I take a look at this adaptation of a Brazilian show about a ghost rock band.
Julie Molina (Madison Reyes) is a high schooler in an elite music program, however, she has been unable to sing since the death of her mother a year prior. One day, while going through her mother’s belongings, she finds a CD for the ’90s band Sunset Curve. A band on the cusp of making it, their careers ended tragically when three of the four band members ate tainted hot dogs and died. When she plays it, she finds herself seeing the three dead musicians: Luke (Charlie Gillespie), Alex (Owen Patrick Joyner), and Reggie (Jeremy “Finn from Adventure Time” Shada). Only she can see or hear the members, unless they’re playing music. It turns out that people can hear them when they play, but when they play with Julie, they become completely visible. Once they stop playing, they disappear, making people think they’re a hologram band called Julie and the Phantoms. Turns out, they’re pretty great, to the point that they’re sought after by a powerful ghost named Caleb Covington (Cheyenne Jackson) to be his house band.
I turned this show on because it looked light and I wanted something to fall asleep to. I then failed to fall asleep for like four hours because it was just so much fun. A big part of it is that the music is, appropriately, awesome. While some of the songs feel like filler, any time Madison Reyes is on-screen, she’s belting out a hell of a performance, particularly when she’s accompanied on vocals by Charlie Gillespie. The songs are usually catchy but the lyrics are often extremely touching and the set-up to the performances tend to provide a heavy emotional aspect to the performance. It relates music to what it’s always been, a pure form of human expression and connection. I’ll also wager that no one can watch the sequence “Unsaid Emily” without at least feeling something inside.
The show is fairly formulaic, but it actually does a fun job of mocking the tropes it embraces. It also often subverts them in unexpected ways. For example, Julie’s rival, Carrie (Savannah May), runs her own band that is like the Misfits to Julie’s Jem and the Holograms (Get it?). However, Carrie is depicted as being a former friend of Julie who resents her because Carrie works harder than Julie does. Additionally, Julie wins almost all of their verbal sparring matches in legitimately clever ways. It’s just a few extra touches that make the show a little more interesting than it normally would be.
Overall, it’s a fun show and I recommend it if you like musicals or shows that are just light distractions.
How you start is important to getting popular, but how you finish is the key to being a legend. After all, who wants to sit through 75 hours of a show for a giant letdown? Here are ten series that managed to really stick the landing.
Runner-Up: My Finale (Scrubs)
The Show: John “J.D.” Dorian (Zach Braff) is a doctor at Sacred Heart Hospital with his best friend Chris Turk (Donald Faison), Turk’s wife Carla (Judy Reyes), his girlfriend and fellow doctor Elliot Reid (Sarah Chalke), his mentor Dr. Cox (John C. McGinley), the head of the hospital Bob Kelso (Ken Jenkins), and his nemesis the Janitor (Neil Flynn).
The Finale: Okay, this is only a runner-up because I am not willing to deal with people sending me messages that say “technically, the show had another season,” followed by me slapping my face in frustration and saying “Then why did they call it Scrubs: Med School? How come it changes location, most of the cast, and central character?” But, the DVD release still says Season 9, so… fine. It’s not the “finale.” That’s particularly sad because I think it would be a strong contender for the number one spot here if it was. Unlike many great finales, this one didn’t rely on any kind of subversion or loss. Instead, this episode gives its main character, J.D., the exact send-off that we probably hoped he’d get.
It probably stands out because of the last 5 minutes of the episode, when J.D. starts to walk out of the building, and the show, and is suddenly surrounded by every guest from the show’s run that they could manage to fit and afford. As he walks down a literal memory lane, he finally stands at the exit, and we see a projection of the future he’s headed for, filled with love, happiness, and friendship. It’s a happy ending that never feels too cheesy or overdone.
10) The Last Show (The Mary Tyler Moore Show)
The Show: Mary Richards (Mary Tyler Moore) is a single woman who is an Associate Producer for WJM’s 6 o’clock news, starring Ted Baxter (Ted Knight). She works alongside Executive Producer Lou Grant (Ed Asner), and head writer Murray Slaughter (Gavin MacLeod). Mary’s best friend is Rhoda Morgenstern (Valerie Harper), Rhoda’s nemesis who is also Mary’s friend is Phyllis Lindstrom (Cloris Leachman), and Mary’s friend who works at WJM is Sue Ann Nivens (Betty White). The other main character, introduced later, is Georgette Baxter (Georgia Engel), Ted Baxter’s girlfriend.
The Finale: For a show that contains what I consider to be the single best episode of all time, it’s pretty impressive that it managed to end with what was, for a while, considered the “gold standard” of finales. It was a regular exhibit in screenwriting courses. The creators of Friends said it was a major influence in how they wrapped their show. The key is that it really is an ending for the characters as well as the show. When a new station manager (Vincent Gardenia) takes over WJM, he decides he wants to fix the 6 O’clock News ratings. Unfortunately, he determines that the only person worth keeping is Ted, the person who repeatedly causes the show to tank. Everyone else is fired, devastating Mary. To cheer Mary up, Lou Grant arranges for Rhoda and Phyllis to visit her (both now had spin-offs), with both offering vastly different methods of support for Mary (and hatred for each other). Ultimately, Ted tries to do a sincere send-off, but instead quotes the song “It’s a Long Way to Tipperary.” Everyone says goodbye, resulting in a group hug that no one wants to break, giving rise to the hilarious image of the entire team moving together in order to get tissues. Mary ends up smiling at the good times and turning off the lights on the set.
The key to this ending is that everything goes wrong for all the right people. Everyone who has spent years cleaning up Ted’s mistakes gets fired because of Ted, but because they kept making him look good, Ted keeps his job. He tries to protest the firings, but ultimately backs down when threatened, leading to Murray saying “When a donkey flies, you don’t blame him for not staying up that long.” When Lou tries to cheer Mary up, she calls in two of her friends… who hate each other and fight viciously. When Ted tries to be sincere, he just quotes a completely unrelated song. That’s what made the show great, watching people deal with all of life’s crap and unfairness with a laugh and a joke. It was the best way to end the show.
9) Come Along With Me (Adventure Time)
The Show: Adventure Time follows the journeys of Finn, the last human (Jeremy Shada), and his adopted brother Jake the dog (John DiMaggio), through the land of Ooo. They usually are accompanied by Princess Bubblegum (Hynden Walch) and Marcelline, the Vampire Queen (Olivia Olson), and sometimes the Ice King (Tom Kenny).
The Finale: The last episode of this show takes place far in the future from the normal timeline and the show now apparently stars two new characters named Shermy (Sean Giambrone) and Beth (Willow Smith), who appear to have a similar relationship to Finn and Jake. They go to meet with the King of Ooo, who is revealed to be BMO (Niki Yang), Finn and Jake’s AI game system. BMO tells them the story of the “Great Gum War,” what the show had been building to for a season, then tells them of the coming of GOLB, the anti-God of that universe. Ultimately, the war is averted and the world is saved, and Shermy and Beth take up the mantle of Finn and Jake.
The reason this is on this list is mostly because it contains three great elements. First, the Great Gum War is literally averted, rather than fought. Finn ends up convincing both sides of the war to stand down, and does so by forcing each side to view the situation from the other’s point of view. This represents the culmination of Finn’s growth from a boy to a man, finally realizing that violent solutions propagate violence, but that forgiveness can bring true peace. Afterwards, Shermy, now representing young Finn, complains that he thought the War would be more important, like the end of the world, only for BMO to casually say “no, that’s what happened next.” Second, after the apocalypse is averted, Shermy and Beth, acting as audience surrogates, ask BMO what happened next, only for BMO to respond with “Eh, y’know. They kept living their lives.” I think this may be one of the most perfect summaries to end a show. It’s not a bland “happily ever after,” but it is a way to tell everyone that, even though life goes on, this story has hit the end. However, the true ending is Shermy and Beth taking the pose that Finn and Jake take in the title screen, meaning that the adventure will always continue. Lastly, we see Marceline and Princess Bubblegum finally become a couple. Given how much crap the show had gotten in the past for even hinting at this, I love that they decided “we’re at the end, let’s go for it.” This finale summed up everything that was good about this show.
8) One Last Ride (Parks and Recreation)
The Show: The series follows the lives of all of the people who work for or are associated with the Parks Department of Pawnee, Indiana: Idealist Leslie Knope (Amy Poehler), her husband Ben Wyatt (Adam Scott), her Libertarian boss Ron Swanson (Nick Offerman), her coworkers Tom (Aziz Ansari), April (Aubrey Plaza), Garry (Jim O’Heir), Craig (Billy Eichner), and Donna (Retta), as well as April’s husband Andy (Chris Pratt), and Leslie’s best friend Ann (Rashida Jones) and her husband Chris (Rob Lowe).
The Finale: By the end of the series, everyone is leaving and no one works for the Parks Department anymore. However, Leslie asks everyone to help her when a man asks them to fix a swing near his house. As they work together to navigate the bureaucracy to repair the swing, the show flashes forward and shows how almost every characters’ life progresses. We see Garry get a happy ending after being the sad sack for most of the series, Donna turn her success into helping children with her husband (Keegan-Michael Key), and Tom become a celebrity through writing a bestseller. Ron is shown to retire from his business to run a major park with Leslie’s help. April and Andy start a family and Leslie and Ben both become successful politicians, with one of them implied to eventually be president.
This episode should be terrible. It’s saccharin beyond anything else the series had done up to this point and it’s little more than an extremely elaborate “and they all lived happily ever after.” However, the way in which their flash-forwards are told give us a real picture of how all of these people, despite drifting apart, are always bonded by the events of the show. Even though they live in different parts of the world, they’re still a family and they always will be. Moreover, the world we see in the future is a hopeful and just one, with Leslie, who has always been thwarted by the stupidity of Pawnee, becoming governor of Indiana. We see a world where, despite still having problems, we find a group of people who are fighting for the right thing, even if they all disagree on what that is. To drive it home, Leslie even quotes Teddy Roosevelt’s line “Far and away the best prize that life has to offer is to work hard at work worth doing.” We see a future where that kind of dedication is celebrated, and that’s what really makes this episode work.
7) Basil the Rat (Fawlty Towers)
The Show: Basil Fawlty (John Cleese) and his wife Sybil (Prunella Scales) run a hotel in England. Basil is an angry jerk obsessed with class mobility, always trying to become one of the elite, but his own incompetence usually dooms him. His staff includes the sensible Polly (Connie Booth) and the hapless Spanish waiter Manuel (Andrew Sachs).
The Finale: A health inspector (John Quarmby) informs Basil that the state of Fawlty Towers’ kitchen is below standard. If they don’t fix the problems in 24 hours, the hotel will be closed. At the same time, Basil discovers Manuel is keeping a pet rat, named Basil, in the kitchen, having been sold it as a “Siberian Hamster.” Basil tries to get rid of it, but Manuel protests and he and Polly hide it in the shed. After Manuel foolishly lets the rat back into the hotel, Basil the human poisons a veal shank in an attempt to kill the rat, but the shank gets cooked by accident. After every customer, including the returning health inspector, orders the veal, hilarity ensues. Eventually, the health inspector is handed the rat, but the cast attempts to cover for it as the episode ends.
The key to Fawlty Towers was the incredible combination of tight writing and amazing physical performances. Each episode typically took Cleese and Booth six weeks to write, which is probably why there are only twelve of them in two seasons over five years. This episode is the pinnacle of that, because all of the beats in the episode have to be precisely timed in order to keep the tension building. In the meantime, all of the characters have to keep scrambling and covering for their actions as they keep trying to find Basil the Rat. It also helps that this episode is the opposite of what Basil Fawlty had been hoping for. Rather than becoming an elite establishment, his hotel is almost closed down for being a dump, and at the end of the episode, it seems extremely likely that it will be shut down. Rather than a happy ending, we get a shot of Basil, having passed out from stress, being dragged unceremoniously from the room.
6) Weirdmageddon (Gravity Falls)
The Show: Gravity Falls is a town filled with strange happenings and mysteries. When two kids, Dipper and Mabel Pines (Jason Ritter and Kristen Schaal), come to stay with their Great Uncle “Grunkle” Stan Pines (Alex Hirsch) for the Summer at his Mystery Shack, they get caught up in the town’s weirdness, along with Stan’s two employees Wendy (Linda Cardellini) and Soos (Hirsch). Their greatest enemy is a dream demon named Bill Cipher (Hirsch).
The Finale: The final episode begins with Bill winning. He has finally figured out a way to enter the real world in his true form and he immediately reveals himself to be one of the most horrifying villains ever to be featured in a show for kids. He and his gang start to wreak havoc upon the town, until Dipper, Mabel, and the surviving cast fight back. Ultimately, they’re able to trick Bill into entering Stan’s mind, which they then wipe, destroying him as Stan’s dream self punches the demon out of reality. Then, finally, the Summer ends and the kids have to go home in a tearful goodbye.
The greatest strength of Gravity Falls was that it always focused on how the characters felt and what they were going through internally more than externally and this finale is no exception. The strength of the episode isn’t just in finally showing us the power of Bill Cipher and having the team overcome him, it’s that the last 20 minutes is just having a slow, sad, emotional goodbye from all of the characters to the two kids that changed the town so much. We see some nice flash-forwards explaining that most of the characters will be okay, and still be the eccentric oddities that we came to love, but also that everyone will be separated in their own lives. Maybe they’ll be together again one day, but it seems likely that this is the end of this story. It ends with a cryptogram that deciphers to: FADED PICTURES BLEACHED BY SUN. THE TALE’S TOLD, THE SUMMER’S DONE. IN MEMORIES THE PINES STILL PLAY. ON A SUNNY SUMMER’S DAY. I’ll admit that I still tear up reading that, because it’s just that adorably sincere.
5) All Good Things… (Star Trek: The Next Generation)
The Show: It’s the 24th Century and mankind has spread itself among the stars, meeting new life forms and threats along the way, and forming the United Federation of Planets. The top ship among the Federation fleet is the Enterprise-D, captained by Jean-Luc Picard (Patrick Stewart). Along with crew members William Riker (Jonathan Frakes), Data (Brent Spiner), Worf (Michael Dorn), Geordi La Forge (LeVar Burton), Dr. Beverly Crusher (Gates McFadden), and Deanna Troi (Marina Sirtis), Picard explores the unknown along the Final Frontier.
The Finale: Picard finds himself unfixed by time, his mind jumping between the present, twenty-five years into the future, and seven years in the past, just before the show’s pilot. These jumps are random, making people think he’s going mad. In the present, he goes to investigate a space anomaly. He then uses a jump to convince his future ex-wife Beverly to travel to the same anomaly, which is happening in the future as well. In the past, he declines to go to the anomaly so that he can have the encounter at Farpoint with Q (John de Lancie), an omnipotent being who threatens humanity. However, it turns out that Q is actually causing Picard to jump through time, telling him that solving the mystery of the anomaly is the only chance to save humanity. Picard discovers that investigating the anomaly is actually what causes it, and sacrifices all three different versions of the Enterprise to stop it. This is revealed to be Q’s test and that Picard passed, saving humanity.
It’s one thing to manage to tie in the themes of a show with the finale, it’s another to literally tie the entire series together into one single cohesive expression of what the show is about. Star Trek has always been about humanity at its best; challenging the unknown, exploring the unexplored, bettering themselves for the sake of being better. This episode reveals that the entire series, from the Pilot to the end, was a test of whether humanity can evolve, with Picard as its focus. Picard proves not only that he can solve a four-dimensional problem, but that he and his crew are willing to sacrifice themselves in three different time periods in order to save the universe. It proves again that humanity has limitless potential both scientifically and socially, if only we can evolve beyond our selfishness.
The Finale: Fry (Billy West) decides to propose to his longtime flame Leela (Katey Sagal), and uses a device that rewinds time by 10 seconds (and has a 10 second recharge time) to set up the perfect proposal. Unfortunately, he ends up breaking the device, trapping him and Leela in a frozen world. Together, they live a long and happy life, until they’re discovered by the Professor, who fixes the device. He warns Leela and Fry that when he undoes the time freeze, it’ll take them back to before the episode started, with no memory of the events. Fry and Leela agree that, while they enjoyed growing old together, they both want to do it all over again.
This show gets bonus points because Futurama actually had four separate finales: “The Devil’s Hands are Idle Playthings,” “Into the Wild Green Yonder,” “Overclockwise,” and then this one. Despite having tried to wrap the show up multiple times, I am always impressed that this one is, in my opinion, the best of the four. It’s not just telling us that Fry and Leela will ultimately find happiness, we get to see them being happy together, with each of them clearly influenced by the other for the better. It helps that so much of the episode is really funny before that. We see Fry messing around with time in a number of fun gags, a throwback to the pilot, and Fry dying multiple times to the point that Leela starts to get bored with it. It’s a solid set of comedic scenes that turn into a sincere and emotional third act, which is basically what Futurama did at its best.
3) Goodbyeee (Blackadder Goes Forth)
The Show: Each season of Blackadder featured Rowan Atkinson as a different descendant of the Blackadder family. This one was a Captain in the British Army during WWI. He was commanded by the incompetent General Melchett (Stephen Fry) and his nemesis Captain Darling (Tim McInnerny). Each episode features his attempts to get out of actually having to fight, usually involving Blackadder’s incompetent aides George (Hugh Laurie) and Baldrick (Tony Robinson).
The Finale: Blackadder finds out that there’s going to be a full-scale attack the next day, meaning that he, along with all of his soldiers, will be running all-out into No Man’s Land. Since all of them will likely die, Blackadder pretends to be crazy in order to get sent home, but it fails. He tries to contact the British High Command to get sent home, but it fails as well. Darling is sent to the front line, despite his attempts to protest, while Melchett sits miles back. George and Baldrick discuss their losses during the war in a humorous way, until finally George admits that he’s afraid of dying. Blackadder and the rest of the group go over the top and are killed, with the shot fading to a silent poppy field.
It was a tradition for each season of Blackadder to end with death, usually that of the entire cast, but it was always done in a comic fashion. This entire season had frequently played off the massive casualties of World War One as a dark joke, which set everything up to do a similarly humorous or absurd conclusion to this season, but instead, they played it perfectly straight. It’s a sad, somber, painful ending to the show. It’s a subversion of the nature of the series, but it fits the theme of the season, that war is hell. The show sacrificed its own cast to make sure that people remember that the price of war is blood and tears.
2) Felina (Breaking Bad)
The Show: Walter White (Bryan Cranston) is a chemist who finds out he has terminal cancer. He decides to partner with his ex-student Jesse Pinkman (Aaron Paul) to make meth in order to provide for his wife Skyler (Anna Gunn) and his son Walt, Jr. (RJ Mitte). He does surprisingly well, eventually becoming a kingpin.
The Finale: Having managed to lose most of his money and betraying Jesse in the last season, Walt threatens former partners to leave a fortune to his son and decides to “make things right.” He rigs a machine gun to a mechanical arm and tries to make amends to his wife for all of his misdeeds, having a conversation in which she points out that his actions were always about him, never the family. Walt goes to meet the Aryan Brotherhood members holding Jesse hostage and uses the machine gun to kill almost all of them, with him and Jesse killing off the survivors. Walt is mortally wounded, but dies smiling surrounded by meth cooking equipment as Jesse escapes.
This episode works on so many levels. First, the title is an anagram for finale and a reference to the song “El Paso,” which mirrors the events of the third act. Like the subject of “El Paso,” Walt dies in the arms of his beloved: Meth. Second, it mirrors the pilot, both beginning and ending with sirens headed for Walt. In the pilot, Walt declines to shoot himself, but here, he dies by a shot from his own gun. Walt even dies in the same outfit he wore in the pilot. Third, it provides a satisfying conclusion to a series that was constantly escalating tension by doing exactly the opposite, being a quiet denouement for Walt after one last blaze of glory. The show was always building towards his death, and Cranston’s final moments on-screen send the character off in exactly the right way.
1) The Last Newhart (Newhart)
The Show: Dick Loudon (Bob Newhart) is a writer who moves to Vermont to run an inn with his wife Joanna (Mary Frann). While Dick is a relatively normal and sane person, the town is populated by eccentric people whose inability to operate within the bounds of reality constantly drives Dick crazy.
The Finale: After years of putting up with the locals, the entire town is purchased by a Japanese tycoon who wants to turn it into a golf resort. While Dick and Joanna make a show of wanting to keep the town the same and refuse to leave, literally everyone else takes a huge payout and vacates. Years later, Dick and Joanna now run their inn in the middle of a golf course. All of their former neighbors pay them a surprise visit, but quickly drive Dick crazy until he gets hit in the head with a golf ball. He then wakes up in bed… as Dr. Bob Hartley, the main character of The Bob Newhart Show, next to his wife Emily (Suzanne Pleshette). He reveals that the entire series of Newhart was just a dream he had, something that annoys his wife when he reveals that he was married to a beautiful blond.
This finale should be terrible, because the idea that the whole series was a dream would normally be stupid or seem like a cop-out. However, The Bob Newhart Show was a series about Bob Hartley questioning his own reality and Newhart was a series where everyone somehow played by rules that defied any established rules of logic, except for Bob Newhart’s character. It not only made sense that Newhart was a dream of someone who constantly questioned reality, it made MORE sense than any other explanation. Bob Hartley always defined himself as the “only sane man” in his life, so he still does that in his dreams. Bob Newhart essentially spent 20 years setting up this punchline across two different series and it served as a perfect finale for both of them. I think it’s telling that after Breaking Bad ended, Bryan Cranston did a “fake ending” where he wakes up as Hal on Malcolm in the Middle that was inspired by this. When the second best ending has to pay tribute to something, you know that thing has to be the best.
Let me know if there are any others that you think I should have added by posting in the comments or on my Facebook or Twitter.
Come along with me to a show that managed to turn every cliche on its head.
Welcome to the Land of Ooo, where magic thrives, princesses are plentiful, and heroes are born. Oh, it’s also Earth after a nuclear war wiped out almost all of humanity. Finn (Jeremy Shada) is the last human and a courageous hero with a love of adventure and fighting. His adopted brother is Jake (John DiMaggio), a magical shapeshifting dog who is laid-back and fairly lazy, mostly because his powers allow him to do almost anything. Finn and Jake act as protectors of the Candy Kingdom, which is ruled over by the supergenius nerd Princess Bubblegum (Hynden Walch). The pair often have to rescue her from the machinations of the Ice King (Tom Kenny), a magical king who is obsessed with kidnapping princesses. Finn is also friends with Marceline, the hard-rocking Vampire Queen (Olivia Olson). There’s also an adorable sentient computer named BMO (Niki Yang), the sarcastic Lumpy Space Princess (series creator Pendleton Ward), the fiery Flame Princess (Jessica DiCicco), Jake’s girlfriend Lady Rainicorn (Niki Yang), and an insane number of recurring characters.
Adventure Time is the ultimate coming of age story, because it progresses in the same way that life tends to progress when going from childhood to the cusp of adulthood. This is embodied in Finn, who ages from 12 years old to 17 during the series and, apparently, 18 in the HBO Max revival that’s coming out this year. Likewise, the show itself starts off as a really simple and childish series about a magical land where dreams come true and heroes and villains are easily discernible. As the show goes on, though, everything starts to get more and more complicated, with the good guys revealed to be morally ambiguous and the bad guys revealed to be more sympathetic or having deeper motivations than we had previously been privy to.
That’s what really makes this show special, because it takes a simple outlook of “good people vs. bad people,” then slowly destroys it, the way that people will need to have it destroyed at some point in their lives. Now, the show doesn’t say that there aren’t truly bad people out there in the world, in fact it makes a point of having a few characters that are just truly bad and never really get redeemed, but it does show that a lot of them have been made the way they are, or that they’re really trying to do the right thing and they just haven’t been able to. Similarly, seemingly good or innocent characters are shown to have selfish or stupid motivations. “People are complicated” is one of the hardest lessons to learn, because even when you know that fact, we often still want to group people into “good” and “bad.” However, that’s rarely ever the case, when you see what made them that way.
One of the other great things about this show is how thoroughly it blends storytelling ideas from throughout history, although it’s almost entirely Western history. We see a lot of influences from fairy tales, because Ooo is a world where you can spontaneously stumble upon an old woman offering cursed apples or magic beans or maybe just a random princess trapped in a tower. The randomness of happenings in the world allow for shorter-form storytelling, because they eschew set-ups. We also see a number of episodes derived from mythologies ranging from Greek and Roman to Egyptian, where our characters are just pawns caught in the grasps of higher beings. Then, there are the more modern stories where the characters are playing video games or addressing fan fiction. By combining all of these influences, the show gains a more timeless quality and a greater level of relevance to almost any viewer.
The animation and the voice action are highly stylized, but that also lets the show play with styles more and convey more visually than many shows could. It mostly does a good job in making body horror and grotesqueries look cartoonish enough that they’re not really scary. The show does frequently do horror storylines or episodes, ranging from possession to murder to existential horror, but despite the darkness, the show’s animation and the emotional resilience of the characters manage to keep it bearable for any viewer. It helps that the show’s storytelling is unbelievably streamlined, with each episode being 12 minutes and yet often feeling like you’ve watched a full normal episode of television. They do this by using a lot of quick cuts and clever visual storytelling tricks to convey massive amounts of information in a few seconds.
The main reason why I want more people to watch this, aside from helping any viewer with their emotional development, is that the show teaches a valuable lesson that most shows can’t teach because they don’t grow the way this show does: Even though life is complicated, you can always keep fighting to do the right thing. What is “right” will always change as you get more information, so it’s tempting to just not learn more, but it’s better to learn and grow and change yourself. The right thing isn’t usually the easy thing, particularly when you have to accept that you might have been wrong in the past, but the world works out better for everyone, including you, when you work to change it for the better.
The downside to the show’s brilliant structure is that the beginning of the show is extremely childish and simple, with humor that often is in the same vein. In other words, some of the episodes just aren’t that fun to watch for adults until around Season 3. If you want to just spend 15 minutes to test if the show will be for you, I would recommend watching the Season 3 episode “What was Missing.” If you like it, give the show a try. If, after seeing that, you want to get into the show without having to go through all of the early episodes, I recommend the following episodes in Season 1:
“The Enchiridion,” “Ricardio the Heart Guy (it’s got George Takei),” “Evicted,” “What Have You Done?” and “His Hero.”
For Season 2:
“It Came From The Nightosphere,” “The Eyes,” “To Cut a Woman’s Hair,” “The Silent King,” “Guardians of Sunshine,” “Death in Bloom,” “Susan Strong,” “Heat Signature,” and “Mortal Folly/Mortal Recoil.”
So, if you just watch those episodes, you get most of the show’s set-up, but you only need like 3 hours to do it. Once you get to Season 3, the show quickly starts to get much stronger, especially when you get to “What was Missing,” and “Holly Jolly Secrets,” an episode that I put on my list of the best episodes of television.
Overall, this is one of the best shows I’ve ever seen and the fact that it’s still going brings me nothing but joy. Please give it a watch.
Hey, guess what? YET ANOTHER ADD-ON. This makes 5, and this one’s actually a double. Aren’t you folks lucky that you’re getting so much more content that I’m pretty sure nobody reads? (Update: Okay, so, I do have readers now. And they’re all smart and attractive.). While one of these, “Holly Jolly Secrets,” did air before I wrote the original list, despite its merit, it didn’t become one of the best episodes ever until its emotional set-up was finally, truly, cashed in on by “I Remember You.” Since this is an add-on, I’m going to just go ahead and pair them. It’s my list, I do what I want.
Adventure Time started as the single most generic fantasy show ever. It takes place in the enchanted land of Ooo, which is populated largely by princesses, magic creatures, and
whatever random thing can have a face drawn on it. However, it also is one of the best examples ever of the term “Cerebus Syndrome.” Cerebus Syndrome is named after a comic called Cerebus the Aardvark which started off as light and fun stories of a mischievous aardvark, then eventually revealed that all of the light and fun stuff had actually had huge consequences resulting in literal genocide, and ends with the main character being dragged off to what appears to be Hell. Basically, it’s when something moves from “kids’ show” to “adult,” or, if you’re from my generation, it moves from “90s Don Bluth” to “80s Acid-tripping Don Bluth.” The whole process of tone shift starts when it’s revealed that Ooo is not a different world, it’s actually Earth after the “Great Mushroom War,” which is revealed to be the nuclear war that blew a visible chunk out of the world and poisoned everything. Again, kids’ show.
The main characters are: Finn the Human (Jeremy Shada), a young boy, later a young man, originally believed to be the only human; Jake the Dog (John DiMaggio), his shapeshifting “brother;” Princess Bubblegum (Hynden Walch), the science savvy but ethically-challenged-at-times ruler of the Candy Kingdom; Marceline the Vampire Queen (Olivia Olson), the 1000-year-old half-demon rock goddess; BMO (Niki Yang), an artificial intelligence robot with a child-like mind; and the Ice King (Tom Kenny), a crazy wizard with ice powers and an obsession with kidnapping princesses.
“Holly Jolly Secrets” starts off with Finn and Jake digging up a box of VHS tapes that the Ice King had buried. They return home to watch them, only for the Ice King, who doesn’t remember burying them, to find out that Finn and Jake are watching “secret tapes” and wants to join them, unaware that they’re his. The episode mostly focuses on Finn and Jake listening to these tapes, which turn out to be Ice King’s boring video diary, while Ice King schemes to get into their house, using various Christmas themes (despite the fact that Christmas doesn’t exist in Ooo). Eventually, however, they get to the last tape, and the episode suddenly shifts. The last tape shows a man who vaguely resembles the Ice King. The man identifies himself as archeologist Simon Petrikov, a man who bought a crown and put it on as a joke for his girlfriend. It turns out that the crown is cursed, and, while it gives him ice magic, it also drives him slowly insane. As the tape plays out, we are shown a man slowly losing his grip on reality, his form shifting more and more to resembling the Ice King, and the background showing us the apocalyptic war, until finally, Simon is shown screaming that he knows he’s going to “do things that hurt [people]”, and he begs their forgiveness because he can’t help it. At the same time, we’re shown that he also is screaming for his lost “princess,” his fiancé Betty, explaining why he feels a compulsion to kidnap princesses.
Now, up until this point, the audience didn’t really know much about the Ice King except that he’s weird and often the antagonist. In this episode, we find out that he’s literally the victim of something out of his control, and he’s screaming for help from within the labyrinth of his mind. A later episode shows that this is literal: His mind lives inside a maze in the crown that he cannot leave. It’s rare for any show to so completely re-contextualize a character, and this show does it in 30 minutes. An amazing accomplishment, managing to show that the villain is just another victim, and reminding the audience that the people we think are evil may just be in pain. This would be a fine set of laurels to rest upon with Ice King, but the writers decided to one-up themselves hard in the episode “I Remember You.”
“I Remember You” starts with the Ice King wanting to write a song in order to get the princesses to like him. This is a weird, but childish premise. He then decides to grab a bunch of his “old lyric notes for inspiration” and solicit Marceline the Vampire Queen for help. When he arrives, he is confronted by Finn and Jake who try to drive him off before being told by her that Ice King can stay. Finn and Jake leave, and Ice King starts to sing a song about his love of princesses, which slowly devolves into him crying about how alone and unloved he feels before randomly lashing out. Marceline tells him to “stop acting crazy,” and the Ice King flees her, scared. Marcy sings the song “Nuts” which reveals that she has spent 1000 years periodically trying to hang out with him, but that his insanity inevitably drives her away until he tracks her down again. But, despite that, she still loves him and is happy to see him, leading her to question if she’s actually the one who’s crazy for her lack of self-preservation instincts. She then confronts him with his real identity, Simon Petrikov, only to find that despite his predisposition to find her, he doesn’t actually remember their history together or even his own.
Okay, so, this is pretty sad so far, but not into “I’m going to drink another beer and two shots after writing this review” sad. But, unfortunately for my liver, Marceline then finds that, among the papers that Ice King brought over is a letter addressed to her as a child, apologizing for what he is going to do. Ice King, not realizing it’s a letter, convinces her to sing it, leading to one of the most heartbreaking songs I’ve ever heard, including the chorus “Please forgive me for whatever I do… when I don’t remember you.” The audience is then treated to a flashback of a child Marcy standing alone in the wreckage of the nuclear apocalypse, being given a stuffed animal by a still only partially cursed Simon Petrikov, with us knowing what he’ll eventually deal with.
It’s Alzheimer’s. The episode is about Alzheimer’s. The writers may not have intended it, but they nailed it. Ice King’s condition, while it makes him feel sad and alone, is more torturous on those who love him and have to see how he is just an unstable shadow of his former self than it is on him. You will hold out hope that maybe they can see you and remember you, and maybe for a few minutes you can feel like they do, but then they slide back into delirium and it breaks your heart all over again. Sometimes they’ll be afraid of you because you’re a stranger to them. Sometimes you’ll see them believe that there’s nobody who loves or cares about them because they just don’t remember it. And sometimes you’ll be standing in front of someone, knowing that they’re here, but not really here. You’ve lost them without losing them. This episode does in 12 minutes what entire books on the subject have trouble doing. If you aren’t heartbroken at the end, I don’t know if you’re human.