Poor Peggy Olson. She was doing so well, the last time we checked in on her. But in the world of Mad Men, no one gets to balance work, love, and happiness. It’s just not in the cards.
Thankfully, the show gives another reason why it would be dangerous to return power. Sure, we get the usual crap exchange of “we can’t do it because people will have guns and be dangerous” with the follow up of ”But hospitals!” But tonight, we learn that when the light is restored, there’s a chance that the world will catch on fire.
To Don, every woman is either a mother figure or a whore. If Don isn’t in control, no one is. He lost his virginity to a whore (no surprise), he’s sleeping with a woman now who doesn’t really want to be his whore (no surprise), and he’s got some mommy issues to work through (really no surprise).
Season 1 has progressed in such a way that it’s like the show is trying to write itself out of the corner it painted itself in in the “Pilot.” If the series wants to completely reboot itself every year, I’d find that almost admirable.
There are a lot of interesting concepts operating within Revolution‘s borders. Unfortunately, it rarely makes proper use out of any of them. As the season progresses, it’s hard to not be increasingly disappointed by the potential it has squandered in favor of frustrating redundancy.
“This” is being Assistant to the Regional Manager (Dwight Schrute) at a paper company that, even if it can survive the death of paper and Schrute leadership, does not have any room for advancement. That is not enough, nor should it be for anyone, let alone a young father.
If there’s one thing Revolution has done wrong, and it’s done so, so many things wrong, it’s been the sidelining of Captain Tom Neville. Thankfully, “The Love Boat” at least attempts to remedy this problem by putting Neville close to the forefront as he joins Miles as a representative from the Georgia Federation.
Pete Campbell, a vindictive child, tells his wife about her father. He sits Trudy down at the kitchen table and tells her he saw Tom “with a 200 pound Negro prostitute.”
According to Abed’s Crazy Quilt of Destiny, the study group members have all crossed paths before, sometimes multiple times.
One of my favorite aspects of The Office (both incarnations) is that we are watching sad people. Not damaged in the way the gang from Community are/were, but normal and pathetic. Painfully average. When the show started obtaining some popularity around the second or third season, this aspect kind of floundered. But “Livin’ The Dream” brings it back and moves forward many long-running story lines.
A tragedy truly does cause one to reach out – but the stupidity of this move is very un-Don-Draper. Trying to contact his mistress by calling her husband with no real reason for it? What’s happening in his head? Did he fall in love when he shouldn’t have?
Since the start of this show, Aaron has always been the most problematic character. While Tracy Spiridakos is probably Revolution‘s worst actor (though she has been improving), Charlie serves an important function both within the story and as a trope of the genre. But after more than half the season, the show still hasn’t figured out Aaron’s place.
Trying to recapture the “outside the box” antics that made Community so beloved in the earlier seasons, “Human Anatomy” focuses on Abed and Troy doing a Freaky Friday-style body switch for most of the episode. While no one believes they have actually switched bodies, the rest of the group goes along with it so that they can complete the History project that is conveniently due very soon.
Overall, “Paper Airplane” was one of those middle of the road episodes. Not particularly memorable, but not terrible. The humor is toned down so it’s not cartoony/goofy and has the feeling of classic era Office, but it lacks many comedic moments of note, though it has a decent share.
Back at Casa Del Zoe, RZ is posing for her book photos. Lots of options and all the dresses are 2 sizes too big, but she looks BANANAS. Everyone wants her to rock a colored frock, but RZ is in a constant 3-way with black and neutrals.