The Joker’s Ex-Girlfriend has moved on and grown, and so has her story.
SUMMARY (Spoilers for Season 1)
Having beaten the Joker (Alan Tudyk) and with Batman (Diedrich Bader) and the Justice League out of the way, Harley Quinn (Kaley Cuoco) is now poised to take over the city of Gotham. Unfortunately, Gotham is quickly declared No Man’s Land, and it turns out that the Injustice League wants it too. They get the drop on Harley and divvy up the territory. With the help of Poison Ivy (Lake Bell), King Shark (Ron Funches), Sy Borgman (Jason Alexander), Frank the Plant (J.B. Smoove), Clayface (Tudyk), and Doctor Psycho (Tony Hale), she’s out to get revenge on the Riddler, Penguin, Mr. Freeze, Bane, and Two-Face (Jim Rash, Wayne Knight, Alfred Molina, James Adomian, Andy Daly) and claim Gotham for herself. Also, Batgirl’s there (Briana Cuoco).
So, my main criticism of Harley Quinn Season 1 was that the show often tried to go a little too exploitative with the violence and swearing to the point that I thought it distracted from the show. I will admit that, on rewatching, it still was a little over-the-top, but I might have let my feelings towards DC Universe’s show Titans color my opinion on how they were handling “mature” superhero shows. It still bothered me when I watched it again, but it wasn’t as bad as I thought on the first go-around. Whatever problems there were, however, have been almost completely fixed in the second season.
It’s not that the show is any less exploitative in the second season, in fact the violence and swearing are probably even increased, but the show has started to use them as a form of self-commentary. Harley even says, while defending a show-within-a-show, that “violence ups the dramatic effect,” and honestly, this season that’s mostly what it did. In the way that the John Wick films manage to make killing hordes of people into slapstick routine, season two frequently makes violence cathartic or humorous.
Moreover, the subject matter of this season was almost uniformly made more mature and relatable. While I thought that the first season forced the plot of Harley getting over the Joker to last longer than it should have which killed the relatability of dealing with an abusive ex, this season covers a number of plots that interweave and keep the relationships and topics fresh. They range from having feelings for a friend, to dealing with your own feelings of inadequacy, to dealing with repressed emotions and trauma. Instead of being a simple set of plots with a lot of swearing and ‘splosions, it’s a lot of blood and cussing that heightens the emotions of the scenes. It’s everything I wanted out of this series, and it feels so damned good.
If you have a chance to check it out, do it. The first season is pretty good in retrospect, but this season should earn it a following.
Sometimes a show just can’t keep the quality up to the end. A lot of the times shows go downhill for a while after they start running low on ideas, and sometimes they just won’t give up and die with dignity. However, even if the writing is on the wall and you’re given a year to plan to go out, you can still screw it all up with a bad ending.
For this entry, I am going to make two caveats:
The episode has to be intended as a finale. That means either it’s clear the production team knew the show was over, or didn’t have reason to believe it was going to keep going. So cliffhangers don’t count unless they were made AFTER the show was cancelled. Additionally, if an episode was meant to be the finale, but the network aired it out of order, only the intended finale counts.
If the show was rebooted later, the original finale still counts.
Also, The Sopranos is not going to be on here, because I have a long-running theory that makes me like that finale, and I refuse to debate it right now. If I’m wrong, then… well, it sucks.
RUNNER UP: Of Course He’s Dead (Two and a Half Men)
The Show: Charlie Harper (Charlie Sheen) is a jingle writer who lives a hedonistic lifestyle. His brother, Alan (Jon Cryer), and nephew Jake (Angus T. Jones) move in after Alan’s wife leaves him. Eventually, after Charlie dies, his house is bought by billionaire Walden Schmidt (Ashton Kutcher), who lets Alan and Jake stay. Eventually Jake leaves and Charlie’s unknown biological daughter Jenny (Amber Tamblyn) moves in.
The Finale: Alan receives a letter from a lawyer saying that Charlie has millions in unclaimed royalties, but can’t find Charlie’s death certificate. It turns out that Charlie is actually alive, having been kept prisoner by his crazy stalker Rose (Melanie Lynskey), after she caught him in bed with a goat. Alan, Jake, and Walden start to receive threats and the police tell them that they caught Charlie, but it’s actually Christian Slater. Charlie approaches the house, but a piano he ordered crushes him. The camera then shows creator Chuck Lorre, who says “winning!” then is crushed by a second piano.
This doesn’t make the list because this show had pretty much lost all of its quality when Charlie Sheen left. The writers never figured out what to do with Walden or Jenny, constantly shifting their characters, and it just kind of limped on for four years. Ensemble casts exist on relationships and when you can’t keep characters consistent, then the relationships can’t be consistent. However, dedicating your finale to throwing a tantrum at Charlie Sheen over him being a d*ck doesn’t really age well, particularly since it’s been revealed that Sheen’s behavior was related to him being diagnosed HIV positive. While the viewers would have understood what was happening at the time, I think anyone that watches this in a decade (if anyone does) probably won’t get what the hell happened and it’ll just seem like a waste of time.
10) These are the Voyages… (Star Trek: Enterprise)
The Show: This show takes place before any previous Star Trek series, in the 22nd century, aboard the spaceship Enterprise, the first vessel capable of real, effective interstellar exploration by humanity. The crew includes Captain Jonathan Archer (Scott Bakula), Science Officer T’Pol (Jolene Blalock), Chief Engineer Trip Tucker (Connor Trinneer), Tactical Officer Reed (Dominic Keating), Communications Officer Sato (Linda Park), Helmsman Mayweather (Anthony Montgomery), and Medical Officer Dr. Phlox (John Billingsley).
The Finale: Taking place in the 24th Century, Star Trek: The Next Generation characters William Riker (Jonathan Frakes) and Deanna Troi (Marina Sirtis) are looking for guidance on an issue (the TNG Episode “The Pegasus”) and decide to review the decommissioning of the first Enterprise. They interact at points with the Enterprise crew, who are holograms here. Captain Archer is set to give a speech, but gets sidetracked trying to rescue the kidnapped daughter of an ambassador. The kidnappers board the ship and Trip Tucker dies saving Captain Archer. Archer makes his speech and Riker figures out what he’s going to do. The last shot is a montage of Star Trek footage and Captains Kirk, Picard, and Archer giving the “where no man has gone before” speech.
This would probably be higher up if I had ever really liked Enterprise, but it remains the worst Star Trek series in my opinion. The only episodes I really liked were the ones set in the Mirror Universe where humans were the bad guys, because those seemed original and compelling, but most of the series just felt like recycled old ideas with skimpier outfits. What a waste of a Bakula. However, this has to go down as one of the worst finales because it’s a finale that doesn’t even really feature the characters of the show. Instead, the episode takes place during a different series and everyone from Enterprise appears only by hologram. Moreover, the events in the hologram take place six years after the rest of the series without a compelling reason for doing so and one of the main characters is killed as an afterthought. This episode was so bad that I don’t think I’ve seen a list of the worst Star Trek properties that didn’t include it, often at number one. It was so bad that it ended 18 consecutive years of Star Trek being on the air. When you can tank an entire franchise for a while, you earn this spot.
9) Remember the Monsters? (Dexter)
The Show: Dexter Morgan (Michael C. Hall) is a serial killer who targets other serial killers. He uses skills taught to him by his adopted father (James Remar) to avoid detection and eliminate the monsters who evade the law. He spends most of the series hiding it from his sister, Debra (Jennifer Carpenter), only for her to find out what he does in season 7. Also, she’s in love with him despite them being raised as siblings, so… that’s a thing. Look, there’s a reason I tell people to stop watching after season 5.
The Finale: Dexter is planning on fleeing the country. Debra gets shot by serial killer Oliver Saxon (Darri Ingolfsson) while a hurricane prevents Dexter’s flight. Dexter leaves his son Harrison with his girlfriend Hannah and heads to the hospital where he is told Debra will recover. Saxon is captured and Debra tells Dexter to live a happy life, but then suffers a clot and goes into a coma. Dexter then kills Saxon in police custody and pulls Debra off life support. He takes her body and drops it into the ocean as he drives into the hurricane. Later, he’s seen working as a lumberjack in Oregon.
I have to admit I’ve softened towards this over the years, because for a long time I considered it the worst finale ever. It’s dropped down the list for two reasons: 1) Jennifer Carpenter’s performance as Debra is actually so good it almost single-handedly makes this episode okay. 2) Other shows since (mostly Breaking Bad) have convinced me that giving a bad person a happy ending isn’t inherently bad. However, I still think it’s a terrible ending to this show. A big part of why is that it missed the tone of the rest of the series, having a somber and sincere quality that the rest of the show never had. That might have worked for a finale, except that all of the sincerity felt crammed in and manufactured, rather than developing naturally. The characters are told that Debra is going to be okay, but their last conversation is still them saying goodbye in a last-rites kind of way. Then she dies anyway, making the previous recovery nothing but a device to keep the audience off-guard, particularly since the clot happens off-screen apropos of nothing. Oh, and as she’s dying, she tells him she loves him, which means… she might have been okay if he had left her on the machines? So, Dexter killed her, but it’s not really given as much weight as it should. Oh, and then the ending is that he’s abandoned his son and girlfriend (who he could find and join) to go be a lumberjack and somehow survived a hurricane, which was just such a cop-out. Also, can someone from Miami Metro get fired for being just the worst investigators on Earth? For what was briefly one of my favorite shows, the mighty fell hard.
8) Into That Good Night (Roseanne)
The Show: Roseanne (the show) focused on the lives of the Conner family: Roseanne (Roseanne Barr), her husband Dan (John Goodman), Roseanne’s sister Jackie (Laurie Metcalf), and Dan and Roseanne’s kids Becky (Lecy Goranson/Sarah Chalke), Darlene (Sara Gilbert), D.J. (Michael Fishman), and Baby Jerry (Cole and Morgan Roberts). They’re a working-class family in the 80s and 90s living in Illinois, and possibly one of the most realistic ones ever put on television.
The Finale: In the 9th season of the show, the Conners win the lottery, suddenly becoming very wealthy, but Dan and Roseanne’s marriage has been on the rocks throughout the whole season, culminating in a revelation that he cheated on her. During the finale, after the family welcomes a new grandson from Darlene’s marriage, everyone is set to move on with their lives. Then, in the last 10 minutes of the show, Roseanne reveals to the audience that the entire show had just been a book she was writing. Dan was dead from a heart attack, Jackie was gay, and Darlene and Becky were, in fact, married to each-other’s husbands. No explanation is given for any of this except that Roseanne thought it was more interesting this way.
Roseanne had taken a massive dive in the last season due to destroying the thing that most people liked about the show, it’s blue-collar realism. The Conners were constantly screwed by normal problems that most sitcoms would just gloss over, like a malfunctioning fridge they can’t afford to replace or a light bill late fee that builds up. They lived the way that a lot of America lived. Once they were rich, that stuff all fell away and they stopped being relatable. That was bad enough, but to literally spend the last 10 minutes of the show revealing that everything in the show was fake, even within the reality of the show, was just icing on the crapcake. Roseanne is revealed to be a writer, a profession that stood completely against her character’s usual employment in various menial jobs. Dan’s dead, meaning that any of their drama in the last season was just Roseanne taking shots at her deceased husband. None of the relationships were real. What’s most astonishing is that all of this was just completely unnecessary. When they rebooted the show, they made the decision to just ignore all of this, which was smarter than anything in the finale.
7) Daybreak (Battlestar Galactica – 2004)
The Show: Humans lived on a set of planets known as the Twelve Colonies. The humans created the Cylons, a race of robots, that then rebelled. There was a peace accord, until the Cylons surprise attack and destroy most of humanity and the planets they populated. Only one military ship survives, the Battlestar Galactica, which sets off with the other ships to head to the thirteenth colony, Earth, while being pursued by Cylons. The survivors include Commander William Adama (Edward James Olmos), President Laura Roslin (Mary McDonnell), pilot “Starbuck” Thrace (Katee Sackhoff), pilot “Apollo” Adama (Jamie Barber), and scientist Gaius Baltar (James Callis). There are also Cylon infiltrators known as numbers 6 and 8 (Tricia Helfer and Grace Park)
The Finale: Turns out the Cylons got to Earth first, but blew it up. As the group tries to figure out what to do now, the Cylons capture Hera, a human-Cylon hybrid, and are studying how they can reproduce. Admiral Adama orders a rescue. Gaius and Six join the mission, and it’s revealed that the two can see each other’s “inner visions.” It’s complicated to explain, but each one has a hallucination of the other that they talk to, and here it’s revealed that those are not just hallucinations. The rescue ends with an all-out battle that is ended by Gaius promising to give the Cylons back their lost resurrection ability in order to buy peace. He’s told that he sees Angels telling him that both sides are governed by God. However, this ends up failing. The fighting resumes and damage forces Adama to order the ship to jump to anywhere it can. Starbuck uses “All Along the Watchtower” to arrive at our Earth in the distant past. The survivors, and the surviving Cylons, spread out and interbreed with the hominids that populate the planet. Starbuck turns out to be an Angel and disappears. Bob Dylan is implied to be God.
Okay, did you read the last four sentences of that summary? Yeah, that’s why this whole thing fell apart. The show, which had been a cold and depressing character study and a cautionary tale against the advances of human technology, ends on a happy note because of a literal deus ex machina. To be clear, this show was almost entirely sci-fi for most of its run, and the concept of having everything in the series designed as part of the ineffable plan by God seems to have been pulled out of nowhere. I once lauded the show Quantum Leap for dealing with cancellation by having an ending that said “God did it,” but that’s because that show’s continuity and logic had never made sense. This show had never even approached that level of metaphysics until the last four episodes hinted at it loosely. A lot of people liked the happy ending, but I will stare into the face of Bob Dylan and walk backwards into Hell proclaiming this to be a complete failure of screenwriting.
6) Project: ALF (ALF)
The Show: Gordon Shumway (Paul Fusco) is an Alien Life Form (ALF) from the destroyed planet Melmac. He follows a radio signal to the home of the Tanners: Willie (Max Wright), Kate (Anne Schedeen), Lynn (Andrea Elson), and Brian (Benji Gregory). The Tanners hide ALF from the Alien Task Force that seeks to hunt him down.
The Finale: In the last episode of the original show’s run, ALF is captured by the Alien Task Force. This picks up with ALF in custody under Colonel Milfoil (Martin Sheen) who is going to kill ALF. Two scientists help him escape, but after they are chased by Milfoil, they end up deciding to reveal ALF’s existence to the world. This ends up failing, but Milfoil is fired and ALF is declared an ambassador to Earth.
The original finale of ALF can’t be on here because the show was cancelled unexpectedly and thus ended on a cliffhanger. That’s not the fault of any of the writers, particularly since the show was still in the top 40 at the time and had just had a spin-off last two seasons. Even the network later apologized to the crew, saying that they’d screwed up by cancelling it too early. However, since they were given over a year to come up with a way to end the series with this three-part episode (or TV movie), and had 5 years to think about it before that, this was truly disappointing. Except for ALF, none of the Tanners were present in this, and all we hear is that they went to Iceland. As such, a ton of plotlines, including the cliffhanger about ALF leaving the Tanners, were left unresolved. Moreover, this episode made it clear exactly how much of an a**hole ALF actually was, retroactively making the show less cute. It’s like if you ended the Muppet Show by having Kermit be revealed as a Soviet Spy. Honestly, the cliffhanger would have been a more dignified way to go out.
5) Chapter 73 (House of Cards)
The Show: Frank Underwood (Kevin Spacey) is a politician who constantly lies, cheats, steals and murders his way to becoming the President and his wife, Claire (Robin Wright), becomes Vice President. He’s assisted by Doug Stamper (Michael Kelly), his Chief of Staff who routinely does Frank’s dirty work. Frank typically narrates to the audience his true, cruel thoughts.
The Finale: In Season 6, Claire becomes President following Frank’s impeachment and subsequent getting killed off for being a rapist. Claire also takes over Frank’s role as narrator. Doug, who stood by Frank loyally, has now flipped to testify to all of Claire’s bad acts, but Claire pardons him to gain his silence. In the finale, Claire promises a new level of honesty to America, then creates a new fictional threat so that she can keep her position. Doug is sent in to kill her by some of her rivals, but after he admits he killed Frank, she ends up stabbing him to death and then suffocating him. She turns to the audience and says “No More Pain,” mirroring Frank killing a dog in the pilot.
This is mostly on here for how completely unnecessary this finale was. After Kevin Spacey was removed from the show for being a rapist, the show was completely justified in writing him out. Despite that, his character still basically dictated everything over the last season. Claire was constantly saying how she denounced his legacy, but she always kept it alive rather than tossing it to the ashcan of history where it belonged. This finale made it much, much worse, focusing on Frank’s last will, which cut Claire out, then revealing Doug to have killed Frank because Frank was hurting his own legacy, then having Claire stab Doug to death in the Oval Office and use one of Frank’s own lines, cementing her as now being essentially just Frank all over again. It essentially made Claire a secondary character in a season where she was supposed to be the lead. If you’re going to write a character out, write them out, don’t let their ghost loom over the entire series.
4) The End (LOST)
The Show: A bunch of people survive a plane crash and end on an island. The island turned out to be filled with mysteries, ranging from a smoke monster that turns out to be the embodiment of evil, to a hatch that requires a code to keep being entered into it, to some polar bears. The show had too many cast members to really list here, with 14 star roles in the first season alone, but among the key ones in this episode are: Jack (Matthew Fox), Kate (Evangeline Lilly), Hurley (Jorge Garcia), Sawyer (Josh Holloway), and Locke/The Man In Black (Terry O’Quinn). It frequently has flashbacks, flashforwards, and flash-sideways. The last season has two parallel timelines, including a new one in which the crash never happened.
The Finale: Some of the survivors head to the heart of the island, including Jack who has taken on the role of protector of the island. The Man in Black, who is trying to destroy the island, manages to unstop the source of the island’s power, but is killed by Kate. Jack then dies replacing the island’s light. In the alternate timeline, everyone suddenly remembers the island, meet up in a church, and then they are revealed to be dead.
So, from the beginning of the show, a huge number of fans (myself included) were worried that the series would end with the revelation that everyone was actually dead all along. The creators and the writers all strongly denied that it was anything like that. Instead, it’s revealed that, in fact, the events of the island were real, but that the parallel timeline was actually a form of afterlife which is powered by the island, so… I felt like this was cheating. A ton of people were confused by it, a ton more were angered, and I don’t think anyone ever thought it was a perfect way to wrap up the series. The island is revealed to be the source of the light that exists inside of every living thing, but also what grants those things a second chance, represented here as an alternate world where everyone is a little bit closer to what they wanted to be. It’s not a paradise, it’s a purgatory, and then at the end apparently everyone moves on towards the actual afterlife, maybe. If that explanation sounds kind of boring or weird or confusing, then you know why this made this list.
3) Last Forever (How I Met Your Mother)
The Show: In 2030, Ted Mosby (Josh Radnor/Bob Saget) is narrating to his kids the story of how he met their mother (Cristin Milioti). It turns out to be a story involving Ted’s best friends from his 20s and 30s: Marshall Eriksen (Jason Segel) and his wife Lily (Alyson Hannigan), Robin Scherbatsky (Cobie Smulders), and Barney Stinson (Neil Patrick Harris).
The Finale: After spending a season at the weekend of Barney and Robin’s wedding, we find out that Ted’s wife is the bass player in their wedding band. While she has met everyone from the group, she has not yet met Ted, until they share an umbrella that they both previously owned. It’s then revealed that the mother, Tracy McConnell, passed away in 2024. The kids reveal that the story was clearly about how Ted is still in love with Robin, and encourage him to get back together with her. The show ends with Ted and Robin smiling at each other.
This one is really a tragedy on two different levels. The show had always prided itself on the fact that they had already filmed the ending when they started the second season, because that meant that the kids, who had since stopped being kids, would still be in the finale at the same age. Unfortunately, they were so dedicated to this that they stuck to it even after their own writing and character development had rendered it a bad idea. Ted and Robin ending up together was a really good idea for a long time, until we spent two seasons building up Barney’s and Robin’s relationship and then an entire season on their wedding itself, only to have the finale tell us they broke up like 15 minutes later for vague reasons. It also doesn’t help that Cristin Milioti was so much more amazing than expected, particularly in the episode dedicated to her history. Everything about her was so perfect for Ted that you wanted to see them happy together. This meant that when the writers stuck with the original ending, it broke up two relationships we were invested in. At the same time, they undid all of Barney’s character growth and instead ended with him learning to love by being a father. To Neil Patrick Harris’s credit, his performance was so good I almost bought it, but it’s still bad writing. The reason why this is so high is because multiple people apparently brought up that this was a bad idea and that they should ditch the original ending, but the show wanted its gimmick more than a solid conclusion.
2) The Finale (Seinfeld)
The Show: It’s a show about nothing starring four friends: Jerry Seinfeld (himself), George Costanza (Jason Alexander), Elaine Benes (Julia Louis-Dreyfus), and Cosmo Kramer (Michael Richards). In general, the series is just about the kind of weird things that happen to the four of them and consists of them talking about it. All four are generally crappy people, but make up for it by being funny. It was created by Larry David and Seinfeld.
The Finale: Jerry and George have pitched a series to NBC that resembles Seinfeld called Jerry. The four decide to go to Paris to celebrate before moving to California to work on the show, but a problem on the flight forces them to land in Massachusetts. While they wait for the plane to be fixed, they see a man get carjacked and record it while mocking him. They’re then arrested by the police for violating the Good Samaritan statute by not helping. The four are then put on trial and a number of witnesses from throughout the series testify to their bad character. They are ultimately convicted and put in jail.
This one is so high up because Seinfeld was one of the best shows on television and I remember being absolutely pissed off watching the finale. The build-up had been huge. Other shows, including Dharma and Greg, literally had episodes that were based on the assumption that this finale would be amazing. However, I think it completely failed. First off, the set-up was ridiculous. Having the characters get arrested due to an insane law and go to trial immediately was a weird decision. That’s not how laws, courts, or even civil rights work. The fact that the prosecutors are then allowed to parade a list of people as bad character witnesses is even weirder, because, again, not how that works. Also, if they had a duty to provide aid to the victim (they didn’t), they actually did, because they recorded the face of the carjacker on film. That’s more helpful than trying to fight him. Everything about this framing device was stupid. Second, they really just used it to do a glorified clip-show as the finale. That’s one of the weakest ways to handle any episode of television, typically reserved for when shows run out of money for an episode, as opposed to the finale of a top-rated show. Third, finally calling out how bad the characters were in such a stupid fashion basically mocked the audience for liking them. If you’re flipping the bird on the way out, you’ve messed up. While Larry David has defended it, Jerry Seinfeld has pretty much stated that they dropped the ball on this one. I concur.
1) The Iron Throne (Game of Thrones)
The Show: I cannot really summarize this. The Seven Kingdoms of Westeros are thrown into a massive war after the death of the king Robert Baratheon (Mark Addy). This ends up massively affecting the Stark family, including Sansa (Sophie Turner), Bran (Isaac Hempstead-Wright), and Arya (Maisie Williams). At the same time, an army of zombie warriors start to descend from the North to destroy the world. Also, the daughter of the previous king, Daenerys Targaryen (Emilia Clarke), hatched three dragons and uses them plus two separate armies to try to come back and retake the throne. Her nephew and lover is Jon Snow (Kit Harington), who is also the adopted brother of the Starks. A lot of people die and there’s a lot of nudity. Also, there’s Tyrion Lannister (Peter Dinklage), who is amazing, and Cersei and Jaime Lannister (Lena Headey and Nikolaj Coster-Waldau), who suck.
The Finale: Daenerys has taken over King’s Landing and claimed the Iron Throne of the Seven Kingdoms. Unfortunately, even after the people surrendered, Daenerys kept attacking, destroying a ton of the property and killing hundreds or thousands of people for no reason. When confronted, she insists that she has “liberated” the town and that she now plans to “liberate” the rest of the world. After finally realizing that Daenerys will never stop until she has conquered the world in the name of forcing her version of utopia, and will kill anyone that doesn’t submit immediately. Jon kills her and is imprisoned by her troops. Ultimately, he is banished and Bran becomes king.
I realize that this probably will not seem as bad years down the line and that the freshness of the wound is why this feels like the worst finale, but I will say that following: It’s impressive to get every character to the end of their arc and still feel terrible. Seriously, every character finishes in the position that they clearly were always going to have, ranging from Bran being the king to Daenerys being dead to Jon being banished, but at the end all of the ways they get there appear to be completely contrived or insane. Rather than having Daenerys’s madness be a result of her destiny as a Targaryen and a breaker of chains, it came off as being because Jon didn’t want to sleep with her after finding out they’re related. Rather than Bran being made king because of his abilities, he’s instead made king because “he has the best story,” despite Jon literally having resurrected from the dead and Arya having slain an undead king. Everyone gets to close their story in the right place, but it feels so forced that it undermines the rest of the series and its great plotting and character progression. Mostly, though, this whole thing felt completely unnecessary. HBO had the hottest show on the planet and had already stated they would basically give the showrunners carte blanche if they needed more episodes to come to a satisfying conclusion. Instead, the show rushed from the death of the Night King to the finale in only 3 episodes. This isn’t just dropping the ball, this is firing the ball straight down out of a cannon so hard that it currently resides in the molten core of the planet.
If you disagree with any of these, let me know. If you have other episodes you think should have made it, put them in the comments or on my Facebook or Twitter.
The adult animation returns for more violence, more strong female friendships, and more of a giant shark with a cuddly heart.
SUMMARY (Spoilers for Season 1)
After the Joker (Alan Tudyk) took over the city, got rid of the Justice League, and captured Batman (Diedrich Bader), Harley Quinn (Kaley Cuoco) and Poison Ivy (Lake Bell) finally managed to take down the clown. Unfortunately, his last act was to activate a device that created an 8.2 earthquake (~30 Megatons of TNT or slightly more powerful than the biggest US nuclear device) in the middle of Gotham City. With everything destroyed, Batman gone, Joker presumed dead, and the Justice League trapped in another dimension, Harley finally has the city at her feet. The US Government has declared Gotham no longer part of the US, so no one is planning to come in and stop her. Unfortunately, the Riddler (Jim Rash), Two-Face (Andy Daly), Penguin (Wayne Knight), Mr. Freeze (Alfred Molina), and Bane (James Adomian) have banded together to put the new “No Man’s Land” under their rule. Harley has to deal with the new “Injustice Gang” with the help of her crew: Clayface (Tudyk), Doctor Psycho (Tony Hale), Frank the Plant (J.B. Smoove), King Shark (Ron Funches), and Sy Borgman (Jason Alexander).
This show originally didn’t grab me as much as I’d hoped. It seemed a little too violent and a little too crass to be what I was looking for. However, when I rewatched it, I found myself really enjoying the show’s fairly unique style of humor, often involving the mundane conversations of the characters that stand in contrast to the fact that they’re involved in superhuman events. For example, when trapped on a magical cloud populated by the giant from Jack in the Beanstalk, Poison Ivy and Harley both are interested in seeing how well-endowed the giant is. It’s a strange diversion, but it works well because it’s just so absurd for the situation.
While the first season focused on Harley’s development in getting past her relationship with the Joker by trying to get into the Legion of Doom, this season starts with her in a new place both emotionally and in terms of power. While she has previously been mocked by most people for her dependence on the Joker and just generally being a female supervillain (Gotham is sexist, unlike the real wor… oh, right), Harley has shown that she is much more intelligent and capable than almost anyone else in the show. However, due to her preference for anarchy, she ends up allowing the other villains to cement power rather than just taking over the city herself, something that gives her yet another personal flaw to overcome for the season.
I will also give the show credit that it starts averting one of the general rules for comic book shows pretty early on in this season. I won’t spoil it, but it took me by surprise (or would have, if the damn ads for the show didn’t ruin it for me).
Honestly, I recommend this show. Unfortunately, it’s really hard to watch it, since there aren’t a ton of people with DC Universe subscriptions and they won’t put the season on Amazon streaming until after the entire season is over. Still, if you can find someone with the account, you should ask to watch this show.
Harley Quinn gets her own television show and it had all the parts to be amazing without quite getting them together… yet.
Harley Quinn (Kaley Cuoco) is the Joker’s (Alan “Curse this sudden but inevitable” Tudyk) girlfriend. After he uses her to escape from Batman (Diedrich “The Brave and the” Bader), she is locked in prison with Poison Ivy (Lake Bell). The pair break out and Harley realizes that the Joker doesn’t really love her, so she sets out on her own and get her own crew. She picks the baddest of the people who couldn’t do better than her: King Shark (Ron Funches), Doctor Psycho (Tony Hale), Clayface (Alan “Were I unwed I would take you in a manly” Tudyk), and Sy Borgman (Jason “I was also Duckman” Alexander). Together, they help Harley get into the Legion of Doom in order to show the Joker that she’s the real villain.
Dear readers, I wanted to love this show. I wanted to scream of its success from the rooftops. I wanted to be able to say, “there is a property in which Harley Quinn is the badass that we all deserve her to be since Paul Dini had that stroke of genius.” Unfortunately, Birds of Prey ended up doing that better than this show, but this show has the potential to do so much more.
This show fell into the same trap I felt like Titans fell into in its first season. You can practically hear the writers’ thought process: It’s rated-R, it’s a mature show, so naturally that means we have to justify it, right? Let’s put in a lot of f*cks and a ton of gratuitous violence and such. I mean, let’s have the Joker wear another guy’s face and rip it off like a mask, because that’s a thing we can’t show on any other cartoon? If we haven’t done it before, that makes it original and therefore good!
Well, unfortunately, that’s not how it works. Putting a bunch of people saying “tits” on screen doesn’t make a show mature, it makes it what a 14-year-old boy thinks is mature. Now, I will say that the show definitely got better about this as the series went on, with the violence and the language feeling more organic, but the first few episodes felt really like they were straining to justify a red band trailer. I love some good old ultraviolence as much as the next droog, but make it count, people. Or make it funny. Your main character and her primary antagonist are both derivations of clowns, so I would hope you could make it a little more enjoyable to watch them go apesh*t.
It also doesn’t help that the emotional journey Harley is on throughout the season really seems like she’s just going around in circles a bit. I mean, she claims to be over the Joker, but then spends a season defining herself by trying to outshine him, which is NOT being over someone. Ultimately, I think she learns that lesson, but it feels like they stretched the arc by like half a season in order to make it land on the finale.
And, of course, as several people have brought up online, the show has some issues with how it handles certain topics. Mainly, there were accusations of being anti-Semitic, something that seemed to fly in the face of the fact that Harley Quinn is typically represented as Jewish (and is revealed to be in this series as well). In the second episode, which takes place at Penguin’s nephew’s Bar Mitzvah, Penguin’s sister-in-law is represented in a manner which was accused of being stereotypical. The same is true of Sy Borgman, who even the creators referred to, jokingly, as “half-man, half-Jew.” Harley’s parents are also not particularly flattering. I think these jokes probably were intended to be part of the “edgy” vibe of the show, but the fact is that they not only will upset people, they just weren’t that funny to begin with. I believe comedy should challenge and, at times, offend, but part of the reason stereotypes have been dropped from comedy routines isn’t just that they’re often inaccurate and offensive, but that they were the basis for comedy for like 50 years and they’re not funny anymore. Just write a real joke, people.
However, aside from these issues, I thought this show did a great job. The animation style is fun. The supporting characters are amazing, mostly because they all have their own fun quirks. Poison Ivy develops an embarrassing crush on a fellow super villain, King Shark is a computer nerd despite being a giant mutant shark/human, Clayface (presumably the Basil Karlo version) is a terrible actor despite having the ability to become anyone, and Doctor Psycho is a misogynist who loses his previous supervillain status for calling Wonder Woman (Vanessa Marshall) the “C-word” on live television. Some of the commentary in the show, particularly the discussions of female villain inequality, are on point. The Queen of Fables (Wanda Sykes) is freaking hilarious. This is one of my favorite versions of the Joker because he seems even more self-aggrandizing and random than usual, while simultaneously having more normal habits, such as loving Reese Witherspoon. Also, just having Alan Tudyk in something gives it an additional Star in my ratings.
The thing is, this show has all the pieces to be great and, at times, is, it just needs to figure out better what’s actually good for a mature show and what’s just pretending to be mature.
Choking the chicken. Never Never Land tourism. Flogging the dolphin. Beating the meat. Rubbing one out. Rubbing one in. Polishing the pearl. Ménage à moi. Visiting the Bat Cave. Debugging the hard drive. Boxing the Jesuit. Looking for clues with Fred and Daphne. Calling yourself collect and accepting the charges.
I will admit that I made one of those up. Hopefully, you are familiar with at least one of the other ones, and therefore you know what these are euphemisms for. Here’s a hint: It rhymes with “faster nation.”
It’s masturbation, something that this entire episode is about, and yet they manage to never say the word, nor even use a direct euphemism for it. That’s half of the fun, honestly; finding out exactly how far these people will go to avoid saying the word, even if it’s really just to avoid the censors. Hell, that first paragraph was fun to write just because I had to look up a list of euphemisms. I really had two options in writing this: try to avoid any further references to “praising Lord Palmerston” (or, for the ladies, “Pitt the Younger”), or to make as many bad euphemisms up as I could. Any guesses which I picked?
Seinfeld is supposed to be the “show about nothing,” but people, including Larry David and Jerry Seinfeld, point out that that statement isn’t exactly true. It’s a show about where comedians get their material, which, while that’s usually just exaggerated everyday occurrences, is still something. But, whether it’s about something or nothing, it’s still hilarious.
The cast of the show: Jerry Seinfeld (himself), the comedian who usually tries to be the voice of reason; George Costanza (Jason Alexander), the lying, pathetic, cheating, whining best friend; Elaine Benes (Julia Louis-Dreyfus), the friendly, somewhat vain at times, impulsive, and often short-tempered ex-girlfriend and friend; and Cosmo Kramer (Michael “Watch Racism Tank My Career” Richards), the wacky neighbor with frequent get-rich-quick schemes.
The episode begins with George telling the gang that his mother caught him “popping the palm puppet” to Glamour magazine, and is now hospitalized from the fall when she fainted. George promptly swears off “taking the dachshund to the vet.” The rest of the cast, who are beyond amused at the incident, immediately state that he won’t be able to stop “mangling the meat monkey.” They end up making a bet between the four of them. Everyone puts in $100 (Elaine has to put in $150, because they believe a woman is less likely to have to “tiptoe through her tulips” than a man), and the last one to “play Liszt’s Sonata in B minor on violin” wins the pot.
Each of the four has something that makes this challenge a lot harder. Kramer is being tempted by an attractive, nudist, exhibitionist woman who lives across from his window. Jerry is dating an attractive virgin named Marla (Jane Leeves), who won’t even “play downstairs badminton” (hint: requires two people and 5 of you just checked to see if I spelled badminton right) with him, and also keeps seeing the exhibitionist out of his windows. George, while visiting his mother in the hospital, witnesses a hot nurse sponge bathing another beautiful woman, daily. Elaine, despite the assertion that she would have greater restraint and win easily, finds herself at the gym with the late John F. Kennedy, Jr.
Kramer folds almost immediately. In fact, Kramer comes into Jerry’s apartment, shows Jerry the nudist, leaves, and then returns 4 minutes later to say that he is out. With only three left, the audience is shown that the remaining participants are having trouble sleeping. Kramer, meanwhile, dozes peacefully.
Jerry tries to distract himself from “punching big Papa Smurf” by watching Tiny Toons after reconfirming that his girlfriend still wants to keep her virginity. Kramer keeps trying to tempt Jerry with the nudist, but Jerry firmly remains “master of his domain.” Despite how that sounds, this actually means he didn’t “bang the drum quickly.” George keeps visiting his mother, Estelle (Estelle Harris), but ends up being more intrigued with the sponge baths across from her. Elaine keeps trying to find ways to be closer to JFK, Jr., and ends up getting his attention. After being told that he’s going to come by Jerry’s apartment building, Elaine ends up “practicing stenography,” costing her the contest.
Jerry and George are now becoming increasingly irritable. Jerry, however, finally is told by Marla that she thinks the time has come (and so should he), but Jerry blows it (and therefore doesn’t) by telling her about the Contest. She leaves in a huff, and, when Elaine goes upstairs to see what happened, Marla ends up meeting JFK, Jr. They then see Kramer across the way with the nudist. Every member of the group is then shown sleeping soundly, except for Marla, who apparently just lost her virginity in a marathon session with Kennedy.
Okay, so, why does this episode stand out? Partially because, despite the fact that people were allowed to talk about sex on television at this point, most television shows weren’t allowed to address “playing pick-up sticks on easy mode.” It was a strange, and ridiculous, taboo that this episode managed to highlight. After watching it, you’ll have known exactly what the bet was, exactly what everyone was doing, you’ll have heard how common it is to “blitzkrieg the Fineland,” and yet you’ll have noticed that no one ever said anything explicit. As if the word itself was preventing society from acknowledging a very fundamental truth: It’s fun to “file your I-come taxes.”
America, and much of Western Civilization, has had a long history of wanting to suppress this instinct in people, saying that it cultivates sexual desire, which in turn cultivates immoral behavior, while everyone knows that it’s still fun. Because of this, almost all American media is driven by sexuality, while simultaneously telling us that it’s wrong to acknowledge it. George’s mother even tells him that his behavior is so wrong that he needs to see a psychiatrist. Now, this is a woman who managed to miss all of the other WAY MORE OBJECTIVELY BAD psychological problems that George’s actions would indicate, but she thinks he has a serious problem because he was aroused by a magazine.
The feel of this episode has changed a lot in the last twenty years, and I think it’s for the better. Sexuality is part of being human, and suppressing that does way more damage than acknowledging it. If you want to teach people to handle it responsibly, you first have to address it honestly.
Sex is fun. That’s true. It’s also risky on many levels, from emotional to physical. That is also true. “Letting the Care Bear stare” is fun and has almost no risk when it isn’t treated like a shameful act. That’s also also true. It’s better to just be honest about these things, than to confuse the issue by saying “Sex is bad, but also you should really want to have it right now.” Nothing manages to point this out better than having an entire episode that shows that you can address the subject without ever actually having to mention it explicitly. The thought process telling the audience what they’re discussing is so ingrained that they could fully rely on it in this episode even with the most oblique references, and yet the censors wouldn’t have allowed them to talk about it outright.
The other strength of this episode is the writing. Since they’re exploring temptation and restraint within the episode, so much of the dialogue reflects the characters as they struggle to maintain their control over their own desires. At the same time, they’re contrasted with Marla the Virgin, who has maintained her virginity into her 30s for no reason aside from her feeling that it’s something to take seriously. Ultimately, Marla, who appears to be the most disciplined and restrained loses her virginity to someone she just met, and shows no regret for it. Appropriate.
In a later episode, they revealed that George supposedly won the contest, and then in a later episode he admits he just lied. He broke down before Jerry did. I think it’s telling that they kept re-addressing this single, random plot line for years. It’s also telling that you can now talk about the subject on television explicitly, rather than saying that someone “gave Dig ‘Em a Sugar Smack.” This episode pointed out a deeply ingrained hypocrisy in a fun, inventive way, and it paid off.
Please vote on your favorite Euphemism in the comments below.