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Star Trek Discovery: Face the Strange

“It will be a long road. Just don’t give up.”

It seems it is the way of any show lucky enough to knowingly go into their final season to find a way to revisit the high and lowlights of their characters’ journey. Discovery is no different. Lucky for me, this week’s retrospective also offered a side order of character development.

The Leftovers: Gladys

"It was only a matter of time."

Gladys (heretofore known as "not Patti"), we hardly knew ye. Somewhere in the distance, you can hear a flophouse full of Tyler Durden acolytes chanting, "In death, she has a name! Her name... is Gladys!"

Late Night with the Devil

"Live from UBC Studios in New York City, it's 'Night Owls' with Jack Delroy!"

In 1977, Jack Delroy hosts an episode of his late night show where he invites a parapsychologist and her possessed patient for an interview and demonstration. It's the last episode he will ever film.

The review contains minor spoilers!

3 Body Problem: Our Lord

"When they arrive, you'll be so grateful."

The virtual reality video game appears to be over. And yet, the aliens are becoming so much creepier.

Forever Knight: Curiouser and Curiouser

"I don't like being dead! It's... quite annoying actually. But, I will have my revenge."

This one is unforgettable. "Curiouser and Curiouser" aired at an amazing (and short-lived) moment in history when magic realism stories were actually beamed into our living rooms at prime time, and this episode took us to a place as bizarre and gripping as any episode of Twin Peaks or Northern Exposure.

Guys, in case you didn't know, being a vampire can be really weird.

Forever Knight: The Code

"Tonight your Nightcrawler is ruminating on friendship. I say a friend for life is a leech, someone who bleeds you. There is no real or lasting friendship, and no one is to be trusted."

An old friend drops by to cheer up Schanke, but there's too much trouble brewing for an enjoyable reunion.

M*A*S*H and Its Infuriating Laugh Track

M*A*S*H, the long-running, award-winning television series based on the also outstanding 1970 movie, aired from 1972 to 1983. It’s arguably one of the best shows ever made: unique, high quality, thought-provoking, and at times genuinely hilarious. Masquerading as a sitcom, M*A*S*H managed to impart an important anti-war message under the radar, pun intended, while pretending to be about funny doctors and their hijinks in a medical facility on the front line.

Forever Knight: A More Permanent Hell

"Life will always find a way to cheat death. Life is the enemy we cannot defeat, only cling to like parasites on the living flesh of the universe. Hoping that we're not noticed and brushed away with a flick of the hand."

When a world-killing asteroid threatens the earth, we see just how an apocalypse would affect the vampire community.

Forever Knight: Queen of Harps

"It's from... before."

When a medieval artifact is the source of modern trouble, we get a rare look into the life of Nick Knight before he was a vampire.

Attack of the Crab Monsters

"No. No, I do not believe in ghosts. We are dealing with a man who is dead, but whose voice and memory live. How this can be I do not know, but its implications are far more terrible than any ghost could ever be.”

Roger Corman time again! And for my second review of his catalog, it’s time for giant crabs. But not just any giant crabs, but giant crabs that can cause earthquakes, have oddly human eyes, and speak through metal using the voices of the humans they consume. So yes, it’s a bit strange...

3 Body Problem: Destroyer of Worlds

"All you had to do was keep playing."

A stunning episode. With some answers, even.

The Remains of the Day

“The evening's the best part of the day. You've done your day's work. Now you can put your feet up and enjoy it.”

The Remains of the Day is not an easy novel. Its narrator is pompous and prim, and he makes decisions that are difficult to sympathize with. But by the end, I was crying for this man whom I had once so disliked. And therein lies the problem with the movie. Because it sacrifices a great deal of the nuanced emotion of the novel, it negates any deep feeling at the end.