Everyone ready for a real, meaty, plot-driven episode? I sure am! Quick recap: last week’s episode ended with Hannah Gregson, the captain’s daughter, finding her roommate, Maddie, murdered in their home. Coincidentally (but probably not) this happened shortly after the two women met Sherlock’s creepy new friend Michael.
This week, even though Sherlock is struggling with a bad headache, he and Joan dive right into the investigation. Maddie was a teacher, well-liked, and didn’t have a boyfriend, so no obvious suspects there. But both Hannah and Sherlock think the body has been posed. None of her clothes match or look like the kind of thing Maddie usually wore. There’s blood on some of the clothes even though Maddie was bloodlessly strangled, and the earrings she’s wearing were forced into her ears even though she didn’t have piercings. Sherlock believes each item of clothing comes from a separate murder victim. It’s a serial killer’s announcement of his existence.
Based on the clothing, the detectives are able to identify all but a few of the original victims. The clothes are linked to murders and missing persons across state lines and several years. No one had realized until now that the murders were linked and unfortunately none of the cops on the cases had a primary suspect. But Bell finds something interesting. Most of the cases linked to the clothes are still open, but the watch that Maddie was wearing has DNA that links it to a closed murder case. A woman named Ashley Jenkins was strangled, much like Maddie, and her husband was charged with the case despite his insistence that he saw another man running away from his wife’s body. Gregson has Joan and Bell track down the few remaining unidentified clothing articles as he and Sherlock meet with Ashley Jenkins’s husband.
As Gregson and Sherlock wait in the prison to meet with Jenkins, Sherlock asks after Hannah and warns Gregson that a trauma like this could be a trigger for her alcoholism. Gregson, in turn, asks after Sherlock, noting that he looks sick, but Sherlock brushes it off.
Jenkins does his best to be helpful, but doesn’t have much new information. He thinks the man he saw running from his wife’s crime scene was tall and white, but it was such a traumatic moment and he’s since thought about it so much that he is no longer sure. That’s a small detail, but I appreciated the acknowledgement there that memory is tricky, especially in tense moments like that. Jenkins wants to know if Maddie’s murder and its link to his wife’s case is enough to reopen his case, and Gregson promises to do what he can. There’s one more significant thing. A few years after he was arrested, Jenkins received an anonymous letter from the killer apologizing for Jenkins taking the fall.
Meanwhile, Joan and Bell try to track down the earrings forced onto Maddie’s body. That leads them to a small boutique jewelry store. On the positive side, the store has a small staff and only sold a few pairs of the earrings around Thanksgiving time. The bad news is that the store is so small it doesn’t keep detailed records and doesn’t have security footage.
Joan returns home to find that Sherlock has set up a proverbial, and also, in this case, literal serial killer wall. Unfortunately, he has yet to see a pattern in the information. The victim profile is all female but otherwise all over the place. Jenkins’s letter was too mishandled to have forensic evidence, although, interestingly enough, it’s postmarked from Vietnam. Joan doesn’t have much else to add, except that a bank down the street from the jewelry store had exterior footage. Maybe the purchaser of the earrings walked by. Sherlock looks exhausted and Joan sternly demands he go rest in the sensory deprivation chamber.
She wakes up a short while later to find Sherlock, still dressed in the same clothes, watching the security footage. She’s angry he’d waste time like that when he could be resting, but it turns out it was no waste. He’s found the victim in the security footage and he recognizes her. It’s Polly Kenner, the young woman that Michael asked him to look for several episodes ago. You know, the woman that we saw Michael bury out in the woods.
Sherlock visits Michael at his home to break the news about Polly. When previously working on her case, Sherlock had assumed that she was simply in hiding after a relapse, and he’s visibly shamed as he explains he was mistaken. Michael plays shocked and grief stricken, but asks totally innocent questions like if they have a suspect and if they can keep him updated on the investigation.
But don’t worry. Sherlock isn’t fooled. As he leaves Michael’s home, Joan joins him and Sherlock says confidently that Michael is the killer.
Unfortunately, as they explain to an angry Gregson, they have no evidence. Michael is tangentially connected to two of the victims but he also has no history of violence, so it’s doubtful they can get a warrant on him. Joan has a file of basic information on Michael and when she hands it over, Gregson recognizes Michael’s car as being the one that clipped Hannah’s in the previous episode.
The next step is to bring Hannah in to interview her about the incident. A disturbing new detail comes out. The day after the “accident,” Michael called her and asked her out on a date to get coffee. Hannah had gone, only to receive a text that he couldn’t make it after all. She returned home to find Maddie dead. Michael had lured her out of their house to kill Maddie.
That’s still not enough for a warrant, sadly. But Sherlock has his own methods and he reaches out to Everyone, the hacker collective he’s dealt with in the past, for information on Michael, including credit and phone records. This proves Michael was in Vietnam when the note to Jenkins was mailed. Too bad it’s illegally obtained evidence.
But other evidence has to exist. Michael collected trophies from his victims and he probably didn’t leave it all on Maddie’s body. There might be more trophies in his house, so Joan and Sherlock decide it’s time for a stakeout. As they wait outside his home, Joan notes that Sherlock looks terrible and asks if he’s been taking his meds. No, it turns out he hasn’t; in fact, he threw them all out because he thought they were interfering with his work. Sherlock feels as if Michael took advantage of his vulnerability and blames himself for the resulting deaths. Joan leaves then and there to refill his script.
That’s a mistake, of course. Sherlock momentarily dozes and wakes to find Michael beside the car. Joan returns moments later to find no car and no Sherlock.
Sherlock wakes in a hospital bed, but looks unharmed. Michael is there and tells him that Sherlock tried to attack Michael in the car and instead passed out. Now, kids, gather around as its time for Scary Serial Killer Story Time!
Michael did not, as I theorized in a previous episode, start killing solely to attract Sherlock’s attention. He has had murderous urges his whole life, and in fact began using drugs as a way to try and self-medicate. When that failed, he entered recovery, where he heard Sherlock speak on the importance of using one’s work to help recover. Michael decided to do exactly that, although I found it a little unclear whether or not he had already started killing at that point or if Sherlock was the inspiration for him to begin.
However, when he re-encountered Sherlock and heard he was struggling, he really did pass on the Polly Kenner case in an effort to try and “help” Sherlock. In fact, he thinks they can help each other. Lately the high of killing hasn’t been enough for Michael and he’s felt tempted to use again. He wants to spice things up and thinks that having the police on his tail will do just that. Michael believes that he and Sherlock can help each other stay sober. You’re a real creepy dude, Michael.
Once Scary Story Time is over, Michael leaves without hurting Sherlock. Joan uses her pull at the hospital to check Sherlock out, but she’s not happy about it. He’s physically fatigued and in bad shape. But he still refuses to rest, because he thinks there’s a clue in something Michael said to him. He mentioned that the first time Sherlock called him, he had his “hands full” with Polly Kenner. Sherlock obtained Michael’s phone records from Everyone and Joan and Sherlock are able to use that to geo track where Michael was at the time.
The police, along with body sniffing dogs, check out the location. They almost instantly find Polly Kenner’s burial site. But she’s not there anymore. Instead, a creepy wooden mannequin is unearthed. Michael knew they were coming.
Sherlock, clearly upset, tells Joan he’s heading home to finally rest. Instead, he heads to some sort of club and meets with a shady dude. Everyone knows that anyone with an Eastern European accent in a crime tv show is shady. That’s definitely not a negative stereotype! Sherlock gives the man money and the man hands over—pause for me to yell angrily—heroin.
But don’t worry. It’s not for Sherlock after all. Joan returns to the brownstone to find Sherlock waiting with the heroin, untouched. He wants to dose Michael. After all, it’s not often that you know your enemy’s greatest weakness. It’s a horrific idea, and they both acknowledge that, but Joan is in.
The two stakeout Michael’s place once again, this time carefully checking to make the house is empty before Joan heads in. But as Sherlock keeps watch, he receives a call from Michael. He knows they’re breaking it, but it doesn’t matter. Michael has left New York. He wants to give Sherlock time to rest and get better before they resume their game of cat-and-mouse. Michael promises not to hurt anyone else until Sherlock is ready, and Sherlock vows to put Michael in prison. As Joan searches Michael’s home, she finds it completely empty except for a camera. He’s really gone.
The episode ends with Sherlock leaving the brownstone, bag in hand. He’s finally taking his doctor’s advice and taking a rest to try and get better…although he doesn’t seem optimistic about it working.
- It felt good to sink into a very plot heavy episode this week. I think episodes like this prove that Elementary doesn’t have to completely follow a procedure format of murder > investigation > solution each week. It can sustain an episode that creates tension and story without necessarily having the clear cut solution of catching the villain in the end! I wish we could see that more often. I like a good filler episode too, but these plot heavy episodes are always the best.
- Sherlock tells Joan at one point, “I’ll sleep well knowing you’re on the case.” That’s the good stuff, man, that’s what keeps me coming back!
- Sometimes I think that Michael is too creepy and that surely someone in his life would think to themselves, “This dude is so creepy, he’s probably murdering people, right?” But you know what, actually, I think Michael is a great casting choice. He does ooze creepiness, but he’s also such a quiet, bland, soft-mannered white dude that in real life, no one would ever suspect him. No one would even look at him twice. Before this episode, even in this episode, I had moments where I wondered if it would turn out it was a misunderstanding and he wasn’t really the killer. That’s exactly what you’re supposed to think.
- The idea of serial killer and detective playing cat-and-mouse is a little cliche. Elementary has actually dismissed the idea of the ingenious serial before, way back in the early seasons. And yet, I’m still excited and curious to see where this goes. Sometimes, it’s not about doing something new, it’s doing something old in a fresh, new way.
Images courtesy of CBS
When Does Hiatus Kill a Fandom?
As I sit down to write this, Steven Universe is on day 111 since the last time a new episode released. That puts it squarely in third place among Steven Universe hiatuses, with a near certainty that it will tack on the couple weeks necessary to move into second place. To make things even more frustrating, the most recent episode, “Legs From Here to Homeworld,” has still yet to air on TV. Tack on another 14 days since “Reunited” aired, and it has been 125 days since Cartoon Network has shown a new episode of Steven Universe.
A look at the various hiatuses quickly reveals a more disheartening trend: the abandonment of anything resembling a regular schedule for the show. Since the massive Steven Nuke airing almost all of season 3 over the course of one month, new episodes have been reduced to irregular, unpredictable spurts of 1-5 episodes that come and go far too soon. They’re usually grouped together in clear story arcs, but not always. In a couple examples, one or two episodes would come and go with no idea when the next was to arrive. We have no idea when these episodes will air and usually receive little warning before they do.
Any fan of this wonderful show can tell you how common these hiatuses have become. We’ve grown used to the frustration of irregular airing schedules. We take our dose of content, watch it wear off quickly, and wait impatiently for more.
I’ve typically handled these hiatuses calmly. I lament the lack of a regular schedule as much as anyone. Steven Universe is one of the best shows currently airing and I always want more of it. Still, I tend to accept the hiatuses because I know they’ll be worth it. When we do get new episodes, I lean more towards gratitude than frustration. The frustration is always there, but SU tends to always be good enough for me to place it on the backburner.
Except now I’m not so sure. I can’t explain why this particular hiatus threatens to finally sever my patience with the show. However, I can’t deny that it is. For the first time, I’m wondering if it’s all worth it. The constant uncertainty has worn me down. I’ll most definitely be there when the next batch of episodes air. After that? I truly cannot say for certain. I don’t know if I want to bother with yet another long wait for another 1-5 episodes followed by yet another long wait.
Long waits are hard enough. Long waits filled with intense uncertainty about the future might just be too much. I don’t know if I can invest any more energy on this show and this fandom if things don’t change.
Uncertainty stands behind the real frustration with Steven Universe and any other property like it that stresses a fandom to the breaking point. After all, every show eventually has long waits between episodes. 8 months or more typically pass between seasons. Years pass between books in a series. A video game sequel will take 5 or more years these days, and you know that going in. So long as the prerequisite updates and trailers let us know the process continues, we accept the wait.
The problem with Steven Universe comes from knowing little to nothing. We don’t know that the new season will start in 8 months. New episodes could release next week and we might only find out three days beforehand. We have no idea where the Crewniverse is in producing these episodes, no idea how many might be ready, and no idea when Cartoon Network will air them or why they currently won’t. Sometimes a voice actor will mention recording for episodes far ahead of the most recent episode, or post a photo on Instagram or Twitter mentioning recording sessions with unexpected cast members. Or maybe a storyboarder will hint at their progress. That’s all the hint we get.
I know it seems petty to talk about how this affects the fans. I mean, if we’re so frustrated, I can’t imagine how it feels for the people actually working on the show. They’re the ones dealing with our constant questions sometimes crossing over into harassment. When’s it going to be done? How far are you? When do we get new episodes? What’s going on? I can’t imagine what it’s like to feel joy in creating a product, only to have the fans badger you and sap the joy from the process. Not to mention that they sometimes have no idea why the scheduling occurs like it does, or will be told one thing only for the higher-ups to do something else.
I’m not going to pretend this frustration doesn’t exist, though. Uncertain hiatuses have an inevitable way of sapping the joy from us and leaving only bitterness. When you’ve analyzed everything about a new episode/season, gone back through previous seasons to do the same, created all the new memes you can and rehashed all the classics, what’s left? All that remains is impatience breeding frustration breeding bitterness.
The Steven Universe fandom has a somewhat earned reputation as a crappy fandom. Online bullying incidents leave a sour taste, and the most controversial topics of the story often devolve into personal insults. You quickly learn what topics to avoid among the SU fandom. Every seeming misstep has a portion of fans flocking to dismiss the entire show, whether there was truly a misstep or not. Impatience leaves fans dismissing entire plotlines from the beginning rather than giving the Crewniverse any benefit of the doubt.
While there’s an element of the toxicity that can’t be written off as hiatus-related, there’s no doubt the hiatuses make things worse. My worst experiences within the Steven Universe fandom came during the 164-day hiatus between “Lars’ Head” and “Dewey Wins” that took up much of 2017. Between the length of the wait and debates over season 4, the fandom was at its worst and this carried into season 5’s eventual return at the end of the year.
This hiatus was the closest I ever came to quitting the fandom. The anger and vitriol was unrelenting and made me wonder why I bothered. Why subject myself to interacting with these fans if I get so little pleasure out of it? Why go to online communities excited to talk about this show we love if it never feels like we actually love it?
And now, finally, after only 2 seasons in the past 3 years, an unknown wait for the last episode of season 5 still ongoing, and the very likely possibility that we’ll get yet another hiatus once this last season 5 episode airs, the question finally entered my mind. At what point do these hiatuses ruin my investment in Steven Universe? At what point do fans of all ages just stop caring?
Once again, impatience enters the picture here through my experience with the fandom. When “Dewey Wins” ended that 164-day hiatus in 2017, a lot of SU fans hated it. A lot of SU fans hated the entire Steven Bomb. We enjoyed it here, as we always do. However, these episodes were the long-awaited follow-up to a story arc involving the main antagonists of the series. Fans wanted immediate follow-up after such a long wait. When instead we got a (very effective) focus on Steven’s friends and family in the aftermath of the danger he faced, it upset people.
This happens a lot now with Steven Universe. All these hiatuses break up the story in a way that kills story flow for a lot of people. It creates even more bitterness when you wait so long for new episodes, only to not have those new episodes focus where you wanted them to.
The Crewniverse is faultless here; they don’t order these episodes based on release schedules they can’t predict. They don’t know that 4 months will pass between the penultimate episode of a season and the finale. When you go back and watch these episodes without the breaks, they flow naturally. All the frustration and complaints about the uneven story don’t apply like you thought they did when they first aired. The episode orders make much more sense. It’s no longer a 6-month wait to find out what happened to Lars. It’s one hour of other episodes you enjoy.
Unfortunately, binge-watching doesn’t work in the moment for anything except shows no longer airing and Netflix. When fans only get 3 hours of content a year, have to wait months in between said content, and don’t feel like the wait is worth it, it encourages us to stop caring until we know something big happened. Until then, why bother watching? This isn’t like other shows that air episodes for 3-4 months and then vanish for a year. Those shows give you 5, 10, 15 hours of content at least. And you know when they’ll come back. There is a consistency.
The problem with waiting comes if the network sees failing interest in Steven Universe because we wait for big moments. Right now, SU seems to be in a pretty good place. It has a movie, a guaranteed new season, and a nice PR push coming out of San Diego Comic Con this year. Back when it happened, it felt like the show was at one of its strongest points. The momentum was greater than we’d seen in a long time.
Then it came to a screeching halt.
I suppose most of my complaints might only exist for geeky adults like me, and not the children Steven Universe exists for. Maybe they don’t care about the breaks. However, that might ultimately be a problem. A kid may enjoy Steven Universe, but kids have short attention spans and plenty of other stuff to entertain them on Cartoon Network or Nickelodeon or the internet. How many kids are going to pay attention to the increasingly inconsistent schedule and be sure to watch new episodes of SU?
Let’s be honest, it is that audience Cartoon Network ultimately and rightfully cares about, not me. That worries me even more as a geeky adult who thinks Steven Universe is one of the best shows currently airing and a strong contender for best animated show ever. I’m not going to insult kids or act like they can’t follow the story because of the breaks. They are perfectly capable of doing so. Thing is, why would they? They have plenty of other options.
Of course, so do adults. With so many other shows to watch, including animated shows, at what point does the erratic scheduling make both kids and adults stop caring and just move on? When do we walk away and wait for the show to end, and then catch up afterwards? And what happens if we endanger Steven Universe in the process? Has the erratic scheduling already begun this process?
You’re left with a question that leads to the old familiar question about what came first, the chicken or the egg. Why does Cartoon Network not only schedule SU this way, but also show so little in the way of reruns? Do they schedule this way because of falling interest, or did interest decline because of the scheduling? Thing is, while certainly not at a high point, the ratings for Steven Universe haven’t exactly fallen off a cliff. It’s still one of the most-watched and best-selling properties Cartoon Network owns.
So why in the world is it scheduled like this? Why are SU fans left in the dark? How long before a dearth of new content ultimately kills the fandom, as a dearth of content inevitably does for any fandom?
So here I am, for the first time, wondering if it is all worth it. I don’t worry that the story will disappoint; the Crewniverse has never let me down here. What I wonder about is bothering with all the frustration involved in being an active fan of Steven Universe. For the first time, I wonder why I invest so much of my love for fiction in a fandom becoming increasingly unpleasant. I wonder whether I really want to pay so much attention to a show airing 2-3 hours of content a year.
Barring unexpectedly bad decisions with the story or characters, I will always love Steven Universe. It’s likely that upon its return, all my reluctance to engage will vanish quicker than Garnet poofed Peridot. Then, of course, it will end. I’ll be right back where I was, waiting months for, at best, 4 or 5 episodes. Now that the questions have begun, I doubt they’ll go away.
So here I am, wondering at what point my answer to the question, “is it worth it?” will eventually shift from yes to no. Many others have already shifted. And I wonder how many more will, and how quickly others like me will follow, leaving one of the best shows I’ve ever seen alone in the vacuum of space: abandoned, cold, and inevitably doomed.
Images Courtesy of Cartoon Network
Riverdale Throws It Back With The Breakfast Club Homage
The Riverdale parents… We love ’em, we hate ’em, we love to hate ’em. This week, “Chapter Thirty-Nine: The Midnight Club” gives us an insight into their teen lives and their involvement with the Gryphons and Gargoyles.
After Gryphons and Gargoyles (G&G) manuals popped up at every Riverdale High locker, adults are taking extra
futile steps to prevent the kids from playing. At home, Betty finally confronts Alice about the game with some evidence – the coroner she and Jughead bribed found a file about a similar case (mysterious death, blue lips) around the time Alice was in high school. Alice finally complies and agrees to finally come clean.
Welcome to the flashback! Prepare for lots and lots of 80’s hits!
Gradually we meet our main players, before they became the adults we know now: the rebellious Alice, who just found out she’s pregnant; FP, the star football player, lying about his family’s Southside origins; Hermione, a pristine daughter of an immigrant mother, looking for a way out; Penelope, a mousy overachiever; Sierra, a political activist; and Fred, a musician athlete, with a heart of gold (so no changes here).
After one day all of them, for various reasons, get in Saturday detention, the teens decide to take this time and actually get to know each other, to share their dreams, fears, and struggles. We found out that Sierra McCoy/Tom Keller romance isn’t a new development at all. The couple was madly in love in high school, and they had to hide their relationship from their bigoted parents. Hermione is already dating Hiram Lodge, who she hopes is gonna be her ticket out of Riverdale. Fred Andrews, on contrary, plans to stay here forever, because he loves this town, but also needs to take care of his sick dad. One of the bigger revelations comes from Penelope, who as it turns out, was adopted by the Blossoms from the infamous Sisters of Quiet Mercy orphanage to be groomed to become their son’s wife. Yikes.
A fight breaks out amidst confession time, and the kids get additional three Saturday detentions. Forced to spend more time together, they actually start to get close and become sort of friends. One Saturday, while trying to get her, um, Gamelad out of the teacher’s drawer, Hermione finds a mysterious board game, Gryphons and Gargoyles. Having nothing better to do, the parents gang decide to play it.
They get sucked in pretty fast and agree to continue playing even after completing the detention. They form the Midnight Club, getting together late at night at school, dressing up in silly costumes to fit their chosen characters. Somewhere in the process, Alica and FP start sorta dating, as well as Fred and Hermione. One night the gang bumps into another team of players, that includes Hiram and Tom, and decide to join forces and play all together.
One day, all players get letters from the alleged Gargoyle King in their lockers, inviting them to the Ascension party. Everyone thinks one of the Game Masters set it up, which we later find out isn’t true. To the party, Hiram brings Fizzle Rocks, the 80’s version of Jingle Jangle, and everyone, except secretly pregnant Alice, take them. The drugs-infused shenanigans ensue, and Alice breaks from the others in the process. On her way back to the classroom, she starts seeing very weird things: from creepy writings and Fresh Aid filled chalices in the bathroom to the Gargoyle King himself in the halls. While running away from the creature, she almost runs into principal Featherhead who, she assumes, learned of their trespassing. She manages to get unnoticed and runs home.
The next day, Alice tries to find out what happened to the rest of the Midnight Club, and Hermione tells her Fred’s dad passed away while they were at the Ascension party. In another news, principal Featherhead is missing.
After the funeral, Alice confesses to the rest she saw Featherhead that night. Penelope insists they keep it a secret because being high and trespassing on the night the principal went missing isn’t the best look for them. A week later, the principal is found dead, with blue lips, at the school’s broom closet.
Alice confronts the Midnight Club and demands to know what happened after she left. But the rest turn on her instead, stating she’s the only one who actually saw Featherhead that night, and conveniently left early. Also, everyone denies wearing the Gargoyle King costume, the one Alice saw in the hall. After plenty of arguing, the gang decides to burn the game manual and scatter the rest of the game elements across the town, so it can’t be traced to them.
With the game destroyed, the Midnight Club is officially over. Everyone goes their separate way: Fred gives up on his musical dreams and starts working at his dad’s construction company; Sierra and Tom break up in hopes to reconnect when the timing is better; FP caves to his abusive father and finally joins the Serpents; Penelope clings closer to Blossoms for stability and protection; Hermione returns to Hiram; and Alice herself tones down the bad girl act and catches herself a fella named Hal Cooper…
After her mom finishes the story, Betty still has plenty of questions. Mainly, who poisoned the chalices that got Featherhead killed? Alice doesn’t know the answer but is pretty sure it’s someone from the Midnight Club. When Betty wants to dig deeper, Alice begs her not to get involved. She explains how intoxicating and therefore dangerous G&G is. Betty promises not to play but she won’t stop the investigation.
The next day, Betty arrives at the bunker to tell Jughead about the Midnight Club but instead, she finds him, Cheryl, Toni, Sweet Pea, and Fangs playing the game. Clearly not well, he insists it’s all making sense now and soon he’ll ascend and meet the Gargoyle King.
What an episode! I had high hopes for this one and for the most part, it did not disappoint! Sure, it didn’t really move the plot, and didn’t answer that many questions, but boy oh boy was it fun! This episode is the exact type of quirkiness I need from Riverdale! It may be silly, but unlike the rest of the episodes, this one was silly intentionally, and therefore I don’t get as mad.
First and foremost, I just gotta mention young Alice! Ugh, the stylist’s mind! The styling overall was very cute. The only one I didn’t love was Penelope – this supposedly mousy, goody-two-shoes character didn’t exactly much well with Madelaine Petsch’s stiletto nails and Kylie Jenner lips (yes, I know Madelaine’s are real).
The soundtrack choices for the episode were a little too on the nose, but every single one of those songs is a bop so I’m not complaining. If it ain’t broke and all that.
I enjoyed exploring the parents’ dynamics we didn’t really see before; FP unsuccessfully hitting on Hermione was hilarious. I honestly didn’t expect McKeller feels to hit me this hard, but they sure did. I don’t know why, but for some reason knowing the fact they had such a genuine love in high school and had to wait all these years to get back together was very touching.
On the other hand, I was very disappointed we didn’t see Mary. Where was she?! As much as I enjoyed getting few of my questions answered about the freak show that is the Blossom family, I felt like Mary would’ve been a much better fit for this plot than Penelope. And Madelaine could’ve played the other redhead mom just as well. Maybe even better.
I also felt like the parents falling into their “adult” roles felt a little too contrived. I’m not really mad, cause I understand they had just one episode to put this all in, but still, some decisions felt kinda unearned. I don’t really get why FP decided to join the Serpents after all, and Fred’s decision on completely giving up music seemed a little overdramatic.
Also, just an observation, but it’s interesting how at the end the boys – FP and Fred – gave up their dreams of better life and ended up following in their fathers’ footsteps; while the women – Alice, Penelope, and Hermione – all ended up basically attaching themselves to a more powerful/successful men, to achieve that “better” life.
The last thing, I saw some people complaining about how unrealistic it is that all the parents went to school together and dated each other, and now their kids are at the same school, dating each other. Let me tell you, as a person not from a small town, but from a secluded, tight-knit neighborhood that very much much feels like a small town, this is not far fetched at all. You’d be surprised.
So what do you think? Is yet another Riverdale parent a murderer? Who is hiding under the Gargoyle King costume?
Next week, Jughead continues losing himself in the game, and the juvie plot is back! Yay…
Images Courtesy of CW
Manifest-ing Ratings on Broadcast
It’s time to take stock of where fall’s 18 new shows have landed in the ratings landscape. Which is to say few shows rate above their network’s scripted average. Less than half of the new shows rate above the network’s scripted averages with only nine back 9 orders.
No network has yanked a show off the schedule for its poor ratings. Still, a handful of shows are currently succeeding per their network’s standards, and more importantly in publicly available commercial ratings. The question is whether these shows can hold onto their semi-successful ratings alongside the winter and spring premieres to come.
I’ve written before about the importance of C3 and C7 which measures playback of commercials live and within three, or seven days of airing via DVR playback. Within the first two proper weeks of this fall, only five new scripted shows made it on the top 25, alongside 15 other scripted shows. NBC’s Manifest and New Amsterdam were fifth and sixth. FOX’s Last Man Standing revival came in twelfth, and CBS’ FBI and The Neighborhood were nineteenth and twenty-fifth. However, drops in most shows in the last month, only the networks and advertisers know how well C3/C7 ratings fare.
Back 9’s or the Lack Thereof
NBC’s drama ratings net them three and nine more episodes respectively with New Amsterdam getting the back 9. CBS ordered more episodes for four of its shows. The first back 9 of the season went to FBI. Comedy The Neighborhood also has nine more episodes. CBS gave both Magnum P.I. and God Friended Me seven more episodes. I don’t think the latter has the best chances of renewal. Especially because GFM dropped two tenths in its second true time-slot airing without any football overrun. (Similar to Wisdom of the Crowd.)
Elsewhere, ABC ordered four more episodes for A Million Little Things (stuck at 0.8). They also gave one more for The Connors and seven to The Rookie. Comedies Single Parents and The Kids are Alright received back 9s.
Finally, FOX only premiered three comedies this season. The Cool Kids has a full season joining LMS (already had 22). Unfortunately for Lil Rel, FOX revealed last week that his show is not on the spring schedule effectively canceling it.
The CW only finished premiering its three new fall shows two weeks ago. Any back orders should come after this article is published. Charmed is its only new drama above the network average and it’s a CBS Studios show, so it’s not going anywhere. Legacies is doing fine but All American has increased in the ratings, so anything could happen.
So far half of the new shows received the full back 9 including . Others received anywhere from one to seven episodes. Last year, only CBS and CW ordered back 9s and all but one (The Good Doctor) of the shows with shorter orders died. ABC and NBC both fared better this year than last but I doubt more than two of the short order shows are renewed.
I do think shorter episode orders become the norm with back 9 orders going mostly to comedies and less serialized dramas like procedurals. Of note, the shows that received less than nine episodes except for The Connors are averaging less than the network’s scripted average.
As of November 6, only eight newbies are rating at or above their network’s average.
Two months since shows started premiering, very few have held onto ratings that put them ahead of the new show pack. In fact, no network has more than six of their shows rating at or above the network’s average. Yet after years and years of broadcast ratings dropping ten percent each year, the first two weeks of this season were flat compared to the same time last year. Of course, the last few weeks have likely changed that. Come May the numbers may indicate that the yearly fall endures.
Based on the data available, more than half of the fall newbies will likely receive renewals, but most of their final season averages in May won’t excite anyone. Plus with 15 newbies yet to premiere, anything can change.
(Data is from ShowbuzzDaily, SpottedRatings, and TVSeriesFinale.)
Update: A few hours after this article was published, The CW ordered a back 9 for Charmed (season two through four, here we come) and three more episodes for All American and Legacies (uh, spring shows decide fall shows’ fate)? NBC also announced I Feel Bad will not have more episodes, effectively cancelling the first scripted show this fall.