It’s been a few years since the end of the show and Kimmy Schmidt (Ellie Kemper) is a successful author and getting married to her English fiance Frederick (D–Censored for Surprise–e). Her former roommate Titus Andromedon (Tituss Burgess) is trying to get his film career started with the help of his manager, Jacqueline White (Jane Krakowski), and his former landlady Lillian Kaushtupper (Carol Kane). However, Kimmy finds a book in her backpack that forces her to once again deal with her nemesis and former captor the Reverend Richard Wayne Gary Wayne (Jon “Sexual Dynamite” Hamm).
I’ve enjoyed most of the Netflix Interactive specials so far, from Black Mirror’s film Bandersnatch to the Carmen Sandiego episode, although, honestly, the best thing they’ve put out in the format is probably Minecraft: Story Mode. However, in a lot of ways, this one is the most fun because it’s really just like an extra-long and meta-textual episode of Kimmy Schmidt.
Unlike Bandersnatch, which was largely based around playing through it a number of times to get all of the various endings (including some that were only accessible on a second or third playthrough), Kimmy Schmidt decided to make it fairly easy to get through on the first viewing. Since the episode’s framing device is a choose-your-own-adventure book, whenever you have a choice, you typically either get it right or you get to a dead end and the show resets back to the divergent point so you can go forward. If anything, it’s actually more fun to make the wrong decisions throughout the episode so that you can see all of the hilarious alternate endings. Theoretically, you can get to the end and get one of what I think are 3 wrong endings, but it’s actually harder to NOT get the happy ending in this particular instance.
As to the episode itself, I’m impressed with how well they managed to keep the timing of the humor despite how often the episode has to stop for 10 seconds to give the viewer a chance to select the next scene. A lot of that is just that all of the actors in the show are amazingly talented comedians who have a natural sense of timing and tone, but also the writing is appropriately snappy.
It also helps that this serves as the epilogue to the show that manages to, seemingly canonically, add an extra happy ending onto the tale of a woman who deserves it. Even though we have never met Kimmy’s fiance before now, D—– ——–e manages to be charming, hilarious, and just as weird as Kimmy, making it a match made in heaven. Titus and Jacqueline similarly get a nice final chapter to their story that feels earned. Lillian… well, she’s hilarious and doesn’t need another chapter.
Overall, I really recommend it to anyone who watched the show. I will give you two tips: 1) Try to skip the intro song. You will be pleasantly surprised. 2) When you get the option to spare or kill someone… kill them all the ways you can. You will be VERY pleasantly surprised.
Neil Gaiman and Terry Pratchett’s collaboration is brought to the small screen.
In the beginning, God (Frances McDormand) created the heavens and the Earth. This is generally regarded as a bad move. God then created people, which is just a giant mistake, because have you met people? Although, it did give us Douglas Adams, so maybe that’s a push. Well, in any case, people quickly got kicked out of paradise due to being tempted by a demon in the form of a snake. That demon, named Crowley (David Tennant), was sent to Earth by the forces of Hell to stir up trouble. Meanwhile, his counterpart, the angel Aziraphale (Michael Sheen), who was supposed to guard the gates of Eden, is stuck on Earth opposing Crowley. Over the millennia, the two have grown fonder of Earth, and of each other, than they are of either Heaven or Hell. However, it turns out that the apocalypse is drawing nigh, so the two are determined to work together to stop the antichrist (Adam Taylor Young) from accidentally ending the world, along the way meeting one of the last witchfinders (Jack Whitehall) and a witch (Adria Arjona) following a series of prophecies by her own great-great-great-grandmother (Josie Lawrence).
I always compared Good Omens to the song “Under Pressure.” It’s thoroughly enjoyable, to be sure, and the product of a collaboration between two absolutely brilliant minds, but it’s not the best product of either of the authors. That said, it’s still a really fun book and has a lot of amazing character moments that clearly arise by having the creations of two very different writing styles interacting. One thing that consistently works about the book are all of the fun intercalary passages depicting the strange things happening as the world approaches the end times and all of the fun prophecies put forth by Agnes Nutter.
This TV show is a solid adaptation of the material, but the material is difficult to adapt. The beauty of much of the writing of Good Omens is the almost lyrical language that the two authors carry into the narrative and the multitude of fun, well-developed characters. Even with the huge amount of narration in this series, it’s still tough to get the humor to the screen without literally reading the entire thing. The series manages to do this well enough, mostly through having a lot of clever cuts and framing devices for different scenes. The fact that most of the characters are color coded and heavily distinctly costumed also helps to elaborate on their backstories without having to dwell on them. I particularly love what they did with the Antichrist’s friends, coloring them as the horsemen of the apocalypse. The thing is, though, they still can’t quite visually represent the same level of quirky humor and the endearing descriptions that are found in the novel. The show is definitely cute and funny, but only a handful of the scenes have any real staying power and only a few of the jokes really showcase the strengths of the source material.
There are a few highlights, though. First, Tennant and Sheen are just freaking magical in their scenes together. They really manage to convey “best frenemies” perfectly, with each of them clearly caring deeply for the other while making a show that they don’t. It’s pretty much summarized by a scene in the first episode where Aziraphale fiercely says “Get thee behind me, foul fiend,” before politely inviting him to enter the building, saying “after you.” One of the best sequences in the series is a depiction of their history from Egypt through the French Revolution.
Another highlight is that some of the characters are really well designed, particularly the demons. Almost all of the demons who are associated with flies are found with some type of insectivore living on their person, which is just funny. The angels are similarly depicted as being fussy and obsessed with order, particularly Gabriel (Jon Hamm), who loves human suits.
The side-stories aren’t quite as good visually as they were when being described, mostly because a lot of them were just designed to be quick jokes that just colored the world, whereas the TV format kind of forces a little more time on them just to justify the expense of setting up the scene.
Overall, it’s not the best show on TV, but it is definitely a pretty solid one. It’s fun and that’s about all it needed to be. I’d say give it a try if you have the time.
When people remember Mad Men, the most vivid scene is probably when a secretary takes a John Deere mower for a ride inside the office and accidentally cuts off half of the foot of the new industry up-and-comer. Gonna need more than a few drinks to deal with that kind of injury. That same guy, whose name is “Guy” because f*ck subtlety, is then written off by all of the executives because they believe that he won’t be able to charm clients without his toes. The scene embodies the soulless nature of the advertising industry, a recurring theme in the series, and is absolutely not in this episode. But that was an awesome episode too.
This one was actually written down on my list as “Nixon v. Kennedy,” but that was a very different episode. I can only assume that I had been high on painkillers and mixed it up because this episode involves the Ali v. Liston fight in the background, the way that the election is on in the background in that episode.
I’ll remind you: Dilaudid is a hell of a drug.
Fortunately, I re-watched the episode before writing the review and realized that I had the wrong episode. Unfortunately, re-scoring it during the watch-through also kept it out of the top 10.
Okay, so, the premise of Mad Men is that it takes place at a Madison Avenue advertising agency, Sterling Cooper, now Sterling Cooper Draper Pryce (SCDP for short). The main characters are: Don Draper (Jon “I’m tastier than my last name” Hamm), a former soldier turned advertising superstar whose backstory was literally stolen from a dead man; Peggy Olson (Elisabeth Moss), a secretary turned copywriter who has had to fight against the clear double-standards of the 1960s to get to where she is; and a bunch of other great characters who aren’t really in this episode, sorry. Watch the show.
The opening shows that the entire office is fairly anticipating the fight between Ali and Liston, while Peggy is anticipating an intimate dinner with her boyfriend for her birthday. Don places a heavy wager on Liston to win, believing that Ali is just a gimmick.
There’s a brief discussion by the various ad men hanging around the office about who is going to win this fight, before Don calls in Peggy and the Samsonite Suitcase ad team. They pitch an ad to Don set to feature Joe Namath, which Don rejects, because Namath hadn’t even played a Pro Game yet, endorsements are lazy, and women don’t buy suitcases. Peggy responds that much of that isn’t true, but Don kicks her out of the office.
Peggy then gets a job offer from “Duck” Phillips (Mark Moses), a former Co-worker Don had removed from the firm who Peggy had once dated. Duck makes an offer to put her in charge of women’s products at a new firm. Peggy doesn’t give him an answer. On her way to her birthday dinner, Don grabs her to work on the Samsonite pitch, saying that all of the work she put in so far was essentially worthless.
Peggy tells her boyfriend she needs to stay a bit later, but eventually he reveals that he brought her family, whom she hates because they oppose her working, leading them to break up over the phone. She reveals this to Don, who didn’t remember it was her birthday. The two argue briefly over Don’s treatment of her, before Peggy points out that Don just won an advertising award for an Ad that she had proposed. What follows is one of the best exchanges in the show:
Don: “It’s your job! I give you money, you give me ideas!”
Peggy: “And you never say thank you!”
After this, the pair make up over listening to one of the other partners’ dictation about the Senior Partner losing his testicles due to an unnecessary medical procedure. They then spend the evening at a bar confessing secrets to each other. Peggy says that everyone in the office assumes that she slept with Don to get her job, though Don declined her advances when they first met. Peggy’s family even assumes Don was the father of Peggy’s bastard child, though he wasn’t, just because Don was the only person who visited her in the hospital after she gave birth.
Don gets drunk and has to be carried back to the office by Peggy, where they encounter Duck Phillips, who is there to take a crap on Don’s chair for firing him. Don and Duck fight over Peggy, with Duck winning, standing over a beaten and humiliated Don. Peggy kicks Duck out and she and Don pass out in the office together.
Later, Don makes a phone call to the niece of the real Don Draper to confirm what he already suspected, that the real Don’s wife, Anna, is dead. Anna was pretty much the only one who knew Don as both his original self, Dick Whitman, and his current persona of Don Draper. Don breaks down crying because the person who knew him best is dead, but Peggy reminds him that someone else still knows him. Don shows her his new Samsonite ad idea, based on the famous photo of Ali standing over Liston.
This episode, as I said before, takes place during the 1965 Ali v. Liston fight. Boxing fans will remember that the first fight, Clay v. Liston, was controversial, to say the least. Liston gave up in the 7th Round, claiming a busted shoulder, but apparently didn’t believe that Clay was actually the better boxer. Rumors abounded: Claims that Liston threw the fight because he had a guaranteed re-match in the contract that would be worth more, accusations that Liston’s cornermen had blinded Clay in the fifth round, allegations that Clay had the Nation of Islam pre-injure Liston’s shoulder, etc. All the crazy stuff that follows an unusual public event. So, much of the public disregarded the first fight, placing all the pressure on the one in this episode.
This was the real fight. This was going to be the big money match between the scrappy newcomer with unbelievable talent, and the experienced veteran champion who had never been knocked out. It’s a not-so-subtle metaphor for the rest of the episode’s exchanges between Peggy and Don, even if the fight itself is represented by Duck vs. Don in the Fight of the Office Drunks.
This episode starts to shift between Don being the up-and-comer he seemed to be at the beginning of the series and his new role as part of the old guard, now being challenged by the new world that Peggy represents. During the episode, Don picks Liston to win the fight believing that Ali is all hype, and shoots down Peggy’s idea to have Joe Namath endorse a product. Both of those were mistakes, in retrospect, and, since the show is set in the 60s, the audience already has the benefit of that very hindsight. Don’s dismissal of both Ali and Namath is based on the idea that they’re too young, too new, and trying to have it all too fast, the same things that he sees in Peggy.
Don and Peggy are both right about the award-winning ad. Peggy came up with the image of a child being kept in the closet while his mom waxes the floor, Don wrote a commercial story about it to promote Glo-Coat floor wax. Peggy thinks that, since it was so amazing, she deserves a thank you, whereas Don points out that she was just doing her job. It’s an impressive sequence that really shows how the two view each other at that time. However, by the end of the episode, some of that has shifted. Don has fought for Peggy (though he lost), and Peggy has opened up more to Don as a person, not a subordinate.
The thing is, as much as the two may represent different generations and the classic struggle of succession, the episode also points out that Don and Peggy are extremely similar. Both watched their fathers die. Don faked his death to get away from his family, and Peggy essentially dumps her boyfriend to get away from hers. Don had to overcome being born a poor farmer, Peggy had to overcome being a Catholic woman in the 1960s. Much like Ali and Liston only could fight all out because they were both world-class boxers, Don and Peggy can only really bring out each other’s best and worst because they’re so similar. And they’re both the people that each one trusts the most, even if they argue.
This episode is about one of the most unique relationships in any television show, and it really managed to explore it, deepen it, and reframe it all at once. Plus, it has some of the best random humor moments in the show to break up the tension.