Archer - "Fugues and Riffs" - Review

Archer could have chugged along as a better than average spy spoof, but as the series went on it became something more. The dialogue became sharper, the cast deepened and expanded, and the scenarios became increasingly more outlandish and absurd. Carried by some of the best voice acting on television, Archer became one of tv’s best animated series, and arguably one of its best comedies.

Few series could get away with the totally bizarre premise of “Fugues and Riffs”. H. Jon Benjamin who voices Archer, also voices Bob Belcher from another very different animated series Bob’s Burgers. Benjamin’s inimitable voice work doesn’t change too much from one show to the next and fans have commented on just how similar, when you get down to it, all his performances are. So Archer goes undercover as Bob and loses his memory of ever being Archer. When KGB spies track him down and try to kill him, he flees the restaurant to protect what he believes to be his family (the way they translate the Belchers to the very different animated style of Archer is a thing of beauty).

Meanwhile back at ISIS, the rest of the spy organization is scrambling to find and deal with the consequences of Archer forgetting who he is. The series gets away with how totally implausible and weird the plot is by just running with it, accepting that it doesn’t make sense but acting as if the audience honestly won’t care. One explanation after another is quickly given to us until mad scientist Krieger describes to us how Archer must be in a fugue state that needs to be delicately handled. 

Everyone follows Archer to the hotel he’s shacked up in, in order to jog his memory. Lana befriends him, and Cyril and Krieger pretend to be KGB chasing him. But then real KGB pop up and complicate the whole matter. And it quickly devolves into a ridiculous fight sequence by the pool with everyone yelling at one another. 

This may just be the show’s most awesomely crazy scenario yet (and that’s saying something for a show that sent its cast into space). While there’s probably a tad too much set up to get to the meat of the story and that leads to less jokes than usual, it’s uniquely, strangely, darkly comical.

Stray Observations:

-John Roberts’ Linda Belcher gets in some good lines for her brief appearance: “Were you speaking Russian?”, “When you gamble?”

-“Ostrich. They’re good. Shut up!” – Somehow I always buy into Cheryl’s quirks no matter how flat out odd they are.

-“Said the fake doctor” “What are your parents’ names?” –Krieger and Cyril’s fighting prove to be some of the episodes funniest lines.

-Also: “His mind-brain is rejecting his real identity” “Mind-brain? That’s a real thing?”

-“Have you ever met anyone less damsely?” “Pam”

-“Sour mix in a margarita? What is this Auschwitz?”

-“Oh, why don’t you just join a support group?” “What for crippled gay hillbilly spies?”

-“You hate everyone at work” “That’s what gets me up in the morning”

Grade: B+

What did everyone else think?

The Vampire Diaries - "After School Special" - Review

The Vampire Diaries is the type of series that’s twist and turns if done improperly could take it off the rails. This season has been heading back into guilty pleasure territory with the sire bond and vampire cure stuff. Having Elena sired to Damon is frustrating and infuriating and feels like bad writing; it seems to completely take the decision out of Elena’s hands. The vampire cure on the other hand comes off as an all too convenient way to retcon things back to status quo, which is a shame because the show has been great at demonstrating good, believable character evolution (Look at how much characters like Tyler, Caroline, and Damon have changed over the course of the series).

As bad of a plot decisions as I initially found them to be though, the writers have dealt with them incredibly well. The sire-bonding has thrown into examination the love triangle in a surprising way. “O Come All Ye Faithful” brought out an interesting side of Damon, who finally having what he wanted still struggled to do the right thing because Elena’s love still may not be real. Here the Stefan-Elena side of the question is put into focus thanks to a conniving Rebekah. Brought back to life by the most useless character April, who now finds herself relevant to the plot finally, Rebekah feeds on April’s desire for the truth to get what she wants. She brings Caroline, Elena, and Stefan to the school and compels them to ask her questions. She mainly wants to know the deets on the vampire cure, but she’s not beneath fucking with them while she’s at it. We finally get the answers we want about what’s what here, and though it’s based on prior information about what we knew about Elena’s feelings towards each side of the triangle, the shift towards Damon does feel SUDDEN (Is this meant as an excuse to get Stefan and Elena back together when the cure is found?). Totally helpless, Elena reveals that she feels like she’s merely Stefan’s “project” and that to him she needs to be “fixed” like a “broken toy”. She may still “love” Stefan, but she’s not “in love” with him anymore.

The vampire cure has suddenly given everyone purpose. Everyone and their mother wants it. Klaus wants it to keep making his hybrid army. Stefan, Damon, and Jeremy want it so, for various reasons, they can cure Elena. Rebekah wants it to cure herself. Shane wants it so he can unearth that crazy beast Silas (Next season’s villain?).

Bonnie has never really worked as a character. Too many times she’s been at odds with our protagonists, and for questionable reasons. Now here she is being manipulated by Shane to use “expression” (I don’t care how desperate you are for magic. How do you not get suspicious when you’re sessions entail you falling asleep for multiple hours while the guy roots around in your mind?! You barely know him!). She goes out of her way to use a protection spell on him, but the “expression” magic leads to April being linked to Shane, and her nearly dying. Bonnie ends up swearing off this “expression” stuff, but since a Bennett witch is required to use this kind of magic to get the cure, I doubt that’s going to last long.

Jeremy’s training to control himself while hunting vampires is a slow moving process. Too slow for Klaus anyway, who by episode’s end has created a new batch of vampires to speed up the process of revealing the tattoo map. And Damon is cool with it now because Elena has admitted that she’s in love with him. This story didn’t work for me. It was too disconnected from all the rest of the action, and not much happened other than a pizza delivery girl turned vamp attacking Jeremy and Matt, which felt clumsy and pointless. The plot was too shoehorned into the narrative (they probably could have just set it aside for the episode, but that would mean Damon wouldn’t be in the picture and that would be impossible with the love triangle stuff at the forefront).

The episode was mainly an excuse for the writers to deal with the love triangle head on. “What does this have to do with the cure?” an ever defiant Caroline asks after a heated, personal line of questioning from Rebekah. Rebekah would be angered enough to just twist the emotional knots in Stefan (who daggered her last episode) and Elena, and so it lends the right amount of justification to have a character ask what’s all been on our minds. That’s good, smart writing that puts everything into sharper focus. Otherwise this is typical, boilerplate Vampire Diaries tightly written and edited, intense, and fun.

Stray Observations:

-April has been tacked on in a really awkward way. Connecting her to the pastor was a good idea, but the writers never followed through with it. And so she’ just sort of been there with no real purpose or point.

-Oh, and we finally meet Bonnie’s dad Rudy Owens who is Interim Mayor in the wake of the death of Mayor Lockwood.

-Speaking of the Lockwoods: Tyler is compelled to turn by Rebekah to imperil everyone else. And he never thought he’d have to again! At least, he has Caroline to comfort him afterwards.

-“Both of which require you to be alive. That’s why I’m updating our relationship status to ‘It’s complicated’”

-Damon shoots Klaus for killing Carole Lockwood. *slow claps*For all you Damon haters out there: HE’S TOTALLY NOBLE!

-Kol returns as well, and he kidnaps Shane, but otherwise he’s mostly perfunctory.

-“Being with Damon makes me happy” “Oh come on! Clowns make you happy!”

-As poorly done as the pizza girl sequence was, her initial failure to gain entry until Jeremy (the owner of the home) asked her in was a nice piece of writing and a good callback.

Grade: B+

What did everyone else think?

"Battle Royale" - Film Review

 

Consider for a moment how many movies and tv shows feature a gun. Now consider how often when a gun (in the Chekhov-ian fashion) is then used to kill someone or least harms them. It’s substantial, but critics of pop culture’s effects on gun violence in the country miss the point. Gun violence’s excessive depiction isn’t the cause of all that gun violence in real life, but that doesn’t mean it’s not troubling. The more rape, murder, violence, etc. we show on tv, the darker and bleaker the world seems. Studies have shown that people who watch more hours of tv tend to find the world a scarier and more harmful place.

It becomes harder to justify violence when there’s simply no point to having it. Violence and gunplay in pop culture shouldn’t be there simply because c’est la vie. But rather, they should be there to make a statement about the nature of violence or some other worthy subject matter. 

All this is a longwinded way of saying: Battle Royale is pretty fucking violent. The film takes a gleefully sardonic, darkly humorous approach to watching 40 kids murder eachother Hunger Games style.

The film is highly self-aware of the absurdity of its premise of a dystopic death match staged by the Japanese government, and it spends very little time establishing its premise and more time throwing the kids right into this mess most of them never wished to be part of. Drugged on a field trip, the middle schoolers are shipped off to a deserted island, attached with tracking collars (that explode when taken off), and are informed they’re to fight to the death. 

The goofy, tongue-in-cheek, graphics-filled training video explains the nature of the games; they’ll be assigned a backpack with food, water, a map of the island, and a randomized weapon (ranging from guns and knives to stranger things such as crossbows, tasers, and a GPS tracking device). Within the next 3 days, if someone hasn’t killed everyone else off, they all die. Two “transfer students” have also been brought in to make things more interesting, including level-headed loner Shogo Kawada (Taro Yamamoto) who’s been forced to return to the game and the villainous, sadistic Kuzuo Kiriyama (Masanobu Ando) who’s joined for the fun of it.  Their former teacher turned douchey rogue villain Kitano (Takeshi Kitano) lords over the game, announcing when different regions of the island have been made off limits.

Our ostensible protagonists are Shuya Nanahara (Tatsuya Fujiwara) and Noriko Nakagawa (Aki Maeda), who, after watching their best friends die early in the game, team up to try and survive. And, by all logic, it’s impressive that they do. Early in the film, the story feels like a string of vignettes of people fighting and killing eachother in inventive and bloody ways. If it weren’t so stylishly shot and the premise weren’t stretching plausibility to begin with, the film might have become plain disturbing or silly or bizarre. However, it stays just on the right side of crazy. Unlike films such as much of the Saw franchise or Hostel which feature a torturous, almost obscene level of violence and blood at the expense of their characters, the film’s violence never feels pointless and is never used merely to provoke.

This is a bloody, bizarre, stylish rumpus that’s massively entertaining but not lacking in smarts. 

Grade: B+

Modern Family - "Party Crasher" - Review

For a show like Modern Family, there’s usually a theme (or moral to the story) for each week’s episode. And the montage at the end of the episodes with the voiceover sometimes feels grafted onto the episode, when in fact many of those stories for the week don’t exactly fit together. In other instances, sometimes the montage (like in last week’s “New Year’s Eve”) fails to capture the theme as nicely as they could, which is the case for this week’s episode. To me it’s obvious though, it’s not “milestones” as Jay tells us at the end, but “kids”.

The series has constantly returned to the well for stories on parent-child relations to make the point of how important they are. At its heart, the show is about family and why we care about our family. We’re meant to understand that even when they’re at eachother’s throats that the Dunphy, Pritchetts, and Delgados are one big, weird, happy family. But it’s not enough to say: “Okay, this is a functional family unit that likes one another”; we have to be given proof, and much of last season failed to give me proof and then attached a sentimental moment and a voice-overed montage and simply expected me feel all warm and cuddly about it. But that’s not the case; the groundwork has to be laid out for the dust levels in the room to start suddenly rising. The series has been doing a much better job of this this season, and it’s been doing it most successfully when it confronts its parent-children relations.  

Jay and Gloria are about to have a new kid. Their story is all about what having a new kid is going to entail for life once it arrives. Manny is feeling neglected, fretting over the soon to be here baby. Jay and Gloria get to have another adventure, and Gloria thinks that this type of adventure (where they do a lot of illegal things – including stealing a cake, and illegally exiting a parking garage) won’t be happening anymore. Jay, however, lets her know that that’s simply not true. Having a baby is a new adventure, even though it’s not exactly the same as the adventures they had today. 

Sometime down the line that baby is going to be Lily, a precocious toddler stirring up trouble. Mitchell can’t figure out what’s wrong with Cam. He believes that Cam still isn’t adjusting to work. Turns out though that Cam’s doing fine at work (as his surprisingly good troupe of acapella singers prove), but feels that now his relationship with Lily is being hurt for it. Lily stages a wedding where she “marries” Mitchell, and Cam wonders why she didn’t choose him. Cam keeps accidentally hurting Lily in his attempts to feel included. Of course Cam is just going a little crazy and being a little obsessive. Well, kids can do that to you.

Much further down the road, your kid is going to be Haley. They’re going to grow up and all that baby and toddler trauma you’ve put yourself through to raise them will be in the past. But as a parent, your responsibility to your kid isn’t going to end. Haley is dating a slimey jean designer from the store she works at. Phil wants to nip it in the bud immediately, but Claire knows that if she lets this simmer for a bit that Haley will show her hand and run like hell away from this jerk. Haley eventually does, but she’s angry at her parents for not intervening and for treating her differently since she screwed up at college. Without realizing it, Phil lets her know that she’s always going to be his little girl, and nothing is going to stop him from looking out for her. 

The series parallels its stories really well when it wants to. Sometimes it’s far too blunt with these connections of people doing similar things or dealing with life events at different stages. Here it’s almost too subtle with the point. That milestone crap Jay spews out at the end only fits because the baby arrives, and on some level the Laws of Sitcom demand we’re force fed a message about how damn significant this moment is, as if we’re not already clear on that fact. What’s more interesting to me is what the forthcoming of such an event does to people. How do people react to this, and how does it cause them to reevaluate their own lives? We got that in the above three stories. Though it wasn’t Modern Family’s best or funniest work yet, it handled these stories nicely. But that’s the point the show is at in its lifespan. It’s ceased to be as consistently funny as it was when it first started, but the creative forces haven’t given up on effectively telling stories about these characters, who, when dealt with properly, are fun to spend time with. 

Stray Observations:

-Sarah Hyland and Ty Burrell have been having a great season this season. And here they totally sell the wonderful emotional moment where they admit their true feelings about Haley’s douche boyfriend. Great staging as well with the elevators. Even when the series fails to be as funny; when its still telling its stories well, it usually does some nice emotional work and this season has a lot of memorable, touching moments.

-I don’t know about everyone else, but I loved the jean related jokes: “What are you 32-34?” “What are you 36-38?”, “Just trying to get into girl’s jeans”, “I had to reach underneath your jeans”

-“We always knew there’d be a strong possibility she’d be a bad driver”

-My notes on Jay and Gloria’s illegal rumpus: “STEALING CAKE!” How does a series with such a black and white view of things make no commentary on the questionable nature of what they did? It usually skirts that line, but doesn’t cross it.  
-Jay and Gloria's new baby is here! We'll see how well the show handles this.

Grade: B-

What did everyone else think?

Happy Endings - "The Ex Factor" - Review

Here I’ve been badmouthing Happy Ending the past few episodes, and then it goes and does “The Ex Factor”, one of its best episodes to date.

I enjoyed all three of the stories, but let’s start with Penny’s because it’s really at the heart of why this episode is great. Penny’s boyfriend feels like they only hang out with Penny’s friends. He asks if they can hang with his friends for once. Penny dislikes the idea but agrees to it anyway. When they’re hanging out with them, Penny assumes their crazy and weird like her own friends, but turns out their pretty normal (they enjoy discussing the debt ceiling! How more normal can you get?). She immediately pegs the guy who talks about the debt ceiling to be Dave (because he’s talking about something she thinks no one cares about). But then the rest of the group says that nope that’s the sort of thing that matters to them. When another friend spills wine on themselves, she loads on her not realizing that they don’t make fun of other people at their expense. Penny is BAFFLED. What sorcery is this?! Penny is the meta-commentator for this episode. She’s the oddball in this group of normal people, and her awkwardness and feelings of not fitting in show just how damn bizarre and dickish the Happy Endings friends can be. It’s only to them that their antics seem normal (“No hijinks or taking a miniature pig to a car dealership to make point on gender roles?” Penny asks aghast).

When Penny returns to the other two stories and begins making meta-commentary on them, the payoff is so good, so funny, and so in line with the sort of humor Happy Endings does well that it ties together an episode that was already very funny, and very well-grounded. 

Brad, meanwhile, doesn’t want to have dinner when Jane’s ex comes to town. But he changes his mind when he discovers that Ryan is actually a girl who Jane dated during her lesbian phase. Now he wants to hear all the dirty, sexy details of their relationship, but ends up being turned off when he finds out that they told eachother that they “loved” eachother way back when. Brad, of course, doesn’t take this well, and invites his own ex over the next night. This devolves into an incredibly uncomfortable dinner party.

Penny doesn’t possibly think the other story could be any more interesting, and she’d be wrong. Max has a new roommate who’s very cool, but he never sees. Dave and Alex find him so cool; they convince Max to try to hang out with him. They wait up for him as an excuse to hang out with him. But his roommate is nowhere to be found, and so they track him down. Only to discover that he’s been using the apartment to secretly cheat on his wife, crashing his date and wrecking his marriage.

The Happy Endings gang (who need to get some official name coined for them. Somebody get on that!) is not exactly the most likable group of people. When the guy in the booth next to them says, “Shut the fuck up” in “Fowl Play/Date”, it’s another sign that to the outside world this is a co-dependent, selfish, narcissistic group of individuals who do some pretty stupid and bad things towards one another, and in general. The fact that its often incredibly funny and capsizing over with jokes sometimes makes up for this fact, but a self-awareness (the series is pretty self-aware to begin with but this is furthest it’s gone) helps alleviate many of the problems it has with its plotting and characters. Meeting your boyfriend’s friends, meeting your wife’s ex, and trying to befriend a new roommate, those are all things that most of us can relate to. Adding a mad-dashed sprinkle of crazy, a bountiful amount of jokes, and an appropriate level of meta-ness, well that’s all for the better. 

Stray Observations:

-“You can’t have disposable income when you are $11,000 and 3 cats in debt to us” “You will get your cats when you get your cats!”

-“We’re not going to have a threeway”

-“Hope he doesn’t weasel his way into my life like my last roommate”

-“… And that’s how I gave my mother my kidney”

-“…We just stripped down to our tank tops, and talked about feminist theory all night long… and that was it”

-“He definitely got eaten by a bear”

-“A real gentleman saves somebody from a well and never talks about it again”

-“We hardly ever use tiny farm animals to solve our problems”

-Dave fails at the “Dramatic Chair Swivel”.

-“Chad and Lisa had a baby” “Really?” “Probably …”

Grade: A

New Girl - "A Father's Love" - Review

For a show like New Girl, the arrival of a parent, is meant to provide us insight into how a character became the way they are. We see this in “Parents” where we finally meet Jess’s mom and pops, and it clicks for how Jess became the queer fairy creature that she is. Here Nick’s father is so clearly uninterested in the well-being of his son and only in town to make a quick buck (and feel good about himself for popping in on his son).  

His appearance also allows the series to return to the well-worn fighting between Nick and Jess (who care about eachother deeply but whose world views don’t really mesh well together). Jess and Nick are polar opposites. Nick is cynical, grouchy, and quick to judge. Jess is hopeful, wide-eyed, and optimistic: she tries to see the best in people. When put together, the clashing of their world views often brings out the best in New Girl. Nick is mistrustful of his dad with a conman past, but Jess wants to give him the benefit of the doubt. Well, Nick’s not wrong; his dad sees how easy it will be to swindle Jess who is just a tad too trusting of people. We saw this before in “The Landlord” where Jess kept denying Nick’s claims that their landlord was hitting on Jess and doing favors so she’d sleep with him. Nick was right then and he’s right now. And as where last time that led dangerously close to an awkward threeway, Nick is pushed to make a trade where he’s attempting to sell a horse to mobsters (apparently horse semen is big over in India – Um, yea, don’t ask). In a great callback, his inability to not sweat when he lies blows the whole deal. Jess is left deeply unnerved by the whole situation. She put her trust in this guy, and he let her down. She (and we) finally get a sense of why Nick is as damaged and mistrusting as he is. It’s surprising he’s not any worse than he is. 

While Nick and Jess are clashing over Nick’s dad, Schmidt and Robbie (Cece’s most recent ex-boyfriend) are teaming up to find a way to break up Cece’s date arranged by her mother. They both want her back, and they scheme to find a way to ruin the whole thing. When they show up at her apartment, finding her family and her suitor’s family, they embarrass her and themselves. Even worse when Robbie unintentionally racistly yells, “White guy power!” Schmidt and Cece seem destined to end up together (so do Nick and Jess – which makes the paralleling of these stories interesting), and this sort of thing does not bode well for Schmidt getting back with her. It’s totally in character though; Schmidt would do something idiotic like this to try to win her back, and it probably would end miserably. 

Nick’s dad and Cece really aren’t what the stories are about though. They’re there as conversation starters between our characters. The shared feelings of Schmidt and Robbie creates an unexpected bond, while the arrival of Nick’s dad serves to test Nick and Jess’s relationship (while also highlighting who Nick is). While its fairly obvious from the start that Nick’s dad is every bit as bad as he makes him out to be and Schmidt’s plans are of course going to end poorly, it’s still charming and heartfelt and very funny, and the show gets more out of it than most series do. 

Stray Observations:

-A new game from New Girl: “What’s in the Cup?” – Nick can’t figure it out while his dad can.

-“Who’s going to mess with a guy wearing a hat that says ‘girls go bills’? … Everyone... Everyone did” – Winston is underutilized once again, but gets off some of the episodes funniest lines.

-“…That’s why they called him ‘little penis’”

-“He looks like Hilary Swank mixed with a small wet puppy”

-“Do you think she saw me?” “Well, you weren't wearing a hat”

-“How do you eat an elephant?” “With chopsticks” “No” “In a taco” “…One bite at a time”

-“There’s more to A Father’s Love than semen”

-“I’d be Brad Pitt … You’d be the crafty Asian fellow who did the crazy flips”

-“This is my first late nigh parking lot horse deal”

-“If you’re going to work on my sink, at least put goggles on. Your eyes are twice the size of normal eyes”

-Many hilarious jokes in Schmidt and Robbie’s ideas to win back Cece. My favorite: “We could get a Trojan Horse” “In this economy?”

Grade: B

Cougar Town - "I Need to Know" - Review

One of the most important things in life are our relationships. Cougar Town is about its seven main characters and how they relate to one another. Each episode, in a way, is about throwing something at a couple different pairings and seeing how they react to it (and in the process reinforcing why these people care about eachother in the first place). Cougar Town is great at making these conflicts very specific to the characters and grounded in a level of everyday realism. It’s also really good at creating emotional resolutions that aren’t just tacked on at the end of the episode as an afterthought.

This week’s episode is about Jules and Travis, and Ellie and Andy. Jules and Ellie want something out of their relationships that they simply can’t have. In the case of Jules, Travis has grown up and is off at college. He doesn’t need or want to see his mother on a regular basis. When she tries to give him some space, saying he doesn’t have to call her unless he wants to, she can’t handle him going nine days without contact. She calls him, but he quickly ends the conversation. Jules becomes so infuriated that she storms over to Travis’s school and tells all his friends that she still does his laundry. 

Ellie, at the suggestion of Bobby, starts rewarding Andy for doing what she asks of him (much like you would a dog – a joke the episode gets a good deal of mileage from). Bobby, however, is not one to idly sit by and watch this. He tells Andy, and Andy becomes understandably upset.

Now, everything up to this point is funny, but it works because we know who these characters are and that this is totally the sort of things they would do. And Jules and Andy would become upset and angry. But ultimately, they could never hold it against Travis or Ellie. Its sitcom mechanics that never feels like it’s going through the motions. Because the series goes for character work and a sense of place more than big laughs, it doesn’t try so hard to achieve its plotting and resolutions. Lack of resolutions can even feel awkward (e.g. Travis running off to Hawaii). 

So Jules goes to Travis and lets him know she’s so very happy for him, but she doesn’t want to end up a granny who never speaks to her son. Ellie opens up past her cold exterior (“I find it confusing when you’re vulnerable,” Andy tells her). Though she wanted Andy to do what she wanted him to do, what she wants more than anything is him. This could be a mission statement for the show. There’s conflicts between characters where each wants a different thing, but what they really want more than anything is eachother and for eachother to be happy. That’s why they can resolve these problems and it doesn’t feel forced or hackneyed. Trav is going to go off and do his own thing, but it doesn’t hurt to stop in and watch Game of Thrones with Jules every now and again. And he doesn’t do it because the Laws of Sitcom demand it but because it’s in the feelgood, low key, heartwarming DNA of Cougar Town. 

Stray Observations:

-Opening Title Card of the Week: “The letters in... Cougar Town can be rearranged to spell ‘Taco Rug’Now" (which also makes no sense).”

-The Cul-de-Sac Crew want Travis’s new girlfriend to feed Tom’s cat while he’s away: “I don’t live in the area” – To which they cry: EXCUSES!

-“I watched porn with Grayson and his girlfriend” –Many people have misinterpreted Game of Thrones as porn as well.

-“It’s like a brand new gay Ferrari” –The Grayson/Laurie storyline, though funny, felt out of place.

-Jules to Travis: “I want to be friends with benefits” – that came out wrong.

-The guys grow Tom Selleck moustaches. Because of course they would.

-“Trav will come back, you raised him to be dependent and helpless”

-“I must have butt dialed you” “From the Torres’ home?”

-Andy and Jules going “Oh” was very funny and adorable.

-“Once Trav ran away to Key Largo … I had to sell my soul to a Haitian shaman to get him back”

-“She was a real…” “Racist” “I was going to say collector”

Grade: B+