"The Poet's Fire" filled in some of the blanks for us, exploring the nature of Carroll's little cult.
I'm ready to discuss what The Office is doing with Brian and Pam in a rational, open manner. Mostly.
Things you don't want: poverty, bitter disappointment, to be hit with a sock full of quarters. And last on that list: Spencer Hastings coming after you with nothing to lose.
This show so far is like watching a baby horse being born: It's gross, gory, kind of a train wreck, lacks grace, and, when it tries to stand up, it's shaky at best.
The Office has played its documentary crew trump card WAY too early, and for something that doesn't make a whole lot of sense.
This was an important episode for the series to set up the season to come.
Last week, we had to suffer some sleepily slopped-together nonsense about lice and Val being one-dimensional and suggestive. "Suit Warehouse" was the treat for our torture.
This episode had a one-track mind and it had to do with control. Every character was in a situation they had an opportunity to tilt.
The basic conclusion you could draw from "Mona-Mania" is this: While the boys are cowering in fear of their young lives being ruined, the girls are getting brassy and fearless against the bully that has them all under her thumb.
The bottom line on this episode is that it wasn't nearly as sharp as others we've already seen in Season 9.
The only clear-cut victory to come out of this episode is that Max taking more showers.
"She's Better Now" demonstrated how open PLL has become without losing its mystery.
"You Wanna See Something?" wasn't astonishing or breathtaking. But it made me glad to have Bunheads back.