#there are 7-8 main cast members on the show and all the bridge crew actors have costarring status

[poebrey]

one thing I unabashedly love about the last two seasons of discovery is how often the three main Black people (Michael, Book, and Hugh) go on missions together

[jmsa1287]

A Year in Review: The 31 Best Episodes of TV of 2019

There's never been more TV than this year. Thanks to the launch of new streaming services like Apple TV+ and Disney+ (with more to come in 2020!), there is an infinite number of hours of content out there. And while not all those TV shows are worth a watch, mot seasons of shows genuinely contain at least one great-to-amazing episode. The 31 episodes listed below are the ones that stood out the most; that either became part of the cultural conversation or were not well-watched but still resonated in a way that deserved more attention. Whether it was the writing, the acting, a visual moment or a hilarious scene, these selected episodes rose above the cut to show what TV can do in this unprecedented era.

31. “Striking Vipers,” Black Mirror Season 5, Netflix 

30. “Smell Ya Later,” Killing Eve Season 2, BBC America

29. “Chase Gets the Gays,” The Other Two Season 1, Comedy Central

28. “Refugees,” Ramy Season 1, Hulu

27. “Finish It,” The Deuce Season 3, HBO

26. “Chapter 7: The Reckoning,” The Mandalorian Season 1, Disney+ 

25. “Life’s a Beach,” Pose Season 2, FX

24. “Easter,” Better Things Season 3, FX

23. “Chapter 8: Overview,” The OA Season 2, Netflix

22. “Reborn,” Servant Season 1, Apple TV+

21. “Stories,” Broad City Season 5, Comedy Central

20. “Blondie,” High Maintenance Season 3, HBO

19. “The Trials and Tribulations of Trying to Pee While Depressed,” Euphoria Season 1, HBO

18. “The Bad Mother,” Big Little Lies Season 2, HBO

17. “405 Method Not Allowed,” Mr. Robot Season 4, USA

16. “1:23:45,” Chernobyl Season 1 HBO

15. “Dundee,” Succession Season 2, HBO

14. “Episode 9,” Mindhunter Season 2, Netflix

13. “401 Unauthorized,” Mr. Robot Season 4, USA 

12. “Take Me as I Am, Whoever I Am,” Modern Love Season 1, Amazon

11. “Part Four,” When They See Us Season 1, Netflix

Ava DuVernay's achingly painful "When They See Us" miniseries about the persecution of the Central Park 5 is capped off with its brilliant final episode; a showcase for Jharrel Jerome ("Moonlight") who undergoes a transformation here unlike any other actor on TV this year. Playing Korey Wise, we see Jerome go from happy-go-lucky New Yorker to a victim of the vicious prison system who is beholden to his truth despite its consequences. It is a harrowing 88 minutes of TV that is both devastating and beautiful, carried on the shoulders of Jerome's unparalleled performance.

10. “A God Walks Into a Bar,” Watchmen Season 1, HBO

The penultimate episode of "Watchmen," the buzziest show of the fall, is the most Damon Lindelof has been during this stellar season of TV. "A God Walks into a Bar" is a revealing episode in the same way as the last season of "The Leftovers," Lindelof's previous project. The episode reveals that for all of its surrealness and commentary about race and gender in our world, the "remix" of the popular comic book series is, at its core, a love story. Lindelof sets the episode as a classic cosmic joke but as it goes on, it exposes itself to be full of heart and emotion; about two people from different parts of the universe (and different parts of the space-time continuum?) connecting. At a bar. Over beer, conversation, and eggs.

09. “Strawberries,” Ramy Season 1, Hulu

Unlike anything depicted on TV, "Strawberries," the peak of Hulu's comedy "Ramy," created by standup Ramy Youssef, is told in flashback, tracking a young Ramy in the days leading up to and after 9/11. Seeing the event play out from the perspective of a young Muslim child in middle school is heartbreaking and raw; a highlight that is thoughtful, meditative, funny and surprising.

08. "Shook One Pt. II,” Euphoria Season 1, HBO

It's not until "Shook One Pt. II" that "Euphoria" finally clicks and finds its groove. Playing out at a carnival, the episode raises the dramatic stakes for the show's young cast, where creator Sam Levinson's bold aesthetic choices complement the intense tension on display. Part thriller, part romance and all edge, this episode of "Euphoria" features stellar performances from Zendaya, Hunter Schafer, Jacob Elordi and more.

07. “Volume 7: The Magician" + "Volume 8: The Hanged Man,” Too Old to Die Young Season 1 Amazon

It was hard to pick just one episode of Nicolas Winding Refn's twisted noir cop saga "Too Old to Die Young." The controversial auteur made a perfect thing for streaming age; somewhere between a film and a series. NWR said himself that you can watch the episodes out of order, or start from anywhere, which is sort of true. But it's the back-to-back episodes towards the back half of the series, "Volume 7: The Magician" and "Volume 8: The Hanged Man," that stand out the most; a chaotic and insane set of events that turn "TOTDY" on its head.

06. “Posh,” PEN15 Season 1, Hulu

"PEN15" is hands down the funniest show of 2019 but it's the Hulu series episode "Posh" — a thoughtful and insightful examination of racism in the 00s — that is the show's highlight. In the episode, BFFs Maya (Maya Erskine) and Anna (Anna Konkle) make their own version of the Spice Girls with a group of mean girls at their middle school for a class project. They force Maya, who is Japanese-American, to play Scary Spice — the only woman of color in the insanely popular British girl group, because Maya is the only girl of color among them. It sparks a deep divide between Maya and Anna that is explored in the short episode with maximum effect.

05. “DC,” Succession Season 2, HBO

Over the last few years, Americans have made Congressional hearings they're own sort of perverse reality show. So, it's no surprise that "Succession" would go there and put members of the Roy family on display and under scrutiny. The main targets here are Tom (Matthew Macfadyen) and Cousin Greg (Nicholas Braun), who have to answer a number of questions about Waystar Royco's handling of alleged sexual assaults and crimes involving the company's cruise line. "Succession" had been building up to this moment since early Season 1 and the payoff is both cringe-worthy and hilarious.

04. “The Great War and Modern Memory,” True Detective Season 3 HBO

Filmmaker Jeremy Saulnier's ("Green Room," "Hold the Dark") crack at a TV show is nothing short of spectacular. With "The Great War and Modern Memory," he establishes an unsettling mood and tone to the third installment of "True Detective," a somber story about two cops investigating the disappearance of two young children over the span of several decades. The episode is poetic and solemn, featuring two mind-blowing performances from its stars Mahershala Ali and a career-best Stephen Dorff. They're both in tune with what kind of show they're in, selling creator Nic Pizzolatto's writing, which coming out of the mouths of other performers would likely sound dreadful.

03. “Episode 1,” Fleabag Season 2, Amazon

Filming a dinner scene is not as easy as it looks. For the first episode of the second season of the outstanding "Fleabag" both writer/creator/star Phoebe Waller-Bridge and director Harry Bradbeer hit out of the park. It's a whirlwind of an episode where PWB's Fleabag character literally tells the audience Season 2 is a love story, which, of course, involves the so-called Hot Priest (Andrew Scott). "Episode 1" is fast, zippy, and manages to get most of the show's cast in one room, featuring wonderful performances from not only PWB and Scott but also Olivia Coleman, Sian Clifford and Brett Gelman. It's a chaotic half-hour of TV that has a kinetic energy unlike anything else this year, taking an awkward family dinner to its limits.

02. "Series Finale Part 2: Hello, Elliot,” Mr. Robot Season 4, USA

The series finale of “Mr. Robot” is as emotional as it is shocking. Sam Esmail sticks the landing with his hacking drama, turning a story about a vigilante and his crew trying to right the wrong world into a personal journey of a young man struggling with deep trauma. It’s a beautiful sendoff, that is fully satisfying and a magnificent accomplishment of modern television.

01. “Never Knew a Love Like this Before,” Pose Season 2, FX

"Pose" proved itself to be an uplifting and hopeful show, uprooting cliched and tragic stories about trans people we've come to see on screen and instead, opts to show us something beautiful. But its "Never Knew a Love Like This Before" that is 2019's best episode of the year — a heart-wrenching and unexpected boom and a reminder that trans people, especially trans women of color, are often in danger. Here, Candy (an out-of-this-world performance from Angelica Ross), who orbited around the main cast in the series, is murdered. She returns to her funeral in spirit, having in-depth conversations with her friends, enemies and frenemies. Pray Tell (Billy Porter) honors her by moving forward with her wish — a lip-synch category for the balls that he previously rejected. It's a beautiful story about the history of queer culture that's personalized in an unexpected way.

[miss-musings]

My List of Top 10 Blacklisters

Let me say right off the bat that it was really difficult to compile this list. Because while I feel a lot of one-off Blacklisters are pretty much throwaways, especially all the different cults and kooky people that the show likes to keep introducing, many of the better ones (IMO) were bad guys who had been around for multiple episodes, maybe even entire arcs or seasons.

So, picking out my Top 10 -- based on how unique they were, how memorable they were, how intimidating, how threatening they were to the main cast, etc. -- was relatively easy, but ranking them was difficult. Because, again, a lot of them get way more screentime than others.

So, I'll try to rank them based on a combination of how much I personally liked them, how much of an overall impact to the story/characters the Blacklister had relative to their screentime and build-up, how well the actor did with the role, how unique and memorable they were, etc.

You'll notice that people like Laurel Hitchen, who was an antagonist but not technically a Blacklister, isn't on the list; and you'll notice that "good guys" like Dembe or Marvin Gerard who were technically Blacklisters, but weren't antagonists for Red or the Task Force aren't on here either. Tom, who flip-flopped between good guy and bad guy as the show progressed, isn't on here either; but that's because there's so much material to judge from as he was a main cast member for at least three seasons, which is unfair.

Anyway, without further ado: my list. Again, feel free to disagree and make your own lists if you like.

(EDIT: I’ve done a follow-up list of ‘Top 10 Best One-Off Blacklisters’, because so many of the below entries had multiple episodes in which to be menacing.)

Note for future reference: this list only includes Blacklisters up through the end of S5.

###

HONORABLE MENTION: MR. KAPLAN

I really wanted to put Mr. Kaplan on this list, and I had at one point, but then I realized I forgot one of the more imposing Blacklisters and had to slide him into the spot where I had Mr. Kaplan. The only reason I took her off completely rather knocking every lower-numbered entry down a spot, was because while I really liked Mr. Kaplan up until S3c, I hated how the showrunners forced the storyline where she had once been Liz's nanny and hated Red for doing her and the Keen family wrong. I love Susan Bloomaert and think she's a very talented actress who's incredibly underrated; but I loved her character more when she was on Red's team -- his cleaner, his friend, his confidant. Granted, there were some really good episodes with her as an antagonist, but I hated the way she died -- throwing herself off a bridge.

Anyway, again, I want to emphasize that this list is purely subjective. So, if you think I've done Mr. Kaplan a disservice, feel free to make your own list to give her to honor you believe she deserves. As I said: I loved Mr. Kaplan, but I felt the whole S4b storyline completely assassinated her character as we knew it up to that point.

P.S. I also feel like GREGORY DEVRY should get a shout-out, but I’ll probably include him in my list of Best One-Off Blacklisters.

10. LEONARD CAUL

This is one of those entries where I guess I kind of cheated. Caul didn’t really end up being an antagonist for Red, Liz or the Task Force. But he was introduced to us a little ambiguously with him developing photos of Liz and Red, listening to the police scanner -- and then holding Liz at gunpoint (briefly) in Red's Bethesda apartment... I really liked all of that and how it was kind of vague from the beginning whether he was on their side or not. Granted, he doesn't get much screentime even in his own episode, and honestly, after S2, I'm not really sure what happened to him. I know he was hanging around with Red up until the S2 finale or thereabouts, but yeah, whatever happened to that guy?

Anyway, it was a really tense episode, and I felt like Caul brought a level of adrenaline and urgency to the situation with Red and the Cabal, as well as the show in general.

9. IAN GARVEY

You'd think Garvey would be higher on this list, but I was never really a big fan of him. Granted, he did pose a pretty serious threat for our main crew, after he stole the Real Reddington’s bones, killed Tom and his goons knocked Liz into a coma. And the actor did a fine job. But, I just felt that -- up until his connection to the Reddington family was revealed -- he was just kind of cartoonish. A dirty cop who runs a drug cartel? Yeah, I don't care.

But, again, while I don't really like Garvey, I felt like he had such an impact on the show and the characters that he deserved a spot -- even if it was a low one.

8. MADELINE PRATT

The only female Blacklister to formally make it onto the list. (Sorry, Mr. Kaplan.) I thought her character and this episode was incredibly well-done. It was a little bit of a heist storyline, and Pratt was a good foil for Liz and Red, forcing both of them to open up in ways we hadn't seen before (up to that point). Liz became more comfortable doing criminal-type things, using her slight-of-hand, infiltrating locations and lying/manipulating people; while Red, conversely, became more human and opened up about why he has been so distant with people and the hurt he has experienced in the past.

Also, Madeline is one of the few past/current love interests of Red that we see on the show, and I really like Jennifer Ehle (mostly because of the 1995 version of Pride & Prejudice). I felt like she matched well with Spader and wasn't overpowered by his always-charismatic performance. And, while we only ever saw her in this episode and briefly in 2x14, I felt like she deserved a spot because she was such a unique character and that episode introduced a lot of character details and traits that became important later.

7. THE STEWMAKER

I really, really liked the Stewmaker -- both the bad guy and the episode. The only reason I didn't put him higher on this list is because I feel everyone else is too good (or bad, depending on how you want to look at it) to be displaced.

So, I remember reading on one of those TV-watching websites that if you weren't entirely sure about a show but you wanted to give it a chance, you should watch at least four episodes to see whether it was any good. By the fourth episode, the show should have established its characters, its dynamic, its continuing plot points, its feel, etc. Pilots, of course, always feel a little different than the shows themselves because they're filmed months before any other episode; so you have to give shows a chance to establish themselves and walk on their own two feet.

So... when THIS was the show's fourth episode... oh, buddy.

The Stewmaker posed a serious threat as he was the first person to ever hold Liz captive and feel the wrath of Red for such an offense. The episode gave us the infamous Parable of the Farmer; and continued the then-mystery of Liz finding out about Tom's shady past.

But, as for the character himself, he was just really weird. Walking around naked while he was working, but having that mask on; disintegrating bodies; having his dog with him; actually being a family man but having this criminal work on the side. And, also, we had a little bit of interaction where Liz was actually trying to do her job (for once) and profile him and use that info to her advantage.

He was a character that I feel the show has tried to redo several times -- the kooky weirdo who's very calm, apologetic and doesn't like violence but who is also fascinated by death, bodies, etc. But, of course, this was the FIRST time the show had used such a character, so it was much more memorable then and not so watered-down.

In any case, I really liked the Stewmaker and thought he was a fantastic Blacklister for the show to have in its fourth episode of the entire series.

6. MATIAS SOLOMON

So, this is actually the spot where I had Mr. Kaplan. But, while I was doing some background research on my #1 choice, I ran across Edi Gathegi's name and remembered that I left Solomon completely off the list. He had been an antagonist throughout the whole of S3a and then came back for his namesake episodes where he and his crew attack Liz and Tom's wedding, Liz gives birth to Agnes, and later she "dies" with Red by her side.

Solomon is either directly or indirectly responsible for a lot of major shit that happened on this show -- hell, just in those two episodes. And, I really like Gathegi's performance, especially considering how Solomon was a little Extra™. So he had to play him as dramatic with a penchant for flair and style ... but without him becoming cartoonish. He was just a little bit eccentric but could still hold himself and lead a team of goons in shooting up a church.

Again, I hated to leave Mr. Kaplan off the list but I felt it was a greater disservice to not put Solomon on it, considering how much of a threat he posed to our main cast throughout various points of S3.

5. THE DECEMBRIST (A.K.A. ALAN FITCH)

This is basically just an outlet for me to talk about how amazing Alan Alda is and how much I love him and wish the show hadn't killed his character off. Seriously, he's just so adorable, and it was hilarious to see him partly playing against type here. Fitch was intimidating, but I also kept wanting to give him a hug.

And, I felt like that was how Red felt toward him. He hated Fitch for the whole bullshit in that raid on the Post Office, but yet, he also respected him. That look on his face when he's having that last conversation before the bomb on Fitch's neck goes off... just heartbreaking.

And while so many actors seem to bow under the weight of Spader's performances, Alda is also one of the few actors who I felt like was on-par with him in terms of charisma and acting chops. It seems he just strolls onto the set and does whatever is required of him without a care in the world. "Need me to be gruff and menacing? I can do that. Need me to be sad and fearful? I can do that. Need me to look bored and indifferent? I can do that." God, I just love Alan Alda, and I want to give him a hug. 

But, seriously, Fitch was a Blacklister who's impact on the story goes all the way back to setting Berlin on Red decades before S2 takes place, and he was one of the few people (at that time) who seemed to know Reddington from the pre-Night of the Fire era. (It's unclear now whether that was actually true; he probably knew the REAL Reddington, but never knew our guy was an imposter.)

Anyway, Fitch had a major impact on the story because he was the one person/thing who had a connection to the raid on the Post Office, the Cabal and Berlin. So, he definitely deserves a spot on this list. And also, ALAN ALDA!

4. BERLIN

This is a weird entry, because Berlin is hardly in either of his two namesake episodes; and even when he is, his identity is obscured until the very end of "Berlin: Conclusion."

Berlin had been built up for a long time, and while I still am so frustrated that it was never addressed how he organized a giant criminal syndicate from inside a Russian prison. Honestly, for as much as for as long as he was built up, I feel like the pay-off was a little bit disappointing. Which is why he’s at number four for me.

Still, when he came back in the first half of S2, he was such a good baddie. I absolutely love when he and Red meet on Coney Island, and that weird, dynamic and layered conversation that they have. And overall, Peter Stormare's performance is fantastic. He's mustache-twirling, sure, but he was so intimidating at the same time... threatening Liz, capturing Naomi, being responsible for the attacks on Cooper and Meera, etc.

He had a tremendous impact on both S1 and S2a, so he definitely has to have a spot.

3. ALEXANDER KIRK (A.K.A. CONSTANTIN ROSTOV)

Like Berlin, Kirk is hardly in either of his namesake episodes, but we get to see him more fleshed out as a character/villain in S4a.

Unlike most villains, we actually got to see quiet moments of Kirk, where he was caring, respectful, loving and just ... generally not villainous. Most of these other Blacklisters never got those opportunities, and Kirk -- in hindsight -- was built up as a kind of hero out of a Greek tragedy. Odette tells Liz that he was a kind, caring and gentle man up until he found out about Liz’s identity as Masha and her connection to Red. Then, he flipped his shit and did whatever it took to get his (step)daughter away from him. And, honestly, I really liked his little farewell speech to Liz about how she would only ever remember him as a villain who kidnapped and threatened her and her child; and she would never remember him as the young, happy father who held her in her arms, excited at what the future would hold for their family.

God, just thinking back to that speech makes me feel such sympathy for the man... not the one he became but the one he used to be. Kirk was hurt and betrayed multiple times by Katarina, the Real Reddington, the Fake Reddington, and all these other people who played him like a puppet for their own ends. Really thinking back on it, it’s no wonder he became the broken man he is, so desperately trying to cling to this frayed prospect of happiness with the family he once had. Yes, he was hoping that Liz or Agnes would help cure him of his disease, but I truly believe that was only a bonus in his mind and he was really hoping to piece his family back together -- to have a second chance in his (step)daughter’s life and help her with her newborn.

He’s also one of the few villains with his own arc who WASN’T killed off at the end of said arc, so I REALLY hope he comes back. I doubt it, but I would really like to see it. Maybe he could help Liz understand what all happened with Katarina, Real Reddington, Fake Reddington, and everything on the Night of the Fire.

And, again, like with Fitch, he was a really important Blacklister as he was connected to both Red’s past and Liz’s. And, that scene where he’s about to kill Red, and the two stop to reminisce about Katarina, who she was, and how important she was to them ... that’s the kind of depth we don’t get out of most Blacklisters.

Honestly, even though his introduction to the audience was a little too Darth Vader/Alias-esque, I still really enjoyed the range of emotions Ulrich Thomsen got to run through in his portrayal, especially in that final episode. And while he doesn’t really have a lasting effect on the story once his arc is resolved, he was a major threat to everyone, including Liz, and the main characters to make major decisions in the latter half of S3 and the first part of S4 that showed us who they really are.

So, yeah. IMO, he deserves to be this high on the list.

2. ANSLO GARRICK

It might seem a little weird to have a one-off villain this high on the list, but Anslo Garrick -- both the character and his namesake episodes -- was an actual game-changer. Here we were, skipping along through S1, pretty complacent and chill. And then all of a sudden, Anslo Garrick shows up and turns everything on its head. The Post Office is under attack; Ressler gets seriously injured and he and Red have to make due hanging out together inside the box; Cooper et al is captured; Liz and Aram, who have little field experience between them, have to team up to try to get to safety. Luli is killed; Dembe is almost killed; Liz is threatened; Red is captured and later escapes.

God, so much happened in those episodes, and I still think “Anslo Garrick: Part One” might be the best episode of the show to date. Seriously. Even though Red and Liz have zero screentime together, that episode is just SO GOOD. Intense, dark, with high-stakes and important character moments -- and there have been very few episodes like it since.

But, anyway, as for Anslo Garrick himself... he isn’t really all that much. He was a rabid dog sent by Fitch to bring Red in. He was intimidating, coarse, violent and gave zero shits about his actions.

This entry doesn’t really celebrate who the character of Anslo Garrick was, but more of what he represented and the major impact he had on the show at that point in time. He introduced us to Fitch, who first brought up the whole “Cabal” storyline, which was responsible for a lot of shit in S2 and S3a.

Again, Garrick woke us viewers out of our little complacency that Red & co. were just going to glide through their Blacklisters with only a few cuts and bruises and no real stakes (outside of the Tom/mystery storyline that was going on at the time). This was a good kick in the pants to make us realize that we were wrong.

So, yeah. I feel like he deserves to be Number 2.

1. THE DIRECTOR

So, you’re sitting there, wondering who the hell could be sitting at Number 1... above Garvey, above Kirk and Garrick and Fitch and everyone else?

It’s the man who if I could push a button and bring any of the show’s dead character back to life, he would be the one I’d pick:

Peter Kotsiopulos, The Director ... played by the amazing David Strathairn.

Even though he appeared in 12 episodes over what amounted to an entire season of the show (from 2x09 to 3x10), I really wish The Director hadn’t been killed off. Seriously, I have no idea how much money TPTB had to throw at Strathairn to get him to appear for as long and as many times as he did, but it wasn’t enough. I've always said that this show deserves a Big Bad (assuming that Red isn’t it), and he would’ve been great as the Big Bad for The Blacklist.

While Strathairn's basically just reprising his role as "Unethical and Shady AF Government Official and Resident Mustache-Twirler" from The Bourne Series, it's a role he's REALLY good at. And even though he didn’t get a lot of quiet moments to be humanized or come across as sympathetic, like Kirk did, I still feel like it was such a bitch move for Red and his crew to play on The Director’s feelings for/obligation to his wife as their opportunity to abduct him. I know that Liz was facing trial for murder and desperate times called for desperate measures, but I can just imagine that poor lady sitting in her therapist’s office, wondering where her husband was only to find out that he was a villain who had ditched her and fled the country, when that wasn’t the case AT ALL.

Yeah, I know The Director’s an absolute piece of shit who’s responsible for threatening the entire Task Force, publicly demonizing Liz and almost killing Red... but he was so good at being bad that I wanted him to stick around long-term. I wanted to see him and Liz have more interactions; and again, Stathairn was one of the few actors who held his own in scenes with Spader without any effort.

He was also the first one, as I recall, to set Liz on this path toward Katarina Rostova’s backstory and finding out how alike the two of them were. Remember in 2x19, he remarks how much Liz looks like her mom, and I feel like that sends Liz down a road to get answers from Red about who she was and what his connection was to her mom and her family.

But, anyway, yeah. I just love David Strathairn; I loved him in this role, on this show; and I loved how diabolical, manipulative, and just conniving his character was. I also just absolutely love the look on his face in 3x10 when he and Red are watching Laurel Hitchen on the TV and Hitchen just outs The Director as a member of the Cabal. He just goes from angry and staring daggers at Red to flustered and “oh shit” in an instant.

So, just like my Fitch entry was my opportunity to celebrate how amazing Alan Alda was, this is my chance to celebrate how underrated David Strathairn is as an actor and how much I wish he was still on the show.

But, putting all of that aside, why should The Director as a character be ranked above all those other people as a better Blacklister?

Because, The Director represented the Cabal, which was an entity that had been built up from 1x09 as a major force that had power to easily destroy everything Red, Liz and their crew was trying to work toward. They sent Braxton after info about the Fulcrum, they sent Karakurt to frame Liz, they sent that team of commandos to attack Red. They were a force that seemingly could not be stopped, and the Director was at the head of it all.

And, while I can’t find it anywhere (so help me out if you know what I’m talking about), I know there’s a saying about how the worst man is the one who does evil in the name of good. And that’s The Director. He is the embodiment of all the worst parts of The Blacklist’s villains, actual real life government officials and humanity at large. He has dozens of people killed without batting an eye because it’s all in the interest of “national security.” Or so he tells others. But, deep down, we all know that he’s only really concerned about his own self-interest.

Now that the show has killed him off, obviously, there’s no way for Strathairn to return as The Director; but perhaps, if/once the show delves more into Katarina and Red’s backstory, maybe we will see a Young Director in a flashback so that we can see exactly how he was connected to Katarina, the Cabal, and that whole mess with the Fulcrum.

Plus, I can’t get over how awesome his interactions with Liz were, and Strathairn’s delivery of the now infamous line, “I know who you really are, Raymond -- who you are TO HER.”

###

Again, if you disagree, feel free to reblog with your comments or your own list. This is all purely subjective, but -- because we’re on this crazy-long hiatus until January -- I felt like it was good to fill the time with SOMETHING. My goal with this isn’t to give a definitive list and that’s it; but rather, to prompt discussion about the topic.

Thanks for reading all the way to the end and cheers! ~mm

[eleganthologrambouquet-worl-blog]

Literature Spotlight Peering Into an Alien Mirror

 Literature Spotlight: Peering Into an Alien Mirror

Literature Spotlight: Peering Into an Alien Mirror

Science fiction is one of my favorite genres. I love it (and I suspect many of its readers love it) because despite its trappings of the future, good science fiction is very much a reflection of the time period in which it is written. One of Sci-Fi's major draws for me is that it can highlight and discuss social issues that might be touchy to talk about in the present day. Through the skillful use of spaceships, aliens, utopian planet colonies, and other 'flight-of-fancy' scenarios, a science fiction author can hold a mirror up to the way our current society deals with an issue by showing how their fictional society does. By reading sci-fi from previous eras, then, we can catch a glimpse of what people of that era were thinking about – and what was considered an acceptable 'flight of fancy.'

The Skylark of Space, written by E. E. 'Doc' Smith in the 1920's, included an equal ratio of women to men on the spaceship – surprising for such an early entry into the genre. However, what is not so surprising is that the women involved are cast in incredibly traditionally 'female' roles – they are the wives of the scientists who invent the spaceship, and play a very motherly role on the ship. In particular, one comedic scene shows the women in the kitchen, trying in vain to make sandwiches in zero gravity. It plays out like a Jules Verne-esque slapstick routine, with the ham and cheese floating all over the room. Tellingly for the time it was written, the only thing the women seem to feel like they can take the initiative to do is fix lunch for the menfolk.

Contrast that with the Original Series of Star Trek, first aired in the 1960's. Star Trek depicts a world where gender no longer matters – a black woman has an important bridge position as the Communications Officer, and even if her lines are mostly comprised of “Hailing frequencies open, sir,” still, nobody bats an eye at a woman doing more than just fixing lunch. Further contrast that with the Expanse series by James S. A. Corey, which began with the novel Leviathan Wakes in 2011. The second book in the series, Caliban's War, contains not one but two female main characters, a Martian space marine and an Earth diplomat. Both are in positions where they are well-respected (though they receive pushback throughout the book, but it's plot-related, not related to simply being female). Both radiate power in different ways and both are treated equally in terms of gender.

Original series Star Trek also dealt with racial tensions. Lieutenant Uhura may have been a well-respected and equally-treated bridge crew member within the context of the show, but the show's writers still received pushback from the network about her place in the story. In the 1968 episode “Plato's Stepchildren,” there is a scene where Uhura (played by Nichelle Nichols) and Captain Kirk (played by William Shatner) share a kiss, widely cited as the first example of a scripted inter-racial kiss on US television. The network wanted them to film the scene both with and without the kiss, so that they could decide later whether to air it. The actors chose to intentionally flubb every take without the kiss so that the network would be forced to air it. The story of that episode serves as a reminder that Original series Star Trek, like most good science fiction, prodded at the boundaries of what was considered an acceptable social construct at the time.

While Star Trek's society treats all races and genders equally where Earth humans are concerned, it does still get a chance to display ideas of racial tensions and play with the theme of racial equality – through the clever use of aliens. Mister Spock is a great example of this – here is an alien as First Officer of an Earth Federation starship, who frequently gets mocked and insulted by the other crewmembers for his pointy ears, his green blood, and his unusual customs. Uhura may have been indicative of what race relations could be, but Spock depicted race relations as they were. Certain episodes also dealt more pointedly with the idea of race prejudice, most notably the episode “Let That Be Your Last Battlefield,” which dealt with the last two survivors of a war-torn planet still hell-bent on destroying each other. This is the famous episode with the 'black-and-white' aliens – their feud was based on which half of their body was black and which one white. While a bit heavy-handed, it does still speak volumes about the sometimes silly things that drive us to war and the dangers of prejudice.

Caliban's War displays racial tensions as well, but in a different way – by highlighting the fact that they are all humans. When I mentioned the two female leads up there, you probably thought of them as different species – perhaps the Martian space marine was an 'alien' and the Earth diplomat was a 'human.' Well, in actuality, they are both human. In fact, the three-way war between the Outer Planets Alliance, Earth, and Mars is essentially an entirely human war – there are no aliens to speak of in the whole book (with one exception – no spoilers!). But the stark differences in lifestyle, outlook, and even physical appearance between someone born on Mars and someone born 'down the well' on Earth leads to them treating each other as aliens. You can easily see, through the diplomat's eyes, how different humans can become in different circumstances, and how these differences could lead them to fail to understand each other on a primal level.

Race and gender are not the only social issues that can be depicted in science fiction. Plenty of other issues are presented, all depending on the time period in which the work is written and the aspect of society that the author wants to explore. Caliban's War includes a scene that will stick with me for months, where the female space marine visits Earth for the first time and chats with a young barista. The barista talks about the Earth policy of having young people work for a few years after high school to make sure they like working before the government spends money sending them to college. The planet has become so over-populated that not everyone needs to work, so those who don't like working can simply go on basic support and devote themselves to leisure. For the space marine, who grew up in a colony where everyone has a place and a job to do, this concept is foreign, almost incomprehensible. By contrasting these two personalities, Corey allows us to consider the ideas of single-payer systems like free university education and healthcare from multiple perspectives, and draw our own conclusions.

This is precisely why one of my favorite recent sci-fi works is Larry Niven's The Draco Tavern. This collection of super-short stories centers around Rick Schumann, the bartender at an alien bar called the Draco Tavern. The stories are between 5 and 10 pages long on average, generally taking the form of a conversation Rick has with one or several of his alien patrons. The stories present little vignettes that bring up a question and then end, leaving the reader to think about their answer. The Draco Tavern's questions range from 'What if you could choose when you died?' to 'If a human kills an alien, should he be subjected to the alien form of punishment?' to 'Should I feel weird knowing that this alien race took samples of my DNA and are using it to lab-grow meat for their own consumption?' The beauty of The Draco Tavern is that it doesn't attempt to answer any of these questions, just present them and leave the reader to chew on them for a bit.

Science fiction may seem fanciful, with all those aliens running around on starships firing photon torpedoes at each other. But in reality, a skilled science fiction author can often tell you more about your own beliefs and opinions by comparing them to those of his aliens than you might ever get from sharing them with a therapist. I've only scratched the surface here, but this deeply personal self-searching that arises from peering into an alien mirror is one of the many things that keeps me coming back to science fiction, time and time again.

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