving up any last chance of a normal a life, in order to do what’s right. This is a turning point for her, accepting her fate with Nick, and being a fully contributing member of the team. She has sporadically been a part of this in the past, but this seems more of a conscious decision to embrace the role, which makes a difference.

Plus, when she goes to protect Rosalee with her gun, that’s pretty badass.

Kudos must be given to Claire Coffee for her performance in “Highway of Tears” as Juliette. Tulloch did a decent enough job as Adalind when their roles were reversed, but Coffee has Juliette down. Every mannerism, expression, phrase, even the way she walks, is dead on. I kept looking for flaws in the portrayal, and found none. Coffee is truly a talent to watch, and it makes me sad GRIMM typically uses her in tiny ways, such as her small scenes figuring out where her baby is this week, when she is clearly capable of so much more.

The place where this story falls apart is after Juliette’s role in it is over. I’m completely confused about how the series tests Nick’s Grimm powers. Humans have seen a woge before when a Wesen wants them to, so why can’t Nick ever see a Wesen at all now? And in the past, it’s been established that Wesen can recognize Grimm, so why does Monroe have to ask Nick if the spell worked? Shouldn’t he be able to tell himself? Worst of all, Nick finally changes back into a Grimm during a fight scene, stupidly rushing into danger when he’s physically having issues, and then changing at exactly the right moment to sway the battle, a very tired, cheesy cliché.

Another mark against “Highway of Tears” is that the characters ignore the Wu arc again. Is he or isn’t he after Trubel (Jacqueline Toboni)? Let’s see movement on that. I’m tired of waiting.

Overall, GRIMM’s fall run has not been up to snuff. “Highway of Tears” has promising signs, but the back half of the hour, which is where the Nick-rebecoming-a-Grimm tale falls apart and the focus shifts more to the case, besmirches that a bit. I really wish the writers would buckle down and help this show hit its potential. It’s probably too late for it to be as good as Buffy the Vampire Slayer, which it could easily have been, but perhaps it still has a chance to be worth re-watching years down the line, which I’m certainly not seeing at present.

GRIMM airs Fridays at 9 p.m. ET on NBC.

TV Review: "Sleepy Hollow" - "Magnum Opus"

Article first published as SLEEPY HOLLOW Review Season 2 Episode 10 Magnum Opus on Seat42F.

Although FOX’s SLEEPY HOLLOW does a shorter season than most broadcast network series, it is billing this week’s “Magnum Opus” and next week’s episode as a big, splashy, two-part, mid-season finale. Strange, since it will only broadcast a few hours when it returns next year, but welcome, because it’s a gripping tale with much action.

In “Magnum Opus,” Ichabod (Tom Mison) and Abbie (Nicole Beharie) search for a mythical sword that can kill Moloch. Unbeknownst to them, Henry (John Noble) is fully aware of Katrina’s (Katia Winter) “secret” communications with the pair, so he knows of their plan and sends Abraham (Neil Jackson) to stop them. Funnily enough, our heroes need their foe’s help, as the sword is guarded by a Gorgon who can turn them into stone with a look, and did such to Abbie’s ancestor. Since Abraham doesn’t actually have a head (though he increasingly is seen with one due to various spells and enchantments), he is immune to the creature’s primary weapon.

The finding of the sword and the battle to get it is a fun, exciting one. The Gorgon is a scary, cool creature, and the sword room is reminiscent of Indiana Jones and the Last Crusade, a great film. The fight scenes are well choreographed, and the script plays out pretty clever in how it unfolds the story. This installment pumps the adrenaline and gives SLEEPY HOLLOW fans the adventure element they crave.

It’s also an intriguing personal story. Ichabod talks of how his true self, which he must come to terms with, has been shaped by Abraham. We get flashbacks of the two as friends, Abraham goading Ichabod into traveling to America. Katrina drives them apart, but the two have rich, deep history that begs to be explored further. I am not crazy about the climax of this, when Ichabod proclaims he wants redemption for Abraham, who is not at all receptive, but the backstory leading up to this moment is terrific and something I hope SLEEPY HOLLOW repeats.

The problem with this part of “Magnum Opus,” though, is that it doesn’t quite make sense. Ichabod is painted as a noble patriot who fought for his country. Yet, we see he is an adult in England, so America is a short-term home for him at the start of the Revolution. He truly is a traitor to the crown, not a colonist defending the land he’s grown up on. I’m not saying he shouldn’t fight for the United States, but his motivations are not explored, and on the face of it, seem shaky.

Abraham, on the other hand, remains loyal to his homeland. This is a position that actually makes more sense for the characters as they are presented. Which is why it bothers me that he is painted as a villain for not wanting to turn his back on England. He also has justifiable jealousy at Katrina having chosen Ichabod over him, but that should be a separate thing, not combined with the fight for freedom.

I’m not even sure why Ichabod wanted to be American because he clearly detests many of the founding fathers. We’ve seen his distaste for Benjamin Franklin, though the man provides a much-needed clue in “Magnum Opus” in a brilliant twist of historical fact, and he calls Washington a known liar. He didn’t like the leaders of the movement, so why was Ichabod fighting for them?

Those issues aside, which are glaring and in need of addressing, this is a solid hour. Henry’s conniving plan is well thought out, and Irving’s (Orlando Jones) determination to fight for the side of right, rather than hide out, is a way to satisfactorily serve an underused core character. It keeps me engaged throughout the installment, and builds anticipation greatly for next week’s finale.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.