[For Vinyl “Yesterday Once More” or any other recaps on Fetchland, assume the presence of possible spoilers.]

HBO Summary:
Yesterday Once More. Richie delivers a bombshell that shocks prospective buyers and his partners.

Essentially “Yesterday Once More” boils down to reinvention. Every major character needs it, seeks it, and desperately drives the story forward in this pursuit. Richie needs to reinvent his company. Devon wants to invigorate her boring life. Zak desperately desires a home-life and wife makeover. Jamie seeks a career boost. Julian tries to reinvent the Nasty Bits and in the last scene it looks like even Lester Grimes may finally get his chance. It’s all a frenzy and happens fast but all of it runs along that same theme of reinvention and what better place to look for inspiration than the past? That’s the only place Devon looks, with a little help from The Carpenters and their song “Yesterday Once More”.

The episode opens as Richie teaches himself to kickbox with the help of cocaine and a karate flick. Meanwhile back at the office the Germans and his partners await his arrival so they can finally sign off on the company sale. Zak takes valium to get through this next challenging bit of life and then wasted, bloody-browed Richie finally shows up at the office and makes a declaration. They’re not selling the company after all. He’s had a rock n’ roll epiphany. His skills have transcended to a spiritual level. The other partners mumble grumble next to this newly minted guru at their helm. Thing is… they really don’t want to sell because of the money. Their minds are on mortgages and kids going to college so they explain but Richie has dreams, dammit. He uses his recently acquired kickboxing skills, gives them each a taste of his fiercest karate choppin’ and swiftly breaks Zak’s nose. Then Richie calls the Germans “Nazi pricks” and tells them the deal’s off.

Meanwhile Devon has that faraway look in her eye again and she didn’t even do any drugs. All it took was The Carpenters on the radio to take Devon to la la land. She remembers Andy Warhol’s Factory and all the good times she had there. Devon flashes back to the night she met Richie at a Velvet Underground show. They were both with other people but the attraction was so palpable that when Devon left the table to go “to the ladies” Richie knew to follow so they could indulge in ferocious bathroom sink fucking. But that was long ago and today Devon’s in the bathroom at Friendlys Family Restaurant staring in the mirror and listening to The Carpenters song,”Yesterday Once More” – thus the episode title. Devon’s so lost in the song that she accidentally forgets her kids, still sitting in the booth at Friendlys. She drives away in the station wagon without them. It’s only when Devon passes a “children playing” sign during her drive that she remembers the kids back at Friendlys. So, Richie’s not the only one who’s losing sight of his commitments while tangled in a fantasy. Seems to be a family trait. Only difference is that Devon’s horrified with herself when she realizes how lost she got. Richie’s too busy stuffing blow up his nose and living the dream to care.

Back at the office Richie fires all of A&R and tells them if they find a great new artist within two weeks they can earn their jobs back. It’s because they turned down the deal with the Germans and are back to being a dream factory. So get out there and “find bands that make you want to dance or fuck or kick somebody’s ass,” easy peasy, guys. After this Richie tells Jamie, who wears a nearly-to-the-navel-deep V neck shirt, that her job is OK, unlike the others. She asks him what he thought of the Nasty Bits and he says he thinks there’s something there, some balls in their sound. After Jamie offers coaxing, blow jobs, and a new stash of coke for his collection Richie says she can work with Julie (Julian the head A&R guy) and get the band ready. Julie and Jamie then watch the Nasty Bits rehearse and he hates them. Julie’s got some Nasty Bit reinventing to do. He sends Jamie out for coffee and berates her in front of the band.

Speaking of berating, next we see broken-nosed Zak with his wife prepping for his daughter’s bat mitzvah. With four hundred people invited and a calculator whirring through costs in higher and higher escalations, it turns out Zak’s shelling out more for this event then he paid for his first house. At home that night he endures humiliations from the wife about paying for his broken nose and goes out to the garage to consider taking the whole bottle of valium as an escape from the pain. But then Zak tosses them aside. Instead he crashes up the back of his car with a wrench so he can backup the story he told her about getting a broken nose from a rear-end collision. So, clearly Zak’s afraid of his wife. He protects his job with Richie rather than venting to her about what’s really going on at work. Zak can’t vent to her because if his wife knew the money from the sale is kaput now she’d be even more upset. It’s his wife who insisted on the “premium package” for the bat mitzvah, after all. Zak’s humiliated all around. But hey, at least he got to take his feelings out on the back of his car. He’s a fighter after all.

Devon confronts Richie about the fact that he’s doing drugs and drinking again. Right after this the homicide detective that haunted Richie in episode one shows up to talk to him about a murder. Interestingly, it isn’t the murder from the night before but another very different one involving Maury Gold, the guy Richie sold out Lester to years ago. Gold apparently has mob ties and thus, may be implicated in a murder. The cop quickly sees that Richie’s not involved in this investigation and leaves. So, then Richie falls apart in Devon’s lap while she’s transported to more memories of their first days together again. In these particular glorious flashbacks Andy Warhol (played by John Cameron Mitchell) finally comes to the Vinyl party when Devon remembers how Andy met Richie for the first time. It’s evident that Devon was a Factory Girl and one of Andy’s favorites. In her recollection Richie encourages Devon to do a Warhol screen test, something Andy’s been dying for but Devon wouldn’t even consider until Richie came along. Devon hates it because she’s “just sitting there” but then sees Richie remove his sunglasses to watch her. This transports her into a loving place and thus her gorgeous eyes return to the camera and eat the lens with Devon’s in-love intensity. Then back in the present day she wants sex with Richie and starts kissing him. But he’s “tired” which is code for his coke-addled saggy dick because there’s no way in hell he’s actually tired. Of course not. How could someone who’s been non-stop snorting coke all day be tired? They can’t but they also can’t get it up – a known side effect of cocaine. So, Devon falls asleep and then wide-awake-Richie sneaks out. He goes back to where he saw Lester in the “Pilot” episode and knocks on Lester’s door. “We gotta talk,” Richie says and Lester lets him inside.

Richie and Devon long for their past selves in “Yesterday Once More” but not necessary their true selves. In fact, it seems possible these ideas they have about how they were may not even be real. Richie was a dreamer with a passion for music, yes. And Devon was going places with her acting and fancypants connections but these things don’t last forever. Somewhere along the way they took a few turns, including an agreement to stay away from drugs and alcohol. The duo seem to believe they can reinvent who they are – do it better. Richie appears to have a major lead on her with this endeavor but Devon has Warhol… and reinventing is what he does best. Mainly we want to see what’s going to happen with Lester. Will Richie redeem himself and help make Lester a star as a Blues musician? We hope this reinvented Richie can make it so.

–Katherine Recap

[For The People v. OJ Simpson “The Dream team” or any other recaps on Fetchland, assume the presence of possible spoilers.]

FX Summary:
The Dream Team. Robert Shapiro begins putting together OJ Simpson’s legal counsel.

“The Dream Team” essentially gets down to the brass tacks of doing business in Los Angeles. But because it’s Hollywood, baby, fame matters. And emotion matters even more, even in the business of criminal justice. This is one of the major flaws in the idealism of the prosecutors from the very beginning. They decide it works for them to have the trial “downtown” rather than Santa Monica where the crime took place. Gill likes the idea because he’s thinking of his next election and wants a few black people on the jury and Marcia Clark is bursting with confidence because of her record wins and the abundance of evidence against OJ. She does make a telling joke, though, about how it’s too bad OJ won’t get a jury of his peers, rich white people. Another significant but seemingly offhanded joke is when Darden explains to her that many black people are convinced OJ didn’t do it, “They’re emotional,” he says and notes that she doesn’t “get it” because she never gets emotional about her cases. This is apparently a point of pride for Marcia Clark. Unfortunately, it will also be her undoing.

The episode opens on Kardashian eating out on Father’s Day with his kids where he gets recognized for being “the OJ guy” and thus seated right away. His daughters ask if he thinks OJ did it and he says no way but they insist that their mother thinks he did it. King Kodependent says he believes in OJ and also lectures them that being a good person and loyal friend is much more important than being famous. “Fame is fleeting and means nothing without a virtuous heart,” he says. Kardashian’s sincerity is evident but his idealism also feels touched with delusion given that the children listening to this and nodding their heads in agreement are Kim and Khloe Kardashian.

Meanwhile, Robert Shapiro’s incredibly pissed off by the media’s portrayal of the OJ case. He calls F Lee Bailey and has him over for some expensive booze and wooing. He cries to Bailey about how bad it looks for OJ: the trail of blood straight into his house, the gloves, running away in the Bronco, etc. Then they turn on the TV and see Dershowitz talking about how terrible this whole thing is for OJ. They discuss smug Dershowitz and agree that the only way to shut him up is to hire him. Next they bring on Barry Scheck, the best DNA guy in the business. When they all meet to discuss the case Dershowitz lists all their mistakes including reading OJ’s apparent confession on TV. Once he’s finished pissing all over their parade they all start sharing strategies. Barry Scheck’s strategy is to show errors in the handling of DNA samples to attack every assumption brought by the prosecution. Dershowitz then takes this strategy further and says they’ll do the same with all the evidence and get as much thrown out as possible. Later Pat McKenna, their team’s lead investigator, says the LAPD treated OJ like they were his butler but he does happen to know one of them, Mark Furhman and that he’s a real prick – even Johnny Carson didn’t like him.

Cochran hasn’t yet joined the team but tells his wife he doesn’t want to lose along with that crowd of fancypants. She says sure sure but how would you feel if they got Simpson off without you on the team? Johnny has to admit he wouldn’t like that. OJ’s face is on the cover of Time, Newsweek, and all the other news magazines and there’s outrage in the media about how they made him look darker in his mugshot. So, the topic of racism has already entered the conversation. Next we see Pat McKenna back with Shapiro after investigating Mark Furhman’s files at the lAPD and it turns out he’s been deemed racially biased and it’s all on record. Thus, the cop that found the glove – the most crucial evidence – can be taken down on the stand for his “known racism” and now Shapiro has his strategy. This information combined with the LAPD’s history in the black community gives him all he needs to clinch the case. It’s the first time Shapiro has smiled in a long time. A reporter from The New Yorker Magazine comes by his office and Shapiro tells him about Mark Furhman and that the police set up OJ Simpson.

Then Marcia Clark sees her eyewitness, the one OJ screamed at from his Bronco. She’s on Hard Copy talking about the incident with Simpson on the night of the murder and basically gives all of her testimony right there on TV. Turns out the show paid her five thousand dollars to tell her story. Even though she’s the only real eyewitness for the prosecution from the night of the murders and crucial to the timeline, Marcia says they have to pull her from the witness list now that she’s been tainted by the media. Clark says they still have all the evidence they need to hold the high ground. Uh oh. Slippery slope here they come.

Next we see OJ talking to Shapiro, Bailey, and Kardashian. Shapiro says he wants to add Cochran to the team so he can better communicate with the downtown jury and OJ doesn’t like this idea at all. It’s in direct conflict with the way he self-identifies. “You want to make this about being black but I’m not black. I’m OJ,” and now we see that OJ never really liked or agreed with the very defense that ended up freeing him.

Christopher Darden gets a call from the reporter at the New Yorker and he tells Marcia about it, saying he knows Furhman is an important witness for her. She then asks Darden what he thinks about the case. He says it seems bulletproof. But Marcia’s shocked when Darden adds that it’s interesting how a lot of black people don’t think OJ did it. So, he attempts to explain the phenomenon but Clark never quite grasps the concept. Next she asks him what he thinks of AC Cowlings being prosecuted for aiding and abetting a felon when he drove OJ in the Bronco. Darden points out that OJ having the gun pointed to his head makes it complicated. Marcia says she wants Darden to lead this aiding and abetting case against Cowling and Darden says he hasn’t been in a courtroom in a long time but she insists he’s the right one for the Cowlings case.

Then things unravel even further for the DA’s office when the news media starts playing the 911 tapes of Nicole calling in about OJ beating her. Marcia rants that her evidence is already all on TV and she’s going to have nothing left by the time the trial starts. It certainly won’t help her case now. Then The New Yorker issue comes out and F Lee Bailey praises Shapiro for his big brass balls. They talk about how the 911 tapes being exposed puts them back in the winning game now that this article is the followup. How can having the 911 tapes out there help them? It’s a lot like what Robert Kardashian told his kids, “Fame is fleeting. It’s hollow,” so people get emotional about it today, yes. But then they move on to the next thing as they do with all news stories. There’s a new one right around the corner that will make them feel something completely different. And guess what that next thing is – Shapiro and his story about how it’s impossible for a black man to get a fair shake with the LAPD.

Meanwhile Darden tells Marcia and Gill he thinks this Shapiro story from The New Yorker could stick. The DA office starts to realize their case is no longer such a slam dunk and it’s going to be a battle after all. Kardashian then reads The New Yorker article to OJ in prison and Shapiro explains to OJ how the 911 tapes hurt his reputation as the golden boy and they need to bring Cochran on the case to seal the race story for them. Shapiro finally gets the OK from Simpson but then faces another obstacle when Cochran says he has to look into OJ’s eyes and believe him before he can join the case. Shapiro clearly doesn’t believe Simpson and thus gets a worried look on his face at the prospect.

So, then Cochran visits OJ in prison and they sit, just the two of them, while OJ cries. He loved Nicole. He didn’t do it. He couldn’t have done it. Johnny just has to believe him. OJ uses emotion like a master, wiping away the tears and tapping deep into Johnny’s soft heart. Cochran says he does believe it and that all he needs is one black juror for a hung jury and then OJ can go home.

In the final scene Marcia smokes at a picnic table in her backyard just as the sun’s coming up on a new day. She smokes her billionth cigarette and looks at the paper. On the front page is the news that Cochran has joined “The Dream Team,” and Clark only has one word to say about this, “Motherfucker”. She’s facing a formidable opponent in Cochran because he taps into people’s emotions, a skill Clark doesn’t have. In fact, this theme resonates throughout the episode. From the scene where Darden points out to Clark that her stoicism prevents her from understanding the black community’s point of view, to the argument among OJ’s Dream Team when they accuse each other of being too emotional. Yes, they are emotional and it works for them. You have to care deeply to convince people to think in different ways. You need passion and this dream team has tons to spare. Now, with Cochran joining them they have a veritable wall of passion. It’s all about getting the job done but in this case their work is a war with an ice queen armed with facts. So, who better to battle her than warriors with hearts afire?

–Katherine Recap

[For Better Call Saul> “Switch” or any other recaps on Fetchland, assume the presence of possible spoilers.]

AMC Summary:
Switch. Jimmy and Kim’s relationship takes a new turn. Mike feels it’s best to sever his affiliation with an unrestrained associate.

Here’s a brief refresher on Season one:

We love Jimmy McGill, a former scam artist who works hard to better himself and live a life of integrity. He wants to be like his brother, Chuck (Michael McKean), senior partner at a fancy law firm. Jimmy takes law classes online while working a day job as a mail clerk in his brother’s law firm. On his third attempt, he passes the bar exam. But Chuck, a “real lawyer” stricken with the not-real disease Electromagnetic Hypersensitivity, continues to look down on Jimmy and treats him like a manservant. Chuck even prevents Jimmy from joining his law firm. Thus Jimmy goes out on his own and creates a big case serving the Sandpiper Elderly Home residents and eventually building a case that proves the home is embezzling from them. He offers the case to his brother’s firm and they take it on but still won’t hire Jimmy because of Chuck’s blockage. We know eventually Jimmy becomes a big time successful lawyer named Saul Goodman because of his character in the TV show Breaking Bad. We also know that eventually he becomes “Gene” the broken and balding manager of a mall Cinnabon.Better Call Saul serves as prequel to when Jimmy McGill became Saul, sort of the origin story, and yet also so much more than that.

The episode “Switch” is about two kinds of switches; changes we make in life and also a simple light switch which stands for something much bigger. Jimmy engages both kinds in this episode and he explains that he’s in a phase right now of “breaking the rules” because he thinks he’s followed rules for too long, ever since he came to Albuquerque for Chuck and lived basically as his manservant, anyway. We know before that Jimmy was a small time conman. So, it really serves as no surprise that this is behavior Jimmy may slip back into at times. Well, the time is now.

This first episode of season two opens on Gene (future Saul/Jimmy) closing the Cinnabon at the mall for the night. He carries the trash bags out to the dumpsters at 9:20PM and accidentally lets the door slip shut behind him, thus locking him in with only the dumpsters and emergency exit door to keep him company. The door’s sign declares that any attempt to open it will trigger an alarm that alerts the police. So, Gene plants himself on the lone milk crate and waits. At 11:45PM the janitor opens the door to bring in the rest of the mall trash and Jimmy finally exits. Then we see that he used a loose screw to carve, “SG was here,” into the wall. He leaves his mark but as Saul, the lawyer; not as Gene, manager of the mall Cinnabon.

In the next scene we pick up where last season left off with Jimmy coming to the courthouse to see the Davis & Main team for the Sandpiper trial. He pulls Kim aside and asks her if something happening between them is contingent on if he takes the job with Davis & Main. She says one thing has nothing to do with the other and he’s happy, says “great,” turns down the job offer, and then leaves them in the courthouse. So, we see what happened in that space of time before he talked to Mike about the $1.6 million in the toll booth at the ned of last season’s finale. Jimmy then drives to the nail salon and gleefully drinks the forbidden cucumber water – pouring it straight into his mouth – before heading to his office at the back to close it down for good.

Meanwhile Mike meets his client, Pryce, in a parking lot. Pryce shows up in a bright yellow Hummer with red flames painted all around and license plate that read “PLAYUH”. Mike says he won’t go to the meetup with Pryce in that vehicle because this business requires restraint and the Hummer is basically screaming. Pryce says he’s taking it anyway whether Mike comes or not. Maybe he doesn’t really need Mike for protection anyway. He says “that Nacho guy” comes alone, so why can’t he? Mike says he highly recommends Pryce take some sort of backup but then he goes without Mike anyway. At the meetup Nacho asks to look at the Hummer and Pryce tells him all about the amenities then leaves him in the Hummer while he counts the money. Once alone in the Hummer Nacho looks in the glove compartment at the registration and takes note of Pryce’s home address.

Next we see Jimmy floating in a pool next to some nachos and a phone in a ziploc (waterproof). Kim comes by and says, “So, this is what a mid-life crisis looks like,” and he tells her it’s “mid-life clarity,” and to get in the pool so he can explain why he turned down Davis & Main. She says if he really wants to talk she’ll be in the bar. So, he comes joins her to say he’s quitting law. Kim asks if something happened in Cicero and he says Cicero has nothing to do with it. It’s just his whole life since he came to Albuquerque for Chuck and then doing everything for Chuck. Chuck. Chuck. Chuck. She’s frustrated for his sake and says he’s a great lawyer, though. Jimmy says the things that make him a great lawyer can make him great at something else. So she asks what the plan is and he has no plan. Kim keeps trying to convince him to try the Davis & Main job. He says he’s sick of doing the “right thing” for all these years and it’s gotten him nowhere.

In order to illustrate what he means Jimmy approaches a braggadocio wall street douche at the bar and asks him if there’s a limit to how much a person is allowed to invest. The guy says no. Then Jimmy pretends to tell K that they can invest ALL the money they just inherited and make more money off it. The stock guy then interjects that sure they can invest all their $1.4 million inheritance but they should diversify. He offers to help them and be their advisor, claiming that he’s practically “a money printing machine” so they should talk to him a bit. They sit down with Mr. Douche, giving him the fake names Viktor and Giselle Saint Claire. To the tune of the song Golddigger they drink an entire bottle of tequila at $50 a shot and “sign on” with him as their “advisor” using the fake names then leaving him with the gargantuan bill. They giggle and run out of the bar then smooch by the side of the hotel pool and end up sleeping together at Kim’s house.

Next we see a police car drive up to Pryce’s house and enter. He was robbed, and Pryce’s really really upset about his baseball card collection being stolen. They were very special and rare. The police ask if anything else was stolen and Pryce mentions cash but won’t tell them how much. In fact, he’s downright evasive about the cash. The police are clearly suspicious about how messed up the robbers made his house, all his fancy stuff, and his weird vagueness about the cash, “clearly they were looking for something in particular,” one of the cops says and notes that the robbers left the TV and computer. Raised eyebrow alert. While Pryce prints out his inventory list of baseball cards in another room the police find a secret hiding spot behind his couch but there’s nothing back there. They put the couch back before he returns.

Then we see Jimmy back on his float at the hotel pool calling Kim on the phone in a ziploc and suggesting their next mark at the hotel. He leaves her a message and then gets thoughtful before calling Davis & Main. Next thing we know, Jimmy has flipped an internal switch of sorts. He’s starting the job at Davis & Main; suited up and shaking hands. His office is beautiful, his assistant, Omar, is helpful, and they’re even giving him a company car. Sitting in his new office chair Jimmy sees a sign on the light switch that says “Always leave ON!!! Never switch OFF!!!” so he tears the scotch tape aside and pulls the sign off. Then Jimmy turns the switch off and stands aside a moment before flipping it back to the “on” position and replacing the sign.

The switch could be seen as symbolic in various ways but the simple interpretation is that Jimmy has found a small way to break the rules and still have a luxe life for himself. Yes, the pool was relaxing and the con was fun but Jimmy knows all too well how the life of a con man can turn down a dark alley and bleed to death. He’s been in that alley. One thing Jimmy’s never done is take an opportunity like this Dean & Main job. It was smart for him to find out first that Kim would be with him regardless. Now he knows that AND he can have the cushy lifestyle too. The switch is just his little way of saying that even though he’s taken the “good guy” route after all, he can still break some rules and keep that mischievous part of himself alive. Sadly, it seems that the later incarnation of his character, Gene, had to resort to actual vandalism to do so. Why not just try that emergency door, Gene? Jimmy McGill would have. Saul would have. Perhaps we’ll have to wait for Gene’s spinoff show to find out.

–Katherine Recap

[For Vinyl “Pilot” or any other recaps on Fetchland, assume the presence of possible spoilers.]

HBO Summary:
Pilot. Richie Finestra considers selling his struggling record company: Richie reunites with Lester Grimes.

The highly anticipated premiere of Vinyl is finally here. From Executive Producers Martin Scorsese and Mick Jagger, along with Boardwalk Empire writer and creator Terence Winter, this one’s stocked with great actors like Bobby Cannavale, Olivia Wilde, Juno Temple, Ray Romano… and even Mick Jagger’s son, James Jagger. So, it sounds like it’ll be sexy as hell. Set in the early 70s New York City music scene, the show promises cool clothes along with drugs and sensual indiscretions. There are heroes you love to hate, which Richie (the Bobby Cannavale character) declares about himself right up front; and pertains perfectly to the lead singer of the band Nasty Bits, played by James Jagger. So, we have parallel portraits of a decline and rise in the music business in this “Pilot” episode. But most importantly we’ve got sex, drugs, rock n’ roll… and don’t forget murder for good measure. Gotta throw something in there for the kids after all. Also at a fully engorged two hours, this “Pilot” episode is longer than the majority of feature films.

There are several storylines and time periods, all from the drug-addled Richie’s point of view. So even when he’s screwing a true artist out of his dream it’s Richie who is portrayed as the victim. The hot mess of disorganization is another consequence of Richie’s storytelling style. We jump back and forth between the 70s, 60s, and 50s without consistent transitions. Despite these flaws, the whirlwind pace and pure bastard perspective works for Vinyl. The conflicts twist and spin into several hilarious crescendos, including a homicide, a building collapse, and confrontation over who’s more hateful: Germans or the people who hate Germans?

The main story takes place in 1973 NYC: Richie Finestra (the sex and Brooklyn sandwich Bobby Cannavale) is a sobered record company owner with a gorgeous wife, Devon (Olivia Wilde) and two kids in Greenwich Connecticut, along with an apartment in the city. He’s got a driver but — in one of the show’s funny ironies — when he ends up getting loaded drinking booze from the bottle and snorting eight balls, he drives himself. Richie explains to us that he built his record company, American Century, from years of hard work, exploiting the artists, and cooking the books. His main helpers were Zak Yankovich (Ray Romano) and a magic mustached guy named Skip Fontaine. They’ve all three screwed the company with major flops and decades of playing pretend with their bottom line. It’s time to sell the company, so they’re in talks with Polygram AKA “The Germans” to buy the stinker out. The big joke to them is that it’s OK to screw Polygram with this lemon because they’re German and thus it’s reparations. Thing is the sale also screws Richie’s people and his artists; and A&R* reps will likely get either booted from the label or, at the very least, less favorable deals.

At the same time Richie’s attempting to land Led Zeppelin, the hottest band at the time, and for good reason. In fact, it turns out The Germans mainly want to buy his company for this reason. Ironically, when Led Zeppelin’s manager finds out they may be sold to Germans he wants to pull out of the deal because he hates Germans. Their deal was already tenuous because Zeppelin got wind of how Richie might screw them with a low royalties cut. Robert Plant, their lead singer, confronts Richie face to face but it’s not until Plant gets up on stage afterward and starts singing that we see why this actor was cast as Plant. When singing he’s transformed from a prancing dweeb into the real deal… and his performance brings a tear to Richie’s eye at the thought of losing Led Zeppelin.

Another storyline focuses on the American Century sandwich girl and drug purveyor, Juno Temple as Jamie Vine. She meets the lead singer of a band called the Nasty Bits and takes his tape for a listen. Jamie keeps the employees fed and high but her real dream is to join the A&R team and sign new talent. Her discovery of the Nasty Bits inspires Richie and she does seem to really get what gives them potential. In one of the most interesting scenes she and the lead singer, Kip (played by James Jagger) have an after sex convo where she explains that his band sucks… but their emotional impact on the audience was awesome, and that means he could be a star. Then Jamie asks him what he cares about and he says, “Fucking. Fighting. Nothing,” and she says that’s his band persona from now on – he doesn’t give a fuck. As Jamie leaves, Kip is sticking a needle in his arm and the drug dealer tells him to be careful with that stuff. Thing is, Jamie, it’ll really help him with the whole not-giving-a-fuck persona.

Past and present come together for Richie when he hears enticing music and sees a bunch of people dancing outside. So he has his driver pull over… But when he asks a guy who’s “in charge of this area” about the music they pull a gun on him and say he should move along. It’s not his place. When he gets home later Richie listens to Lester Grimes playing and singing on a Blues record and it turns out Lester was the guy standing beside the one with the gun that shunned him. We’re transported to Richie’s memory of discovering Lester, the first artist he ever represented, singing the Blues in a club where Richie worked behind bar. Over the course of the episode we check on the trajectory of Richie representing Lester. First he lets the record company force a new name on Lester, “Little Johnny Little” because he’s so tall. Ha ha. Except it’s not really funny at all. Then that same record company guy makes Lester sing lame dance tunes when all he wants is to sing the Blues. It’s a shit spiral of compromise for Lester; all the while Richie is moving up in the world and ends up with his own record company. Lester, on the other hand, ends up lying in a pool of his own blood when Richie leaves him behind at the now-bought-out old record label where they really must insist he continue singing cha cha cha crap.

It’s clear from Richie’s portrayal that he manages to excuse all this as him “learning the hard way” from his experience with Lester. The record company insisted on shafting Lester, he conveys in his telling. But Richie also tells the Germans about how his company makes money even from their worst artists by making them pay all production costs and assorted “fees” out of their final cut from record sales. He’s mighty proud of how he protects the American Century bottom line by sticking it to the musicians and not quite contrite enough about Lester. Richie seems to think he’s just like any other businessman, but in the process conveniently forgets how much he hurts the very artists he claims to love. Also, there’s something more to this Lester story: Lester’s phenomenal talent was singing and playing the Blues. It didn’t just hurt Lester to deprive him of that; it genuinely robbed the music world of a gifted artist. For someone in Richie’s position, that’s the greatest crime of all.

Richie’s relationship with his wife, Devon, isn’t explored much in the “Pilot” but she does throw him a birthday party against his will. During the party we find out she was a Warhol girl and that they miss her at the Factory. Andy’s been asking after her. Devon claims that her husband and kids have filled her heart to the brim and this life in Greenwich, Connecticut is all she needs to be happy. But we recognize that faraway look in her eyes. She misses the high life. In a later scene Richie loses all control and starts drinking again. He offers the bottle to Devon and she pretends to drink but then spits it in his face instead, so then Richie hits the road and buys an eight ball just to seal in the juicy goodness of his sobriety lapse.

What sets him off onto this loony trek? The craziest scenes are with Andrew Dice Clay’s Buck Rogers, the radio guy moneymaker who’s in conflict with American Century because of “that bastard Donny Osmond,” whom they represent. Apparently Donny pissed Buck off and ever since Buck’s been stuffing coke in his nose and raging about it nonstop. Buck’s on a power trip and plans to boycott all American Century artists so they’ll get no radio play. That means no money and potentially no deals too. Richie takes a meeting with Buck in a sex club surrounded with naked writhing duos, threesomes and so on. It’s a hilarious scene where they discuss the Osmond’s asthma and whether or not Buck’s face resembles an asshole, which it kinda does. Richie brought his buddy Joe Corso to the meeting, an “independent promoter” who brings coke for Buck and appears to have mob ties.

After their meeting Richie goes to his surprise birthday party during which he gets a call from Joe that Buck is finally ready to strike a deal with him now that he’s on day three of his coke binge. Andrew Dice Clay delivers an eerily realistic egotistical cokehead gone mad. He repeats that Richie has to “face his fears,” a zillion times with such fervor and sincerity you gotta wonder if the guy really was out of his mind during filming. After his tirade Buck shoots a hole in his TV screen. Then Buck and Richie fight with Richie nearly choking to death until Joe intervenes with a microphone trophy to the back of Buck’s head. They think they killed Buck but as they search for something to hide his body in, Buck attacks them from behind so they really do have to kill him — with intent this time. Richie says they should call the cops and say it was self defense. But Joe says no way this looks like self defense. They gotta clean it up and get rid of the body. Joe knows how they can dump it and make it look like “just another drug deal gone bad,” so that’s the last we’ll see of Andrew Dice Clay as Buck. It was a blast while it lasted.

We’re transported at the end of the episode to a coked up Richie in the Mercer Arts club seeing The New York Dolls perform. The ceiling and walls split and come down on the audience who are all so caught up and oblivious in their love of the music that they don’t notice until the pipes also start bursting and spraying water on them. Then the stage lights come crashing down and the whole building collapses into an enormous crumble of smoke and rubble. After it settles we can discern Richie flat on his back, alive and dusty as fuck. He stumbles out of the wreckage and down the cobblestone street but he’s smiling because of the music in his head. In the after show back story we find out that the Mercer Arts Center actually did collapse but just during a rehearsal, not a performance and not with The New York Dolls either. But it’s cool to take artistic license for the sake of art and right on theme for Vinyl.

Vinyl delivers mad fun, fantastic music, and fab costumes with the sexy pairs Cannavale/Wilde and Temple/Jagger at the helm. It’s perfect timing for a show set in 1970s NYC with the current bellbottom boho fashion explosion and every art gallery in the city hanging up pics from this era on their walls right now. But the real acid test of any show lies with story. You can’t stay hot on TV without strong ass writing and a bullet train narrative. Can Vinyl’s story hold up? Some of the signs are there. We’ve got cliffhanger questions after the two hour “Pilot,” like how’s Richie going to avoid the homicide detective already on his tail about Buck’s murder? Will he keep boozing and coking his days away? Will the American Century buyout go through after all? What bands are we going to see in the next episode? Scorsese directed the “Pilot” so it’s possible things could go downhill from here but either way it’s worth it to tune in for all the sexy beasts onscreen and the rad tunes to boot.

–Katherine Recap

* Artists and repertoire.The division of a record label or music publishing company that is responsible for talent scouting and overseeing the artistic development of recording artists and songwriters.

[For The People v. OJ Simpson “The Run of His Life” or any other recaps on Fetchland, assume the presence of possible spoilers.]

FX Summary:
The Run of His Life. With OJ Simpson missing in the white Bronco his lawyers must deal with the fallout as the DA’s office and LAPD scramble.

Episode two, “The Run of His Life” opens with Kardashian AKA King Kodependent praying for OJ and Shapiro begging on the phone with the DA, Gil Garcetti, saying he had no idea OJ was going to run. Shapiro’s so smart. He begins the discussion by saying, “I’m so sorry he did this to US,” immediately aligning himself with Gil, whom he also reminds came to his fiftieth birthday party. The DA isn’t empathetic and ends the call abruptly by hanging up on Shapiro. Then Kardashian shows Shapiro OJ’s suicide note, signed with a happy face. The news media is all over OJ on the run while the DA’s office watches horrified and points fingers of blame, mainly at the specter of OJ’s celebrity and Robert Shapiro. Gil says this is the worst day of his life, worse than when he was diagnosed with cancer. Teams of news crews and cop cars hit the road searching for fugitive OJ. There’s only one story being told in the United States today and it’s the car chase to end all car chases… except that it’s really not a car chase at all. OJ isn’t chased but rather escorted. The police had an opportunity to shoot him or at least take him into custody and instead they let him go then cleared the freeway, surrounded his vehicle, and escorted him home to Brentwood.

In this episode we only see a tiny glimpse of the angry Simpson that raged through the first one and that tiny bit of OJ anger is directed at AC, who keeps flipping out under the pressure. This episode is all about apologetic OJ. He says sorry over and over and over, mostly to the police who, we soon come to realize, adore him and OJ desperately wants to keep it that way. It’s unclear how sincere OJ’s suicide threats are but what resounds abundantly clear is that he uses them to hold the one thing hostage everybody cares most about – the icon, OJ Simpson. Maybe he wanted to set off a reminder flare about how much this “American Hero” meant to us right before the arrest. Or maybe he really just wanted to kill himself. Either way, by holding the gun to his head OJ runs the entire show from a seemingly passive and vulnerable position. Meanwhile he’s getting highways cleared and police escorts home. This is a person who definitely doesn’t think the rules apply to him and he’s going to make sure the whole country knows it. We must never forget that he deserves special treatment simply because he’s OJ. No matter that he’s suspected of double murder with a warrant out for his arrest.

Meanwhile at the DA office Gil gets on the news and says that anybody who helps OJ is harboring a fugitive which is a felony and he’ll personally make sure they’re prosecuted. He makes clear that the DA’s office alleges the murder weapon was a knife. Christopher Darden, who’s taking a few days off, then arrives at his family’s home and the one living room in the country watching the PGA golf tournament rather than the white Bronco. Darden changes the channel to watch the news and sees his peers from the DA office on TV. He empathizes with Marcia and Gil immediately and his father says, “You know those people?”. Meanwhile Shapiro and Kardashian do their own press conference, mainly to help clear Shapiro’s reputation. Shapiro declares that he had no idea OJ was going to run and then talks primarily about what a reliable person and fantastic lawyer he is. Johnnie Cochran, watching this, says it’s a mistake and that an attorney should always put their client’s needs first. Then King Kodependent reads the “suicide note” as part of the Shapiro press conference as well. In it OJ says he sometimes felt like a “battered husband” which dumbfounds Marcia Clark who’s watching in her office. Then Bill quips to her, “Well, you know, he cut his hand while he was killing her,” deftly delivering the best line of the episode.

In the meantime to the tune of the Beastie Boys singing Sabotage, a couple in a VW van recognize the white Bronco with AC at the wheel on the California highway and call it in from a highway pay phone. The police quickly pull up to the bronco but AC won’t comply with anything; even the mere request to speak to OJ. He just says OJ’s in the back with a gun to his head. Though they have guns drawn at the white Bronco, AC won’t even open a window. The cops then refuse to shoot at OJ Simpson without authorization so AC ends up simply driving away from them because they don’t even threaten to take action or try to negotiate terms. He drives away as soon as he realizes their guns are simply bluffing.

Then Kardashian, weepy in a flowered tie, goes to OJ’s family members and tells them about the suicide note. He adds that “We have reason to believe he’s killed himself,” but just as they’re all joining him in weeping the nearby TV broadcasts that OJ’s in the back seat of the white Bronco driving down the freeway, alive. Shapiro also sees this news from his own living room and hears the broadcaster say Simpson’s basically driving up and down the freeway with a police escort. “Good for you, OJ,” Shapiro says, “We’re still in the game” so we see that his earlier press conference was made under the assumption that OJ was dead. Shapiro thought the game was over and didn’t realize it was all really just beginning.

The DA team discusses what the protocol could possibly be for apprehending an armed celebrity fugitive surrounded by police cars and helicopters. Nobody has an answer but Marcia does suggest shooting out his tires – not the worst idea but poo pooed by Gil for representing a shootout on national TV. Simultaneously in the white Bronco, AC and OJ talk about what they should do and AC tells him to think about his kids. OJ says he needs to see his mother. So, AC calls 911 and says “they” need to clear the freeway so OJ can go to Brentwood. Turns out the operator took immediate action and the police quickly do clear the highway for OJ. Just like that. At that moment on TV it’s the NBA finals and the producers interrupt the game to go to live coverage of the OJ story. Clark walks through the DA’s office where everybody is watching the news reportage and then she calls Bill and asks how OJ got his white Bronco back when they impounded it and she’s told it’s actually AC’s bronco; he copied OJ. It’s OJ’s world, they’re just living in it, it seems at that moment.

OJ then calls King Kodependent from the car and they revel in their bromance and tell each other “I love you,” then OJ reminisces and tells Kardashian to say goodbye to everybody for him and starts listing people. Kardashian says OJ can tell them himself because he’s going to see them again. OJ says he just wants to go home to see his mother but Kardashian says that’s probably not the best idea right now. Next we see Cochran in a news interview talking about how OJ is innocent until proven guilty. He also tells a story about one of his clients who was also innocent until proven guilty but was killed by police anyway simply because of the color of his skin. It was the first of many such cases, unfortunately, Cochran says. OJ then gets a call from a detective at the police station and apologizes profusely to them for making them work so hard “late on a Friday when they probably want to go home to their kids,” and says the gun isn’t for hurting them. He would never do that. The gun if for himself, he says. They tell him they’ll let him go home but that the gun is scaring everybody, won’t he throw it away? OJ says no because he “deserves to get hurt” and says he wants to join Nicole.

Meanwhile Christopher Darden talks to his family’s neighbors over the backyard fence. They are speaking highly of OJ and Darden points out that Simpson never really gave back to the black community, so they can’t really claim him as one of theirs. He left never to return and basically became white. But the neighbor says, “Well, you got the cops chasing him, so he’s black now”. The news media shows crowds of people holding up signs and chanting that OJ’s innocent. OJ sees them and cries when AJ says it’s because the people love him. Marcia Clark watches a news report that seems like a eulogy for OJ and declares that they have to get him alive so he can face and pay for what he’s done. Meanwhile OJ can’t get to the house in Brentwood because of all the people outside with supportive signs, blocking his way. But then they finally pull into the driveway. Once there, AC and OJ’s son beg him not to shoot himself and OJ finally puts the gun in his lap, crying. Night falls and OJ remains in the Bronco, surrounded by helicopters and with AC on the phone with police. His home is full of SWAT police as well. He decides it’s time to just do it and puts the gun in his mouth. Then the phone rings and it’s King Kodependent again. Kardashian convinces OJ to come inside. The deal is that he has to leave the gun in the Bronco and in exchange the police won’t put him in handcuffs outside but will do the arrest inside the house. No perp walk – just like OJ wanted all along. So, OJ comes out of the Bronco apologizing all the while to the police. Initially they think he has a gun until Kardashian screams that it’s just pictures of his kids and saves him from being shot. OJ comes inside and collapses into King Kodependent’s arms. He keeps apologizing over and over. Then, once seated on his couch, OJ asks for some orange juice and talks to his mother on the phone.

The news media then declares that OJ’s been arrested and we see him get in the back of a police car and it starts driving toward the station. Marcia Clark seems happy and satisfied that they’ll be taking him to trial after all. Christopher Darden in the backyard of his family’s home comments that he may get put on this trial after all. Darden’s family neighbors say they hope he’s not representing the state on this case because OJ was clearly framed. This surprises Darden who says no, he’s certain OJ wasn’t framed but the neighbors can’t be dissuaded from their point of view. A line of separation forms here for Darden on principle and it’s a line that will grow longer and longer until it divides the entire country as the trial commences and everybody takes a side – each based in their own strong principles.

–Katherine Recap

Lots of Fetchland readers already subscribe to services like Netflix, Amazon Prime, Hulu Plus, or even Marvel Unlimited.

… Which begs the question: When you have access to an almost limitless plethora of entertainment options, which ones should you pick?

“What’s Free Wednesday” is a weekly Fetchland feature spotlighting something great to read or watch available on one or more entertainment services. “Free” once you’ve paid for it, if you grok 🙂

Blood Simple

Free on:

• Hulu Plus

Hulu Summary:
Blood Simple A bar owner in Texas is certain his wife is cheating on him and hires a private detective. This is just the beginning of a complex plot, full of misunderstandings and deceit. Ethan and Joel Cohen’s first feature film.

We at Fetchland are aware that it’s not Wednesday but figure you’d appreciate this if you’re looking for a free bit of entertainment and the Super Bowl isn’t your bag. Did we mention that this one’s free if you’re a Hulu Plus subscriber? Rather than shell out beaucoup dinero to see the new Cohen brothers movie, “Hail Caesar” you can stay home, snuggle up on the couch with your boo, and watch their first film for freezies. Given that this 1984 gem, “Blood Simple” has a 94% fresh rating on Rottentomatoes.com and “Hail Caesar” currently looms around 79% for critics and a mere 41% among audience fresh rating, watching this might be the best decision you make all week. But let’s not leave your decision entirely up to Rottentomatoes.com. We here at Fetchland have thoroughly vetted this flick for you and we’re here to tell you that it’s not all hot tomato air. This dark comedy noir thriller with violence and sex and all that good stuff truly earns the “thriller” part – it’s thrilling with a tightly constructed story, witty dialogue, mischievous characters, and clever directing. Also, it’s cool to see the first in a series of twenty five films these director brothers have made together thus far in their thirty year careers. They traversed so many genres and styles, it’s interesting to note that these so-called “genre breakers” started, with a noir comedy thriller.

There’s a sublime perfection in all the things that go terribly wrong in the diabolical storyline of “Blood Simple”. Deaths are misidentified along with culprits and mistaken identities. All information’s delivered with such elegant simplicity that the only entity with a clear understanding of what’s happening is us, the audience, and even we get a bit hazy at times. Essentially, this is a thriller with themes of trust and double-dealing. Every character has an agenda and these are intense characters. Even the seemingly indifferent Ray, a bartender with the aloof monotone of a Texas Instruments calculator (Texas because that’s the location) cares deeply and acts rashly just like the rest of them. But the best is definitely M. Emmett Walsh who plays the private detective with such devilish glee that we find ourselves cheering for him even as he breaks every moral code we’ve ever believed and not even in a nice way.

Most of the crucial story elements are told in a wholly visual way, so there’s not a lot of dialogue and you really must pay attention or you’ll miss critical plot points. You won’t want to take your eyes away from the screen anyway because this is a beautiful movie. From the striking young Frances McDormand to the stunning cinematography… it’s visually gripping. The story also won’t let go and you’ll get caught up in all the misunderstandings and stakes. The characters don’t have a clue what’s going on and the audience gets treated with lots of surprises too. Many people die and it’s always unexpected. There’s not a predictable turn of events in the pack here, other than some adulterous sex you’ll see coming. But the whole thing is so masterfully done that you’ll be gasping and wincing and loving every minute.

This unique kind of brilliance happens when artists have complete control over their work and it’s an inspiring experience for any would-be screenwriters and filmmakers out there to watch. The Cohen brothers wrote, directed, and produced “Blood Simple” for only 1.5 million and it still holds up now, thirty years later, as one of their best. In fact, it stands as one of the best movies of its genre, managing to balance the gruesome storyline with hilarious visual and dialogue wisecracks. We can’t help but have a good time even as character after character bites the dust in a bloody mess right before our delighted eyes.

–Katherine Recap

[For The People v. OJ Simpson “From the Ashes of Tragedy” or any other recaps on Fetchland, assume the presence of possible spoilers.]

FX Summary:
From the Ashes of Tragedy.In the episode “From the Ashes of Tragedy” the murders of Nicole Brown Simpson and Ronald Goldman lead the LAPD to the home of OJ Simpson.

Often cited as the most publicized trial in American History and the “trial of the century”, the double murder trial for the killing of Nicole Brown Simpson and Ronald Goldman spanned eight months in 1995. The trial ended with OJ’s acquittal and spotlighted a nationwide polarity in black and white opinions as to Simpson’s innocence or guilt. Based on the book The Run of His Life: The People v. OJ Simpson, by Jeffrey Toobin this show seeks to explore the many sides of an emotionally powerful and intrinsically fascinating drama many Americans feel they witnessed firsthand. We watched the trial on TV and the daily media frenzy that followed each day but weren’t privy to many of the events portrayed in this show. It’s the behind the scenes good stuff that brings out the intrigue and keeps us riveted, especially characters like John Travolta’s Robert Shapiro, a hilarious and real character that he wears like a glove.

As a refresher and reference here’s the cast of characters:

Cuba Gooding, Jr. as OJ Simpson – Former football Hall-of-Famer and actor accused of killing his ex wife, Nicole Brown Simpson and her friend, Ronald Goldman.
Sarah Paulson as Marcia Clark – Prosecuting attorney on OJ Simpson trial – mother of two going through a divorce during the trial
John Travolta as Robert Shapiro – One of Simpson’s lead defense attorneys – a celebrity lawyer who has become a celebrity in his own right
David Schwimmer as Robert Kardashian – Close friend of OJ Simpson who took up practicing law again just to support Simpson throughout the trial
Courtney B. Vance as Johnnie Cochran – One of the lead lawyers on OJ’s defense
Nathan Lane as F. Lee Bailey – Famous criminal defense attorney on many high profile cases, including the OJ Simpson trial
Billy Magnussen as Kato Kaelin – Houseguest of OJ at time of murders and witness at trial
Connie Britton as Faye Resnick – Friend of Nicole Brown Simpson and witness at trial
Steven Pasquale as Mark Fuhrman – Detective on the murder case who played a crucial role in amplifying the issue of race in the Simpson case.
Sterling K. Brown as Christopher Darden – Lawyer for the prosecution – brought onto prosecution team when Clark’s co-prosecuter took ill – had OJ try on bloody glove
Kenneth Choi as Judge Lance Ito – Judge on OJ Simpson trial
Malcolm-Jamal Warner as Al Cowlings AKA “AC” – OJ’s friend who drove the white bronco
Evan Handler as Alan Dershowitz – well known lawyer on the Simpson defense
Rob Morrow as Barry Scheck – Lawyer on OJ’s team
Robert Morse as Dominick Dunne – Haughty society journalist reporting for Vanity Fair

The first episode “From the Ashes of Tragedy” opens with a compilation of news coverage videos from the LA riots after the Rodney King trial verdict. It’s a reminder that these events happened only two years before the Simpson trial in that very same city. Next we see OJ’s driver picking him up for the airport on the night of the murders. He’s late because he “overslept and had to take a shower,” Simpson explains to his driver. Then a man notices a barking dog and thus discovers first bloody footprints leading to a gate and right after the full on crime scene outside the front door of Nicole Brown Simpson’s condo.

Soon homicide detective Mark Furhman shows up at the condo crime scene and with fellow lead detective Phillip Van Atter it’s decided they need to notify OJ of his ex wife’s murder. Furhman says he knows where Simpson lives, having been there for a family dispute a few years earlier. Outside OJ’s house the detectives see Simpson’s white Ford Bronco and spy what looks like blood on the door near the handle and in the interior. OJ isn’t home but when they knock on the door of the guest house out back they find an out-of-it Kato Kaelin inside. He says he’s not “an official person” and “I just kind of live back here,” then recommends they talk to OJ’s daughter. So, the detectives then call to notify Simpson of his ex wife’s death. He doesn’t ask how she died and hangs up after saying he’ll be back in LA the next day. Next we see Kato in Simpson’s backyard directing Mark Furhman to where he heard a loud banging on his A/C unit and then Furhman finds a bloody glove right under the air conditioner and detective Van Atter declares it a crime scene.

He’s the link to the next scene when he calls Marcia Clark for advice. Van Atter tells her about the crime and the evidence they’ve found: drops of blood leading to Simpson’s house, what appears to be blood on the Ford Bronco, and two bloody gloves; one at the murder scene and one at Simpson’s that appear to match. Clark immediately says it sounds like they’ve found enough evidence to arrest Simpson. Van Atter says he’s really just trying to get a search warrant at this point.

Marcia then briefs the DA office on the known details of the case. They work out a timeline and note that OJ’s flight took off at 11:45 and the murders happened at some point between ten and eleven. Clark then describes Ron Goldman as a twenty five year old actor/waiter returning glasses to Nicole that her mother left at the restaurant where he worked. They look at the crime scene pictures and have to pause a moment when they see that Nicole’s head was nearly severed from her body. These were brutal murders. Bill, Marcia’s co-council, shares the info about Simpson’s abuse conviction for beating Nicole when they were married five years ago. She’d called 911 eight times over the years of their marriage and had a black eye and split lip on record. OJ also shattered her windshield with a baseball bat at one point. In the end Simpson got off easy with community service that he never did, Bill recounts. Then they listen to the interview with OJ talking about the night of the murders and he’s vague about timing when asked about the events; even answering what time it was with, “seven, eight, nine… I don’t know”. Marcia complains that the investigators aren’t doing their job because they don’t get any specific information from him. Bill tries to explain to her what a giant football star OJ was and that the detectives were intimidated by his celebrity but Clark dismisses all that and says. “It doesn’t matter. He got away with beating her but he won’t get away with killing her,” although a worthy goal it also refuses to acknowledge the power of OJ’s celebrity. This could perhaps have been the fatal flaw in their prosecution tactics. We see Clark doesn’t have it easy in her life outside the trial either. She smokes constantly and sweats stress deep into the seams of her cheap suits – one of the hardest jobs imaginable ahead of her and going through a volatile divorce as well.

Next we see Robert Kardashian (King Kodependent) and Howard (OJ’s initial lawyer) at Simpson’s house to support him. OJ’s car from the airport drives up and he’s already surrounded by police and paparazzi. The police take him in the backyard and start to handcuff him but Howard stops them and then OJ offers to cooperate with Van Atter against Howard’s advice. One of the paparazzi catches the interaction on tape and announces, “OJ is a suspect,” then broadcasts the picture of the momentary handcuffing so that it appears on the news soon after. Van Atter then gives the blood evidence to an examiner to test for DNA and the forensics guy says they can’t rush it because DNA is serious stuff.

Clark then interviews witnesses who interacted with OJ the night of the murders. A woman OJ nearly hit swerving his SUV at 10:45 who, because he screamed at her, knows she can be certain it was OJ Simpson. Then the driver who took Simpson to the airport places OJ at the house a bit later and this grants the prosecution a solid timeline for where OJ was that night. Their timeline gives him plenty of time to have done the murders. Meanwhile Shapiro and Kardashian sit by while a polygraph examiner tabulates Simpson’s responses to questions about the murder and Simpson fails the polygraph, doing the worst possible – a score of negative 24. This sets OJ off on a rage in which he blames Kardashian and Shapiro for not “being there for him” during the polygraph. What the hell’s he paying them for anyway? It’s unclear why Kardashian remains so loyal to OJ after outbursts like this, thus his fetchland nickname King Kodependent.

Then we’re introduced to the colorful Johnnie Cochran choosing an outfit from his massive closet. He goes to the DA’s office where he chides Christopher Darden for being on the wrong side of the law when it comes to justice for black people. The one thing they agree on, though, is the endless cycle of bullshit that is practicing the law in a system that claims to administer justice but instead perpetuates racism and unfairness. Cochran leaves the office saying that although Darden couldn’t get justice for his client he will advise them to sue the city for police brutality and wrongful death. “You see,” Cochran says, “sometimes money is the only way to get justice,” and thus we now we see the introduction of the themes of race and money with these two characters, Cochran and Darden. They’re so similar and yet, once both involved in the trial, worlds apart and in total opposition on these two, arguably most crucial, themes of the story.

Next we see OJ stressed to the max at his house surrounded by friends. He’s popping pills and raging while Robert Kardashian gives him advice including that he needs a better lawyer than Howard. At this mention we’re introduced to Rico Suave himself, Robert Shapiro at a fancy lunch getting a call from OJ Simpson. In their first meeting Shapiro name drops celebrity clients like Rainman with a box of toothpicks. Then Shapiro tells Kardashian he needs to get his license to practice law back in gear and join the team so he can support his best friend in the courtroom. After Kardashian agrees, Shapiro asks to speak with OJ privately for a moment. Then he promises to keep Simpson’s answer confidential before asking him if he did the murders. OJ doesn’t hesitate before saying no and adds, “I loved her”.

At the funeral Faye Resnick and Kris Jenner (Nicole’s closest friends) gossip about OJ’s rage and how Nicole was terrified of him. They both think he did it. Even the paparazzi seem suspicious when Simpson brings Shapiro to the funeral. Only a guilty man would need his lawyer at his dead wife’s funeral. But really, no matter what he did or how he conducted himself, Simpson couldn’t win in this situation. OJ goes to the coffin and kisses Nicole, to Shapiro’s chagrin. What should he have done? It appears only his celebrity lawyer has that playbook.

In the next scene Marcia gets the DNA report which matches Simpson’s blood to the crime scene and gloves. Immediately after Shapiro finagles on the phone with the police negotiating Simpson’s imminent arrest. He says he’ll bring OJ in at eleven. But then Simpson is unwilling to even consider going. Shapiro keeps insisting he needs time alone with OJ so he can say anything he needs to say because they’ll always be observed after this. Want me to clear this room? I can clear the room. The comedy of errors starts rolling then as Shapiro tries to hold off the cops with a variety of lame excuses while he has a string of different doctors examine OJ to provide series of back up plans for his defense. Kardashian then goes to reluctant Simpson to get him and OJ holds up a will he’s written longhand and threatens to shoot himself saying it’ll just be easier for everybody this way. Kardashian holds him off but it doesn’t seem like OJ means it. In fact it feels like nothing more than a histrionic diversion and that’s exactly what this threat is, as we’ll see in the climatic scene of the episode.

Meanwhile Marcia Clark snarks on the phone at Robert Shapiro and threatens that he’s harboring a fugitive. As Shapiro continues to struggle off to the side on the phone with her, Al Cowlings (AC, OJ’s friend and fellow footballer) shows up. Kardashian tells AC that Simpson’s got a gun and he should help him out, a vague statement that AC apparently misinterpreted to mean, “do whatever OJ says”. Next thing we know the police are at the door to bring Simpson downtown and we hear the song I Shall Be Released as they all realize that AC took off with OJ in the white bronco onto the Los Angeles highway. The episode ends with Marcia Clark shaking her head in her boss’s office. She says, “We’re all going to look like morons,” and in the end that turns out to be true for certain. But not quite yet, Marcia. Not quite yet.

There are several takeaways from this first episode and it’s interesting how they seem to balance each other, from OJ’s intense rages and narcissism to Kardashian’s gentle kindness, patience, and refusal to see that there’s even a slight possibility his best friend could be guilty of this crime. Another such opposite duo are Shapiro and Clark. She’s a tightly wound little bundle of nerves, smoking so much we can practically smell the nicotine on her while Shapiro is a master of cool. He’s so savvy he can give the worst possible news to a rage-aholic (the cops are coming to take you to prison) with ease and warmth. The man is a master communicator and funny to boot. It seems like every few minutes Shapiro asks OJ if he wants him to “clear the room in case there’s something you want to tell me in confidence”. This is a man accustomed to the role of confidant and dealing with people at their very worst. Another dichotomy is the parallel relationship between Cochran and Darden. Both are merely on the periphery of the case at the beginning but they’re lawyers who deal with racism and criminality every day on the job and agree at the onset of this story that getting justice regardless of race is a thankless task – a road to nowhere. But once working on the trial, these characters will create a fork in that road. This very impasse then becomes like a divining rod for racism in the justice system of this country. The OJ Simpson trial woke us up to how celebrity affects our culture, signified by OJ and his best friend, Robert Kardashian. It was also the first time the American public really watched our justice system on TV and with characters such as Marcia Clark and Robert Shapiro the trial grabbed our attention and didn’t let go. So, each of these three pairings represent the three big themes of the show and pull us in different directions, just like the OJ Simpson trial itself.

–Katherine Recap

[For Mozart in the Jungle “Home” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Home.In the episode “Home” as the tables turn with each double cross, no one is safe. Rodrigo prepares to do whatever it takes. The future is uncertain.

The Mozart in the Jungle season two finale isn’t just entitled “Home,” it feels like home. All the elements of the season come together for us in a spectacle that comforts us but at the same time seems different, more evolved. That’s because we’ve come to know and love these characters and their quirky stories but they’ve also changed and developed into even more interesting people than they were at the start. The world of Mozart in the Jungle while incredibly specific to the New York City world of classical musicians also feels universal. It’s every workplace, family, and lover. It’s somehow an entirely foreign and niche entity while at the same time completely familiar and just like our world. By the last episode it’s so familiar, in fact, that it feels like home to us just as it does to Rodrigo and his symphony.

The episode opens with a shrieking Gloria as she reads the article in the New York Times exposing the “dirt” Nina fed to them. The piece says that Gloria spent a large sum of cash redecorating her private office but neglects to mention that she spent her own money doing it. Gloria calls Cynthia, furious, and pulls out of the deal they made thus validating Cynthia’s gripe to Nina that creating further animosity would only hurt the orchestra in these contract negotiations.

Meanwhile Rodrigo climbs a rock wall to do his own brand of negotiating with Biben, who plays hardball, even hanging off the side of a plastic cliff. Rodrigo, willing to do anything to get the orchestra the five year contract they want, agrees to resign from the orchestra as long as Biben ensures his symphony will get their deal. They make the deal and both sign off on contracts with lawyers beside them – so it’s official. Only if Biben comes through and gets the orchestra the deal will Rodrigo truly be parted from his symphony. But Biben guarantees he will come through on this. While good, this is also tragic news, of course. But then there’s more good news too because after the handshake on the rock wall, Rodrigo falls and hits his head, knocking the cursed Amusia right out of it. He decides that the curse must have been Biben all along. But no matter because his gorgeous musical tone is back and that means everything.

The next scene shows Hailey discussing her career and what move she should make. On the one hand she has blackmail threats from Betty and on the other she has an offer from Andrew Walsh to join him on tour which would make her a rare jewel among oboists because most work in symphonies. Lizzie encourages her to go the soloist route. She’s special enough to be a soloist and just needs to believe in herself. Hailey agrees and we see that she’s changed this season. Strengthened by her struggle, she’s grown into a full blown woman. This was a wish she had in earlier episodes when admiring Lizzie. Hailey remarked that Lizzie was a real woman now and wanted to join her. At last, it seems, she has joined the ranks.

Gloria calls an emergency board meeting to discuss the orchestra’s contract negotiation and Biben immediately tries to take over. He announces Rodrigo’s resignation and declares that he has Pembridge ready to be maestro again. So, Biben says they should accept the orchestra’s counterproposal and search for a new Chairman of the Board to replace Gloria given the smear campaign against her (and thus the board) in the press. Then he says, “and perhaps we won’t even have to look very far…” implying that perhaps it shall be himself. Gloria responds that she’s certain he strong-armed Rodrigo into resigning. She’s been listening to Biben these past few months saying the board needs to look out for the orchestra’s financial future and she’s come to agree with that. Gloria explains that she doesn’t think they should concede to the demands of the orchestra right now because it could be detrimental to their financial prospects. Also, she says she’ll remain Chairman of the Board for the next three years until they get over this challenging time but that then she’d be happy to have another chair take over then. “Perhaps it could even be someone at this table,” she says, “but, Biben, it will be you over my dead body,” so then it’s time to vote. The board members all vote and because Erik votes against Biben and with Gloria, the orchestra deal doesn’t go through. Not only is Erik the deciding vote, it’s also implied that he may be that fresh new Chairman of the Board in three years time.

Next we see the orchestra dressed to perform and locked out of the concert hall. They’re told it’s a lockout and they can’t go to work without a viable contract. The deal fell through. Cynthia explains that she fired Nina and how she couldn’t be trusted. Then she gives a rousing speech about how they’re warriors and leads them away from the symphony hall in a unified march. As they proceed the musicians pass a limo parked outside the hall. In the limo sits Pembridge having an imaginary conversation with the orchestra about he can’t wait to be their maestro again. Then he sees them walking out and tells the limo driver to follow. Meanwhile Rodrigo mopes on a park bench pouting when he gets a call from Mike to notify him the deal didn’t go through which means Biben didn’t keep his end of the bargain and Rodrigo can conduct again. Rodrigo’s so happy he jumps up and onto his bike to join them. Lizzie and Bradford hear about the walkout too and come film it for the classical music podcast. It’s officially a moment in history.

The orchestra sets up to do their concert in Washington Square Park right below the famous arch. Betty and Hailey sit down side by side and make peace now that it doesn’t really matter much anymore what their positions are, being on strike and all. Rodrigo joins the orchestra at the helm, joyful and ready to lead them. He says, “I find myself at home with you. This is our home,” then conducts them in their most glorious playing of the season – maybe ever. The music is revitalizing – new, delicate, and fresh. Off to the side Pembridge watches and listens saying, “He’s done it! He’s bloody well done it!” meaning the orchestra has reached a new peak of musical perfection with Rodrigo at their helm. Then he and Gloria smooch and realize they love each other.

In the final scene Rodrigo goes to Hailey’s apartment to see what she’s doing now that the orchestra is on strike. She tells him she’s joining Andrew Walsh on tour. Rodrigo says she’s different now, “There’s more thorns on your rose but still it’s so beautiful,” then she says he’s different now too and they kiss. Rodrigo starts to tell her not to go with Walsh but Hailey tells him she’s not going to Europe with Walsh just yet and a car drives up. It’s Erik, of course. He’s there to take her on the ski trip to Montana he invited her to on their first date. Erik greets Rodrigo warmly and apologizes for the walkout situation but then lies and says he voted FOR the orchestra’s demands. He and Hailey drive off together to Montana leaving a stunned Rodrigo on the sidewalk. But our hero isn’t sad for more than a second. Some music starts up in his delightful brain, lilting and fluttery like the butterflies of love. Rodrigo smiles and mounts his bike then rides off with a smile on his face as a lovely song is composed for us straight out of his brilliant and beautiful head.

There were many remarkable moments this season for Mozart in the Jungle and it was exciting fun to watch with all the grand characters and so much at stake in their lives. Truly the whole season felt like home, not just this last one, and we can’t wait to find out if the show will be renewed for a season three. It seems inevitable given that Gael Garcia Bernal won the Golden Globe for Best Actor in a Comedy Series and the show won Best Comedy Series. Also, it seems like they left us so many narrative teases; not cliffhangers exactly but just stories we’re dying to see unfold further. For instance, Erik totally lied about his vote and he’s getting down with Hailey! What’s Rodrigo going to do while the orchestra is on strike – compose? How can they get the symphony back in gear now that they finally sound amazing? We eagerly anticipate these answers and more in the next season. But we’re also grateful for all laughter and poignance in this fantastic sophomore season. You made us grizzled TV watching veterans feel things, Mozart in the Jungle, and that’s a worthy feat for which we thank you.

–Katherine Recap

[For Mozart in the Jungle “Amusia” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Amusia. Pembridge battles his oldest demons, Rodrigo tries to keep the world in tune, Nina and Cynthia disagree, changes will be made.

While the title, “Amusia” refers to Rodrigo’s medical condition diagnosed in this episode, the theme of the show is actually about the much more powerful and prevalent condition – love. In fact, it’s about the many expressions and types of love. At the beginning of the episode Rodrigo visits a classroom of small children and the teacher asks him how he feels about music. He explains that music is the way he connects with the world and the way he expresses his feelings. It touches every aspect of his life and means everything to him. For Rodrigo music is love and love is music. This is the heart of his musical genius. So, when he’s suddenly struck tone deaf right after saying all this to the children we witness the first type of love explored in the episode, a passionate life mission. In this episode we see this slipping away from our beloved Rodrigo.

After this we join the orchestra with guest conductor Lennox, who turns out to be quite the douche. He introduces himself to the musicians explaining that he was literally planning how to conquer Beethoven’s fifth symphony while he suckled at him mother’s teat. So, the only right way for them to play it is his way. Lennox represents self love – Narcissus gazing lovingly at his own image. But the symphony doesn’t see what Lennox sees. They see a douche and they don’t play Beethoven his way. It’s not that they don’t want to please him but just that his way’s all about anger and fury – not their usual mode. In fact, Betty the scorpion first chair oboist is first on his chopping block when Lennox finds her playing a bore and then pulls Hailey out from the back. He asks for the “young one, the pretty one” just to dig the blade into Betty a bit deeper. This is what narcissism does to others – it’s a knife that can only cut people apart so there’s no way to connect.

Meanwhile Pembridge deals with the grief over the loss of his wife and symphony drinking whiskey from the bottle. He digs an old kit entitled Pembridge’s Marvelous Musical Machine out of a closet and puts it on. It turns him into a sort of symphonic clown amalgam of various pseudo instruments including a washboard breastplate, a fireplace blower he pumps like an accordion, and an army helmet. Then, of course, fully decked-out and drunken Pembridge takes to the SoHo sidewalk outside his apartment to draw a curious crowd. Lucky for him Hailey just happens to walk by and save him from further humiliation, something he can’t yet fathom in his intoxicated state. She takes him inside and calls Cynthia who comes right over. In season one we saw the Cynthia and Pembridge entanglement so we know they have a loving history and that’s how this storyline fits perfectly into the love theme. Cynthia sweeps in to help Pembridge with such insider knowledge and instant intimacy that Hailey immediately recognizes they used to be lovers. This helps Hailey see that Cynthia has been trying to protect her with a fairy godmother type of love – to shield her from the musician-in-love-with-their-conductor firestorm she herself went through not long ago.

After Hailey leaves and Pembridge sobers up a bit he advises Cynthia to go to Gloria and hash out a deal that will work between the board and the orchestra, woman-to-woman. She does just this and together they arrange a reasonable agreement where both sides can be happy. Cynthia goes home feeling satisfied and tells Nina about it. But instead of being grateful or even pleased Nina gets bitchy. She says let her do her job. Then Nina shows Cynthia some dirt she dug up on the board and tells Cynthia she sent it to the New York Times. This upsets Cynthia who reminds Nina that she works for the symphony and they didn’t want to create more animosity like this. Then Nina tells Cynthia to go fuck herself and as Cynthia opens the door for Nina to leave she says,”That’s my plan for the foreseeable future,” and thus we see an example of love that was purely physical. So, it’s appropriate for the F bomb to fly about a bit at the end. That type of love is usually over by the end of the first spat too.

In other news, Rodrigo goes to the doctor and gets diagnosed with Amusia, a disorder that causes tone deafness; in other words – pure hell for a conductor and music aficionado. The doctor tells him it’s usually caused by a head injury and Rodrigo says it’s actually because he was cursed in Mexico. The doc immediately cancels the rest of his day’s appointments to deal with this magical maestro. Next when we see Rodrigo he’s attending the symphony to witness guest conductor Lennox leading his beloved orchestra. He slips backstage to see how things are going and finds Lennox berating Hailey and the rest of the orchestra with a nasty tirade. Right away he censures Lennox and then fires him. Rodrigo shows Papa Bear protective love for his musicians, telling Lennox he can’t treat them like that. Problem is, Rodrigo is tone deaf now – remember? How can he conduct tonight? But when Mike tells Hailey she takes action and makes it work. All she has to do is tell Warren Boyd (the first violinist who OWES Rodrigo big time) and together they get the whole symphony in whispered agreement to play with Rodrigo at the helm but paying his baton no mind. So, Rodrigo showed them protective parental love and then they immediately give it right back. His symphony plays Beethoven’s fifth symphony beautifully and maybe the real irony is that this might have been what they needed to finally be the unified symphony he’s been trying to muster out of them. They came together for his sake after all but not in any way he planned. Rodrigo’s so grateful to Hailey that right afterward he thanks her profusely. Then Hailey says she wants him to know that the orchestra really loves him and she’s not just saying that as a cheesy metaphor either. Rodrigo says he loves the orchestra too. She says, “Then can you help them?” and we see how love passes back and forth and back and forth in a self sustaining cycle. Now Rodrigo wants to help them with their contract negotiations, something he was unwilling to get involved with before. So, his love for them has evolved and he’s thus become more involved.

We find the purest true love in the scenes between Lizzie and Bradford. In the last episode they fought because his moving-in boxes took over her apartment. Bradford copped to his disorganization and to not even knowing what half the stuff was but also admitted that he couldn’t let any of it go. That was where the story left off in the last episode – a messy, frustrated impasse. But it picks up in this episode at a very different place. Lizzie brings Bradford to a large storage warehouse type loft where she’s carefully organized ALL of his stuff. Lizzie even fixed his ancient, broken film projector. She labeled and shelved everything into categories. Lizzie didn’t need to know why Bradford couldn’t let this stuff go in order to do this for him. Just him saying he couldn’t let it go was enough. That’s real love. They sit together and play one of his hundreds of tape recordings and it’s an interview Bradford did with his father as a small child. Then we find out Bradford’s father has died because Lizzie says she wishes she could have met him. She asks him how he feels and Bradford says, “What’s the word for this?” and puts his head in her lap.

Unfortunately, the episode doesn’t end in such a loving place. Instead the conclusion lies in the scorpion’s lair. Hailey goes to Betty’s apartment where she meets another oboist who also happens to be Betty’s lover. He offers Hailey a job as second chair for the Des Moines Philharmonic and when she graciously turns it down says she can think about it and get back to him later. Then he leaves them to make Betty an omelette so she can sink her scorpion claws into Hailey. She tells Hailey it’s time to move to Iowa. Betty threatens that if Hailey doesn’t take the Des Moines job, she’ll tell “everyone” about the romance that blossomed between Hailey and Rodrigo in Mexico, thus hurting both of them and their careers. Sadly there’s no love to speak of in this scene. Instead, this part points to the loss of love. It is part of the process, unfortunately. At one point Betty was Hailey’s teacher, then her peer, and even her friend. But now all those forms of love between them are gone and she’s merely a foe. That’s one of the things that can happen with love too. Sometimes it just leaves.

There’s one episode left and a lot happening here which will all come to fruition in the next and final episode of the season. So many questions linger. What will happen with Rodrigo’s cursed ear? Will the orchestra go on strike? What’s Hailey’s next career move? And will Pembridge ever get it together? Lucky you can just watch it right away if you like and find out all these answers and more because it’s all out there for your streaming pleasure. The next recap, though will have to wait until tomorrow.

–Katherine Recap

[For Mozart in the Jungle “Leave Everything Behind” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Leave Everything Behind. With each double cross between the board and orchestra, Rodrigo prepares to do whatever it takes.

Episode eight bursts with beginnings and endings just like the cycle of life. Thus, the title, “Leave Everything Behind,” isn’t just something a character says but also the resonant theme of this particular show. Rodrigo plays a crucial role in this theme too but in an oppositional way because he keeps reminding us throughout the episode that this “everything” we’re all so attached to is nothing really; a mere whiff, a delusion in our mind. So, why is leaving “everything” all behind so hard for us? Rodrigo would say because we are human and what’s in our mind is all that matters to us anyway. And he would be right.

The show opens as Thomas Pembridge brings his wife, Claire, flowers along with the signed divorce papers she so wanted from him. At last, he says, that is all now over behind us so we can begin again as friends. Now sit down and listen to the glorious symphony I just finished composing. So, Claire sits and patiently puts on the headphones to listen to the symphony Pembridge has spent the past three decades composing. After a few seconds Claire grimaces, winces, and then slumps down in her chair. Pembridge begs of her, “Was that an exhausted slump or a your-career-is-over slump?” but it turns out it’s a Claire-is-dead slump. She’s gone and his music was probably what killed her.

In the next scene at Claire’s funeral the orchestral management board and musicians are forced to see each other again after their disastrous contract meeting. Even Nina attends and whispers in the pews along with the players about their next move. They decide Hailey should go out with Eric Winklestein, the hot venture capitalist on the board that she flirted with at the benefit. Maybe Hailey can find out which way the board’s votes are leaning on their contract. Meanwhile, focused on the actual funeral, Pembridge addresses the crowd and puts the one copy of his symphony in the casket with Claire. He declares that now it belongs only to her and that she’s buried with the murder weapon.

Then we see Rodrigo on his way to visit Ana Maria, yet another wife who wants divorce papers signed. He tells Mike maybe by doing this he can lift the curse, a necessity now because he’s literally bleeding out of his ear. Mike asks Rodrigo if he thinks it’s possible the curse is just psychosomatic and Rodrigo says, ‘Of course it is! Everything is. The music. You. me. The way we experience things, it’s all psychosomatic,” which is exactly why we love Rodrigo so much. He’s a living breathing embodiment of all that’s true, insightful, and artistic. When he knocks on the door of the convent where Ana Maria now lives we realize why she’s seeking the divorce. Rodrigo then hears her playing her violin in the back garden and goes to her. Ana Maria explains that she’s going to “Leave Everything Behind” and take her vows. He says she’s over reacting to a fight they had and they can always work things out. She replies, “Why is it always about you?” and he says, “It just is,” and then tells her how he was cursed for turning down Maestro Rivera but that now he needs to find his place. Ana Maria says she too must find her place and it’s here at the convent and with God so he must release her and sign the papers. She insists. So, Rodrigo signs them all the while muttering that it’s just a paper. They share a passionate kiss, perturbing a nun who happens to be walking by in the garden, then Rodrigo leaves everything behind and goes back to the car and Mike. He tells Mike the curse can leave him now and they’re both relieved but then a bird suddenly falls down dead right next to them and they both know it’s not true. The curse remains.

Back at the funeral the musicians discover the smear article the board sent to the papers showing Kristoff in front of a Porsche. Such decadence! Gloria knows right away that it was the PR guy doing Biben’s dirty work and confronts him. He basically says he’s going with the winners on this one and Biben’s in the winners circle if you measure winning by dolla dolla bills, y’all. Then Biben approaches Pembridge and for the zillionth time asks him to take over the role of symphony conductor. Pembridge rightfully asks why Biben is so obsessed with him coming back and Biben admits that Pembridge reminds him of his father and Rodrigo his despised stepbrother, a cocky little prick. That’s the thing about business decisions… they’re so often actually brilliantly disguised personal decisions. After this Pembridge tells Rodrigo he really needs to know his thoughts on the symphony, which is now dead and buried, “I need your eulogy,” he says with his requisite hyperbole. Rodrigo tells him it’s one of those things where you have to allow yourself to write the bad thing so that the good stuff can come out later. It’s a very accurate representation of the creative process, this observation, and there’s plenty of time to get better. That’s the problem, Pembridge replies, Claire too thought there was enough time. Touché, Maestro. Touché.

Meanwhile Hailey goes out on a date with Erik Winklestein, hot venture capitalist, in an attempt to acquire secret information (which Lizzie accurately describes as some seriously Spy Kids shit). But Hailey forgets all about being a spy because she has so much fun with Erik. They’re flirty and fantastic together with Erik even saying that since that night at the benefit he can’t get learning Spanish out of his mind because he wants to be able to charm a room like Rodrigo did. Afterward he invites her to go skiing in Montana in a couple weeks and Hailey wants to go but can’t because she’s got to be available as a sub for the symphony. Then Erik says he doesn’t want to screw up the date and “talk shop” but she might find that she’s got some free time coming up after all. Then Hailey says let’s not talk at all and kisses him and they’re off to the smoochtown races. Thus we now know that the board is going to vote against the musicians and they’ll likely be on strike, out of work, and there won’t be any music. An imminent ending lies before us as the episode closes. Yet there’s also a new beginning as Hailey and Erik walk arms around each other through the chilly rain, the kindling embers of romantic hope keeping them warm.

–Katherine Recap