Progressive Legend of Korra Ends on Fantastic Queer Note

The Legend of Korra’s progressiveness isn't just in its queer lead. It is often in its refusal to talk down to its audience or force idealism onto them. The show crafts a deeply flawed world where there are no right answers and provides heroes who are capable of being just as hurtful and oppressive as the villains.

Review: Once Upon a Time – ‘Fall’

Regina’s descent into giggly romanticism, tenderness, and heroism has been surprisingly gradual. Lana Parilla has come a very long way in her portrayal of her, but it’s only when Regina warns Robin that you realize how far she’s taken the character. Here’s a good-hearted woman legitimately terrified of what she’s capable of.

Review: Grey’s Anatomy Mid-Season Finale – ‘Risk’

or the first time since season 5 they have lives entirely apart from one another, but they still find that one quiet moment to come together and simply soak in the familiar comfort of each other. While the music of the scene is overwrought the emotions at play are not. Callie, often given to big and loud feelings, is muted in her defeat, and Arizona, too often a stony-faced is instead there with a gentle smile and soft expressions of concern.

Review: Grey’s Anatomy – ‘Could We Start Again, Please’

Ladies and gentlemen I’m gonna need a clarification from you. Is this the first time in eleven years that Derek Shepherd has admitted he’s wrong about something in a professional setting? I know he’s been wrong, and I know he’s admitted, begrudgingly, to being wrong about things, but I’m pretty sure it took eleven years for him to get up in front of a group of his peers and eat all that crow.

Review: Once Upon a Time – ‘Smash the Mirror’

Once Upon a Time likes to do frustrating episodes often--those that could be extraordinary with a little work, but “Smash the Mirror” takes the cake. It is bad. It’s a floppy and bloated mess that’s also petulant and naive. It’s watching an angry child play with their toys.