TV RECAP: Marvel’s Agents of S.H.I.E.L.D Season 3 – Episode 5: "4,722 Hours"

NOTE: As ever, articles like this are brought to you in part by The MovieBob Patreon.

At this point, there are probably three types of AGENTS OF S.H.I.E.L.D fans (with significant crossover, of course):

1. Marvel Cinematic Universe completists watching to make absolutely sure that they don’t miss any subplots, threads, etc being either launched or tied-up here.

2. Fans of all things Marvel and/or comics in general watching to make sure they don’t miss appearances by any characters or iconography that hasn’t shown up elsewhere yet.

3. People who’ve genuinely become invested in the characters/world of this specific show, care about the characters and want to know what happens to them.

“4,722 HOURS” is a rare episode that feels designed with Audience #3 exclusively in mind: It’s a single story strictly involving the series’ own storylines, no cutaways to any other subplots and no (definitive, at least for now) ties to either the Cinematic or Comics Universe. It also happened to be pretty damn well-executed and a fine acting showcase for Elizabeth Henstridge, which I imagine helped soothe the lack of case-specific goodies for viewers of other stripes.

SPOILERS follow:

For those just jumping onboard: Midway through Season 2’s back-half, it was discovered that S.H.I.E.L.D has been in (high-level secret) possession of a mysterious stone monolith that morphs into a “living” liquid form and back again seemingly at random and has existed on Earth since ancient times. In the final moments of the season finale, said monolith managed to leak out of it’s containment-cell long enough to liquefy and (apparently) swallow Agent Jemma Simmons whole. Earlier this season, it was discovered that the monolith actually functions as a time-space portal and that Simmons was still alive… but had been zapped off to a mysterious alien planet that looks absolutely nothing like the California desert processed through a blue day-for-night filter.

Through the obsessive dedication to her rescue of her BFF-who’d-really-really-really-like-to-be-more Agent Fitz, Simmons was rescued and yanked back to Earth early on but has demonstrated signs of detachment and strange behavior ever since – particularly in a resistance to picking up her awkward mutual courtship with Fitz where it left off (he had just finished managing to ask her out to a for-real romantic dinner when the monolith “ate” her.) This culminated in a stinger from two episodes ago, wherein she confided in fellow Agent Bobbi “Mockingbird” Morse that the real issue she was having was that she was desperate to get back to wherever it was she’d been marooned. “4,722 HOURS” presents Simmons’ story of her ordeal as she relates it to Fitz (who’s help she requires to “go back”), in order to explain not only where she was and why she’d want to return… but why she was so reluctant to tell him in the first place.

The fact that there weren’t many other reasons for her to keep a secret from her best (only?) lifelong friend that made any sense, it would appear that most fans already figured that last part (she met and fell into a romantic relationship with someone else while offworld) out well beforehand. But even with the guessing games neutralized, the meat of the story (NASA sent an astronaut team through the portal 14 years ago, Simmons is rescued and ultimately falls in love with the last survivor of the doomed expedition, Will Daniels) was compelling and interesting; even as the “showcase” stuff re: Simmons showing off her DIY survivalist chops before meeting Will was frontloaded into the beginning.

Budgetary issues for non-recurring FX, sets, etc is AGENTS OF S.H.I.E.L.D’s consistent bugbear, and while there’s a certain amount of charm in the oldschool B-movie solutions this episode pulls out to try and work around it (I almost wish they’d gone all the way and just openly shot in Bronson Canyon – or did they?) it’s hard not to wish that the alien world looked a little more “alien” or that there was more creature-feature action than Henstridge (however enthusiastically) pretending to wrestle a floppy rubber tentacle we’re meant to imagine is attached to some much larger water-monster. Still, if they were saving the money for their big “mystery heavy” (the planet is “haunted” by a shadowy shape-shifter who comes and goes with the aid of a powerful sandstorm) it was probably worth it, as those sequences were impressively “different” for the series.

On the other hand, much as I enjoyed this one, I’m worried about where it’s going. Fitz’s luckless longing for his platonic lifemate has been at the core of his carefully-managed “adorkable” persona from the beginning of the show, it’s been fun to watch AGENTS prod at it for drama to make him even more likable/identifiable (he has now endured drowning, shootouts with terrorists and diving into a black hole for this woman, but – awww! – still stammers like a schoolboy when actually trying to ask her out) and it’s very in-character for him to immediately decide to help her rescue Will is perfectly in-character… but I hope they don’t take this too far in the obvious direction.

Yeah, it’s hard not to feel the character (he risked his life multiple times over to save her and it turns out she met someone else? Ouch!), but “Woe is me! Even the female nerds I actually have things in common with prefer jocks!” (it’s made expressly clear that Will isn’t a scientist, he was the other astronauts’ macho survivalist backup) is a really tiresome male nerd angst trope, and I’d really hate to see Fitz become an icon to the internet MRA “male geeks are denied the sex we’re entitled to!” set because the show decides to give him one righteous feeling-sorry-for-himself monologue too many over this. (By the same token, I’m genuinely depressed imagining how much slut-shaming hatemail and forum-posting is being directed at Henstridge right now.)


  • Yes, when Will said that the planet “has moods,” my first thought was Ego: The Living Planet, too.
  • I’ll say it but I bet I’m not the only one thinking it: How cool would it have been if “Will Daniels” had been John Jameson III instead? It’s unlikely, but I wonder if that was ever floated as a possibility – he’s never been among the most important tertiary Marvel characters (so he’s probably not a big part of anyone’s movie plans) and it’d be quite a “we’re still worth paying attention to!” coup for AGENTS OF S.H.I.E.L.D to have debuted the first official piece of the MCU-official SPIDER-MAN world.
  • If AGENTS does one thing consistently, it’s nesting reveals and twists inside one another in multiple layers. As such, it’s probably safe to say that there’s more to Will than we already know. The fact that we only “know” that his crewmates went space-mad and had to be killed in self-defense from his story (Simmons finds the bodies of transportees from other eras, but not them) his very science-ish understanding of the planet’s glowing-hot substrata, etc. I hope he’s not an out-and-out villain, as that would play way too much toward the “Lament of The Nice Guy” stuff I’m hoping they avoid re: Fitz.
  • That said, if Will IS a villain, a possibility would be that he’s actually just a further manifestation of whatever the Big Evil on the planet is (see below) and all his actions have been to trick Simmons into pulling him/it onto Earth. (Alternate theory: He’s a Skrull.)
  • On the other hand, y’know what we’ve been hearing a lot lately? “Death,” used in atypical contexts. The Hebrew symbol for the word was on the scroll Fitz found that helped unlock what the monolith was, and Will refers to the Big Evil in the sandstorm as a personification of Death. As readers of these recaps are likely already aware, Death Personified is a major Cosmic Marvel figure whose romantic attention is the motivating goal of INFINITY WAR’s big central villain. So, there’s that.
  • On the other hand, if Death is going to be an MCU character (I still think it’s more likely they’ll conflate Death and Hela into one character, debuting in either DOCTOR STRANGE, THOR: RAGNAROK or both) I can’t really imagine AGENTS getting to be the place where she first appears. More likely, though, I think the whole monolith/portal/weird-planet subplot will tie back into the Inhumans/Kree business that’s still technically the “A-plot” of Season 3.
“AMONG US HIDE…” is mainly promising more of the “Let’s Get Ward!” storyline (yawn) but with Bobbi finally getting back into the field (yay!) for what may or may not still be a build towards the spin-off. The teaser is being explicit calling Andrew dead, but I don’t care – I’m still thinking he’s Lash. The title, incidentally, is a reference to Fantastic Four Issue #45, which featured the debut of the original Inhumans Royal Family; so presumably there’ll be more from that storyline as well. 
ALSO: We’re still awaiting the appearance of Powers Boothe, who’s scheduled to reprise his role as the (now former) Security Council head from AVENGERS and WINTER SOLDIER. Word is AGENTS OF S.H.I.E.L.D will reveal his character name if Gideon Malick, which some fans are predicting is a clue that he’ll be the MCU version of Albert Malik, aka Red Skull II.

Really That Good UPDATE

Hey gang.

So, update on the status of the next REALLY THAT GOOD episode. Short version: It’s coming, and soon. Obviously, I did not want to let the series go this long with VACATION as the most recent installment, but sometimes life gets in the way.

I could probably blame my recent health concerns, but the fact is it’s less about that and more about that being the impetus to reconnect with parts of my life that I’d allowed to become detached. A social life, even one as haphazardly-managed as mine, is important to cultivate; and a side-effect of this is less time alloted between paid work to give over to passion projects – particularly passion projects that don’t (for the most part) generate funding in and of themselves outside of viewers being hopefully wooed to chip in at The MovieBob Patreon.

That having been said, a greater impediment still was that I happened upon a situation where a film turned out to be impossible to place in proper retrospect without talking about its direct sequel, which in turn was impossible to itself quantify without talking about its predecessor. As such, the next REALLY THAT GOOD has become (by necessity) a two-film piece; which presents a new set of challenges and a rethinking of style and approach – which I believe I have cracked, hence this update.

I usually try to do these things as surprises, but since you’ve been kept waiting long enough I figured a small tease, at least, is in order. So…

The next REALLY THAT GOOD, ideally hitting in early November, will be Sam Raimi’s SPIDER-MAN & SPIDER-MAN 2.

I’ve been picking away at this/these one/two for awhile in the background now, and I’m excited for how it’s coming together. I can’t wait to share it with you all, and I hope you’ll find the wait worth it.

P.S. Just for a further tease, I also hope to have a second episode ready for late-November and at least one for December as well. One is a Christmas movie (that I am mentally-preparing to record sound for while remaining verbally-composed), the other is about a boat. Stay tuned 🙂

JESSICA JONES is Sooper-Serious Business, Yo

I liked DAREDEVIL a lot, but I never really got onboard that it represented some kind of next-level evolution for the Marvel Universe brand.

Too much of the story felt stretched-thin between the “main” beats (why is the law practice so incidental to the series so far?) and I’m less inclined to see it’s much-ballyhooed aesthetic and tone as the welcome “dark side” of the MCU and more like the eyeroll-inducing “stuck in the early-2000s” side. A good series, but mainly one that does the best possible version of stuff I’d thought the superhero genre had managed to otherwise outgrow: Unrelentingly grim, afraid of its own four-color shadow (Matt Murdock, in both his getups, is the worst-dressed superhero in Marvel not named Quicksilver), celelbrity-villain dependent (yes, D’Onofrio was magnificent all the same) etc.
But for what it was, it worked. But I’m wondering whether or not having this as the default-setting of the Netflix/DEFENDERS Marvel material is going to prove limiting. Case in point, the otherwise very good looking first full trailer for JESSICA JONES:

I’m feeling this (Krysten Ritter as a bitter hard-living superhuman detective? Good pitch) but not without reservation. For starters, it occurs to me that no one seems to have asked how Jessica’s comic backstory (put-upon average girl gets super-powers by accident, tries to be a superheroine, suffers a horrible fate that jades her on the costumed life, becomes superhuman-problems-focused private eye instead) is going to “work” in an MCU where widespread superheroism is only a few years old. Will she have even ever been “Jewel” in this version (the next-to-last scheduled episode is title “Jewel & The Power Man,” which reads like an intent to take the piss out of the idea of Jones and Luke Cage acting anything like their “super” selves) And, if not, doesn’t that negate a lot of the “point” of the edginess i.e. “Here’s what happens when the fantasy fails?”
I’m also wondering if making David Tennant’s Zebediah “Purple Man” Killgrave apparently a central focus is a great idea. Yes, he’s important in this mythos, but I hope they haven’t looked at how much everyone loved Kingpin in DAREDEVIL and decided that building the narrative mainly around the villain is the way to go for all of these series. Also, yes, it bugs me that he’s not purple – or maybe he is, and just mind-controlling everyone to not notice it? That’d be fun. And it’d be a nice surprise if Rachel Taylor’s Patsy Walker turned out to already be Hellcat, but I’m not counting on it (ditto Marvel using this series as a surprise-introduction for Carol Danvers, who was part of this project back when it was pitching as a network show but doesn’t seem to be now.)
In any case, the series hits in about a month so we won’t have to wait long to find out.

TV RECAP: Marvel’s Agents of S.H.I.E.L.D Season 3 – Episode 4: "The Devils You Know"

Now we’re getting back on track.

After nothing much special happening last week, AGENTS OF S.H.I.E.L.D rebounds this week with an episode where not much happens for the most part… and then everything happens in the last 10 minutes or so. Not exactly appointment-viewing stuff, granted, but this time last year we were still dealing with the “Coulson keeps drawing maps” business, so yeah.

SPOILERS follow:

For the most part, we’re continuing the threads laid down last time: S.H.I.E.L.D and ATCU are now (reluctantly) working together on the Inhumans “problem” in order to track the movements of the Inhuman-hunting monster Lash, with the added wrinkle of Daisy being extra-annoyed because she’s getting the sense that Coulson’s decisions are being swayed because he’s kinda “into” ATCU boss Rosalind Price. Also annoyed: May’s ex-husband Andrew Garner (Blair Underwood), the psychiarist who’s been counseling Inhuman “Secret Warriors” prospects for S.H.I.E.L.D and isn’t happy to learn that self-duplicator Alisha (last seen in Season 2) is already on active assignments. Meanwhile: Fitz is still trying to reconnect with Simmons, not yet aware that her real problem is that she actually wants to “go back” to the alien otherworld she was marooned on between seasons. Elsewhere: Agent May finally has enough of Hunter’s recklessness in his let’s-go-kill-Ward mission (me too – it’s boring) and rats the whole thing out to Coulson, only to be surprised to find Andrew working at S.H.I.E.L.D.

The May/Andrew stuff is, surprisingly, the most compelling this time. The writing typically plays May as so close to the vest it’s easy to miss when the show is actually setting up unseen parts of her story to be “mysterious” instead of just “taciturn badass.” The idea is that she and Andrew did some near-reconnecting at the start of her leave, but then he took off without explanation and now she’s even more bitter/jaded than ever – the duality now being that both parties have disappeared on the other to (apparently, in Andrew’s case) go do secret work for S.H.I.E.L.D.

Oh, and it’s also more compelling since Andrew promises to explain where he went and why “later” to May… only to be DEAD (apparently) by the end of the episode because Ward threatened to have him whacked after discovering Hunter’s undercover gambit and Hunter called his bluff. So yeah, down goes Andrew, blown up in a convenience store explosion by Werner Von Strucker. Because this is a series that really needed to keep killing off it’s Black supporting characters.

Anyway! The supposed Lash “origin” teased at the end of last week was more misdirection: Instead, we meet a soon-to-be-dead Inhuman whose “power” is breaking out in a rash around other Inhumans whose been helping Lash (who is also an Inhuman, just like in the comics) find his victims – his rationale being that being Inhuman is so unpleasant that these are mercy-killings. He turns out to be wrong, of course: Lash turns up to kill him by attacking the ATCU truck transporting him (and Daisy and Mack, reluctantly being allowed to inspect their “partner’s” facilities) and describes his actions (existance?) as “necessary” rather than merciful.

For reasons unknown, Lash doesn’t bother to kill Daisy – so she’s alive/awake to see his retreating shadow seemingly morph back into that of a “normal” human (Lash looks like a hedgehog-man, if you haven’t been watching.) “So he could be ayone!,” she helpfully explains to Mack/The Audience… just before Rosalind awkwardly steps into the room (meaning that Lash is definitely NOT her, unless AGENTS’ misdirection-lever is busted.)

And then there’s Fitz/Simmons. After doing the world’s worst job of hiding her private research into rebuilding the portal, Simmons reveals that she needs Fitz’s help to go back to Planet Day-For-Night Desert because “something happened” there – something we’ll presumably find out next week.

Good episode? Yeah, but more in the “keeps the stories moving” sense than “THIS is why you should be watching!” sense. I’m a lot more impatient for the next one than I was for this, though, so that’s definitely something.


  • Lemme get this out of the way straight-off: Andrew is NOT actually dead because Andrew is Lash. It explains everything: Why he vanished suddenly on May, why he’s so big on helping S.H.I.E.L.D catalog Inhumans but not on actually clearing them for combat, how Lash is always one step ahead of everyone, where he’s getting his data from and (from this episode) why Werner looked panicked instead of psyched after the hit. The only remaining question for me is whether he’s always been Inhuman (meaning he would’ve been one when May killed the kid psychic in her “Cavalry” origin) or whether he’s among the recently-turned.
  • In the preview for next week, Simmons calls the mystery planet “Hell.” Could be hyperbole, but recall that so far AGENTS’ main point of connection to Cosmic Marvel has been through THOR-adjacent characters, and THOR: RAGNAROK supposedly involves Viking Hel.
  • One imagines that Hunter probably isn’t going to “come back” from willingly getting a fellow Agent’s loved-one “killed” to settle a grudge. Is that spin-off back on or still off? I can’t keep track anymore.

“4,722 Hours” appears to feature Simmons going all survivalist on Planet Whatever, with still no real indication as to why she’d want/need to go back there. Were there other people/things with her? Guess we’ll find out in a week:

"JOY" Still Doesn’t Want You To Know What "JOY" Is About

I dunno. At this point I feel like JOY (installment number three of a film-series where we’re not supposed to notice that the director of SPANKING THE MONKEY keeps inexplicably casting Jennifer Lawrence as middle-aged mother/nurturer figures) should stop playing cute and just own the fact that it’s about the invention and maketing of The Miracle Mop.

I “get” that the idea is probably to avoid seeming like a “gimmick” premise, but from where I sit “Hey, this sort-of kitschy infomercial thing you maybe snickered at back in the 90s actually has a pretty compelling story behind it” is a more interesting pitch than “Jennifer Lawrence sternly walks through out-of-context working-class Americana for a few hours!”

THE FIGHTER was a solid, occasionally excellent movie; but the fact is David O. Russell has been on a career plunge since the magnificent THREE KINGS and thus far this one barely looks better than AMERICAN HUSTLE – and AMERICAN HUSTLE was fucking terrible.

Venture Capital

Yes, the STAR WARS trailer is lovely. But this is the preview I’ve been waiting for. Has it really taken 13 years to get to 6 Seasons of THE VENTURE BROS? It has. That would be irritating for any other series, but here it’s more like an indicator of how much care goes into everything:

Now, the fun part: Re-watching everything to remember where exactly things left off.

TV RECAP: Marvel’s Agents of S.H.I.E.L.D Season 3 – Episode 3: "A Wanted (Inhu)man"

AGENTS OF S.H.I.E.L.D’s greatest strength is its ability to pivot on a dime into an entirely different tone or story-thrust than it had been in before, but that’s also its most prominent stumbling block: When the show can be anything, what exactly are people holding on to week-to-week? The previous seasons (in hindsight) aimed to mitigate this by dividing their first and second halves by broad over-arching storylines: Season 1 was “Why is Coulson alive?” followed by “Oh shit, HYDRA’s back!” Season 2 went with “What is Skye, really?” and segued to “Meet The Inhumans.”

But Season 3, thus far, doesn’t seem to have established a first arc or even a definite sense of purpose: Despite the season-specific “SECRET WARRIORS” branding, we mostly seem to be back in the scattershot, episodic structure of Season 1 but now the characters are all dragging two seasons worth of baggage and loose-end storylines. Maybe that’s deliberate, maybe we won’t know what this season is “really” about until CAPTAIN AMERICA: CIVIL WAR flips all the tables come May, but as of right now I’m missing the clear sense of purpose Season 2 already had by this point.


We’re back to a three-way split storywise this week, in any case: Coulson and Daisy (formerly Skye) are still trying to protect newly-made (or “outed”) Inhumans from both The ATCU and the monster Lash, Hunter and May are working to infiltrate Ward’s new HYDRA start-up gang and Simmons, having been rescued from an alien world by Fitz, isn’t re-adjusting to Earth all that well.

After taking a break last week to put the focus on reuniting Fitz/Simmons, “A Wanted (Inhu)man” turns back around to Coulson and Daisy racing against the government backed paramilitary outfit ATCU (Alien Threat Containment Unit) to get a handle on the rapidly-growing population of newly-turned Inhumans (read: Mutants, but because of Alien genetic-tampering from prehistory); the difference being that S.H.I.E.L.D wants to protect them and draft the willing into Coulson’s “Secret Warriors” team, while ATCU boss Rosalind Price wants… well, it’s not clear.

The key “wanted” aquisition this week is Daisy’s (still boring) lightning-throwing pal Lincoln, who isn’t interested in getting caught by either team but has to make a choice when ATCU leaks his name to the press and he finds himself in a tragic spot involving an old friend. Like everything else involving “Sparkplug” up to this point, it’s not particularly compelling but it does the job of misdirecting a twist: Coulson is willing to give up Lincoln when it turns out ATCU’s second-choice target is Daisy, but when he bolts (sorry) anyway The Director offers up a compromise: S.H.I.E.L.D (which, remember, is still technically unknown to still exist by nearly-everyone) will “temporarily” team up with ATCU.

Well… alright, then. It’s a nice gray-shades turn for Coulson, taking him back to the morally-dubious problem-solver space he occupied prior to THE AVENGERS, but apart from that I’m not seeing how this is especially different from the deal struck with Talbot last season. The expectation, obviously, is that when CIVIL WAR’s “let’s regulate superheroes” thing kicks in ATCU will be said to be an arm of that, putting Coulson and his Secret Warriors in an awkward place, but even if that’s the case it feels like a half-cooked plot turn for now.

The big secondary story continued to be Hunter and May (no James Hong this week, sadly) looking to climb into Ward’s Nu-HYDRA team, which involved Hunter having to go through a FIGHT CLUB-style initiation to even get a meeting. The whole thing felt ugly and tonally off (this is another storyline where the super-spies on both sides just kinda agree not to use any of the scifi gadgetry shortcuts they have other times just because), with Hunter spilling (and losing) a ridiculous amount of blood while May wipes out a trio of would-be sexual-assailants – yeesh. A little grit is fine, but this reeked of AGENTS as the MCU’s middle child trying to prove that it could be just as “cool” as its angry/ultra-violent baby sibiling DAREDEVIL.

The best stuff involved the Fitz/Simmons story, as Fitz’s awkward but endearing attempts to help lead Simmons back to normality felt like it was teasing more interesting developments (in terms of the characters) than the showier A and B stories. The “button” of Bobbi and Fitz having developed a close personal friendship between seasons (he’s helped her with physical rehab, she’s turned out to have serious skills filling in for Simmons in the lab – alongside him) is getting hit especially hard in-tandem with Simmons being “different” now; which could make for some really uncomfortable drama i.e. one party or the other feeling like they might’ve waited too long to say… something. To me, that’s more (potentially) interesting than the stinger of Simmons’ “I have to go BACK!” (which has to be a deliberate LOST-reference, right?)


  • What’s up with Simmons? Could still be (literally) anything, but the idea that she might actually need to go back through the portal somehow (to help someone? to help herself?) is a good wrinkle. This being fan-theory bait, let me throw mine in: This isn’t the “real” Simmons.
  • Speaking of fan theories, another one being floated is that the monolith/portal is some kind of judging-mechanism that only gobbles up people “guilty” of something – recall that Simmons (unknown to everyone else) straight-up murdered a baddie last season. Notably, it also went all gooey for Professor Randolph last episode.
  • ATCU’s endgame? Honestly, I’d be surprised if a lot of the details of that still aren’t even clear to the people making the show: The degree of foreknowledge the Marvel TV team has of the Marvel Film team’s specific plans is unclear, and now that they’re serving two different masters (Kevin Feige now runs Marvel Studios as a separate-but-related Disney division, but TV and Netflix are still under the thumb of Marvel Inc. majority-stockholder Ike Perlmutter – a man the near-entirety of the film division famously despises) that’s not likely getting any better. My guess is that the ATCU’s “real mission” won’t be clearly delineated until it can be revealed as a “prototype” of the pro-registration side of CAPTAIN AMERICA: CIVIL WAR. That having been said…
  • …CIVIL WAR, the comic storyline, led more-or-less directly into another Marvel’s event series (after WORLD WAR HULK, which sequelized the pre-CW PLANET HULK maxiseries) SECRET INVASION. In that story, it’s revealed that The Skrulls (alien shape-shifters) had been quietly infiltrating all levels of human society for decades to gradually prime us for takeover, and that they saw the post-CIVIL WAR fracturing of heroes as a perfect “coming out” opportunity. Of note, Skrulls are the ancient arch-enemies of The Kree – who created The Inhumans specifically as anti-Skrull bioweapons. Thus far our main known detail about Rosalind Price is that she’s good with disguises and otherwise lacks a tangible past. Oh, and the Skrulls? They have a Queen.
  • I don’t think we’ve seen the last of Professor Randolph, and I don’t think he’s coming back as a good guy.

NEXT WEEK: Lash (apparently) gets an origin story in “The Devils You Know.”

Should’ve Led With This

As I said in this BMD piece, I was “onboard” with ABC’s new MUPPETS show from the start, but even still I think it was probably a mistake for them to have not led with last night’s 4th episode, which (thanks to stuff like this) felt a lot more like “classic Muppets” in execution – something the series has been criticized for.