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

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[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

[For Mozart in the Jungle “Can You Marry a Moon?” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Can You Marry a Moon?. Rodrigo develops a mysterious ailment and must adjust his sense while filming a virtual reality video game.

Someone not schooled in the fabled tales of America’s Indigenous People may not recognize the phrase, “Can You Marry a Moon?” but if you’d like to take a look here’s a succinct version The Girl who Married the Moon.The overarching message reflects the importance of patience and negotiating with care for the best end result in a dispute. This episode is filled with just these sorts arbitrations. Some are obvious; the symphony negotiating their contract with the orchestral board, and others less so, like Rodrigo with his mysterious new symptoms and Hailey negotiating her living situation. While watching the episode it would be easy to miss the reference to the title because Rodrigo throws the line away while ranting about his divorce papers, in fact tearing them up with frustration that he can’t have a marriage like the man and woman of the moon from the story. But even if Rodrigo speaks the line in an offhanded way, it’s crucial and not just because it’s the episode title. It speaks volumes for this particular piece of Mozart in the Jungle, an episode of unending disputes and negotiations under and above the surface of the story.

The first scene reveals Rodrigo’s newfound struggle with tinnitus and subsequent crankiness. Then Mike finally gets him to sign the divorce papers and he sort of semi signs them and rips them into pieces before saying they are both signed and not signed and that it all means nothing. He walks away pish poshing Mike’s suggestion that perhaps his wife met someone new and perhaps that’s why she seeks the divorce.

Next we see the symphony players celebrate Betty’s thirty five year anniversary with the orchestra. There’s a telling moment when Cynthia (who knows Betty well) says she “fittingly” gets the scorpion drink and Betty agrees that it fits, calling herself an “insect of death,” but everyone’s having too much fun at the party to sense the foreboding this statement entails. The stripper brought in for Betty plays the part of Johann Sebastian Cock with a titillating bravado that keeps their spirits high. Hailey keeps drinking until after the party, drunkenly lounging with Betty and Cynthia, she confides about the romantic moment with Rodrigo in Mexico. Then before taking Hailey home, Cynthia tries to arouse compassion in Betty saying, “We were all young once and falling in love with teacher,” but Betty clearly has no empathy for her fellow oboist and thus we see the first snap of her scorpion claw.

The orchestral players sit with management with Nina at their helm around a long mahogany table and surrounded by floor-to ceiling-legal book emblazened walls. Turns out the offer from management isn’t good enough and, adding insult to injury, villainous board member, Biben snarks at them. The musicians respond with percussion: taps on glasses, fingers drumming the table, and tic tac maracas. Then Nina tells the board they’re not in a position to tell musicians when they can and can’t play if they have no signed contract. She’s satisfied with how the meeting went, though nothing was accomplished. Meanwhile the orchestra and Gloria are peeved. They know the music and their careers are at stake here and Nina gets paid no matter if they win or lose. It’s back to the drawing board and their trust in Nina stays shaky from here forward.

Back at Hailey and Lizzie’s apartment Hailey continues to look for her own place with little luck and Bradford moves in with boxes up the wazoo. He and Lizzie have their first fight as box after box fills their already cozy place. There’s hardly anywhere to walk and the stacks are getting higher. Lizzie confronts Bradford on what appears to be hoarding and he says he told her about his baggage… but she thought he just meant emotionally. But Lizzie and Bradford are a cool couple because they’re direct and clear with each other, so during this fight they get right to root of the problem. It turns out Bradford doesn’t even know what half this stuff is but he does know he can’t let it go because it’s all recordings of his work that he may need someday. They’re on the road to negotiation now that they know the true stakes.

Next we see Rodrigo in a green screen studio making a virtual reality video game so that kids can play at being little maestros. So, he’s all dressed up in the suit with the balls attached for computer assignation of his body parts in motion. Rodrigo’s having trouble pretend-conducting with the newfound tinnitus and believes it’s due to the curse from Maestro Rivera. Meanwhile he’s unaware that there actually IS a threat to his well being. Behind the scenes Biben conspires to make Rodrigo seem like a rich spoiled artist. This is so management can raise the public ire against the musicians’ side of the contract negotiations. If Biben’s plan goes through they’ll send a picture of the symphony’s Kristoff standing in front of a fancy car to the papers – which is mad ironic because he, like most orchestra members, is actually pretty broke and was just standing in front of a Porsche aspirationally.

There are other conductors also filming at the virtual reality studio and wearing the bodysuits covered in balls, Pembridge included. Then the cellist Andrew Walsh shows up in his very own bodysuit with balls, late to the party because of an “early tee time and late flight”. He ingratiates himself with all the maestros but Rodrigo then by sharing photos of his latest art project, the nude women with cello marks he painted on their backs. Rodrigo joins the group looking at Walsh’s phone as the other maestros ooh and ahh. But all he says is, “cliché,” until he asks how Walsh gets them to pose so vulnerably. Walsh says he asks them to do it after they’ve just had sex with him. Again Rodrigo says, “cliché,” but then Walsh shows Rodrigo the picture of Hailey with the cello marks. So, stunned Rodrigo grabs the phone and hurls it across the room to smash against the wall. He says, “Keep you hands out of my orchestra!” and a fight breaks out with all the maestros in their balled bodysuits waging war against each other. In the final shot the camera pans over to the computer simulations of their tired old maestro stick figures fighting via green screen. Once again, there are no negotiations here.

–Katherine Recap

[For Mozart in the Jungle “How to Make God Laugh” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
How to Make God Laugh. Rodrigo shows Hailey HIS Mexico then his mentor asks him to fulfill a promise, Cynthia gets a surprise visitor.

The theme of “How to Make God Laugh” is destiny and that’s clear from the title, which implies that there’s a higher power plan out there for us, regardless of any personally prescribed plans we may have made for ourselves. Many elements of the episode point to this idea but it’s most poignant in the dynamic between Rodrigo and Hailey, coloring their every glorious moment together. We already knew they were good together, inspiring, learning, and creating all the time together and now we start seeing that maybe they’re also on some level “meant to be”.

If you’ve ever heard the question, “Do you know how to make God laugh?” you’ve probably also heard the answer, “Tell them your plans,” which is a funny and rather well-known saying. But Hailey’s never heard it. Rodrigo asks her the question in the first part of the episode and she suggests tickling might make God laugh to which Rodrigo replies, of course not, everybody knows God’s not ticklish. Then he grabs her hand and runs out with her to escape far far away from all the plans listed on his itinerary for the day. Instead they spend it seeing HIS Mexico and bonding. It’s perfectly lovely.

Meanwhile, Pembridge finally arrives in Mexico after his flight was delayed forcing him to semi-sleep on a marble floor in the Houston airport the night before. He’s cranky, exhausted, and – as usual – completely self-interested. Thus Pembridge doesn’t notice that Gloria hides Pavel in her hotel room when the ex maestro crashes there until their imminent meeting with the richest man in Mexico, Juan Delgado. Pavel gets irritated that Gloria keeps hiding him and tells her that back in his country he was a bio engineer. It’s unclear if it’s really a class issue for Gloria (as Pavel implies) and seems more likely she may be hiding him simply because they work together and it would be deemed untoward by the rest of the board. She’s preoccupied with Pavel and thus, though stunning in a red polka dot dress, Gloria’s pitch to Juan Delgado falls flat. Luckily she’s got Pembridge on hand and he’s a thrill in comparison. He truly inspires Delgado with his “wild horses” artistic style and thus all will be well for the New York Symphony for they will have all the funding they need. Turns out back at the hotel that Gloria’s not the only one getting unexpectedly laid in Mexico because Nina surprises Cynthia by showing up there too and the two gorgeous women finally consummate their lust.

In the middle of the episode Rodrigo takes Hailey home to his sweet Grandma. She adores Hailey, sends them shopping for ingredients and then cooks them a delicioso dinner. Afterward she reads the coffee grinds left in Hailey’s cup to tell Rodrigo his destiny with Hailey. She sees a connection between them; passion and love but not right away – years from now… and she even sees kids for them too. But when Rodrigo translates what his Grandma said for Hailey he lies, saying that she just talked about their love of music and that Hailey will have a great career someday. Then Grandma gives Hailey some family heirloom earrings. After dinner Rodrigo shows Hailey his childhood bedroom, perfectly preserved like a time capsule, and she’s surprised to find out he was much the same nerd she was as a kid. They kiss but then it’s interrupted by Grandma sporting an angry and vigilant broom. The furious mamacita shouts that the kiddos aren’t supposed to come “for many years” and not in her house! and not in front of the Jesus statue! Hailey laughs as Granny forces Rodrigo out of the room for the night, poking him over and over with her red broom handle.

The next day Rodrigo visits his mentor, Maestro Rivera at the school where he was taught as a child. Hailey hangs back but is listening as Maestro insists that Rodrigo continue his legacy and lead the school now that he’s ready to retire. He insists that this is Rodrigo’s duty, a sacrament that he must fulfill. When Rodrigo says he can’t and that he has to serve the symphony in New York Maestro Rivera says he’s broken his heart. He says Rodrigo killed him then and curses him, touching Rodrigo’s chest right where his heart lies. This is a case where Rodrigo rejects the destiny another parent figure has determined for him. That’s the funny thing about destiny, there’s always a choice to follow or not and we have to make that choice even if ours ends up being that we choose not to believe in such things. Or if we deny that it’s even about us, as Rodrigo seems to be doing here. It’s still a choice he’s making, a painful one.

On the flight back to New York Rodrigo and Hailey agree that this was a terrible occurrence between him and his mentor. He feels sick from it, he says. Then Hailey tells him she knows he lied when he translated what his Granny said and jokes about how he’s the father of her children. Rodrigo gets called back to first class by Gloria and Pembridge and the episode ends as the curtain between first and second class closes off their connection – perhaps a symbol of what keeps them apart for the next few years. He’s the leader of the orchestra and she’s the rookie. But eventually they may be at the same place… and knowing that makes all the difference.

–Katherine Recap

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

Amazon.com Summary:
Regresso Del Rey. An adventure through Mexico City ensues when a stolen violin threatens the tour’s final concert in front of Rodrigo’s mentor.

“Regresso Del Rey” translates into english as “Return of the King,” and this is an adventurous episode, though not quite as epic as Tolkien’s final book of that famous trilogy. The orchestra is touring Latin America with their final stop Mexico City, Rodrigo’s home. So, he’s the returning king of the episode title. But the theme of this one isn’t really the returning king, it’s all about mystery. From the mystery taco Rodrigo eats and soon regrets Warren Boyd’s missing violin, the mysteries are many and their unfurling makes for a mighty fun trip.

Unfortunately for Hailey, she’s not to embark on the easy breezy tour through Latin America she anticipated because Mike’s passport expired and thus she must fill in as Rodrigo’s assistant for the interim. Hailey’s with him all the time at first, even as Rodrigo eats a street taco which she wisely passes on. When asked what’s in it Rodrigo says, “It’s a mystery – that’s why it tastes so good”. Then as he’s throwing up throughout the following scene she’s making arrangements for their final performance. Rodrigo has been worried about this particular performance since the first episode because his father figure and mentor will be there watching. But now here he is on the brink of the big gig and all Rodrigo can think is that he lost his strong Mexican stomach in America and didn’t even know how much he missed it until now.

But there’s no time to fret once his stomach’s emptied because there’s a crisis at the hotel – Warren Boyd, the first chair violinist was attacked. His taped-up glasses askew and a bruise on his noggin, Warren’s mighty flustered because his beloved and priceless Bergozi violin is gone. Luckily, Rodrigo saves the day and says, “If there’s a Bergozi on the move in Mexico City I know just who to call,” and ZIP his friend arrives in a flash… and looking flashy too. Their fixer, Manuel/Manu takes an instant liking to beautiful Hailey so, Rodrigo insists she go back inside the hotel, “to answer emails,” and Warren and Rodrigo get in the car with Manuel. Then this unlikely trio of guys are off to solve the mystery of the missing violin. At first it seems Manu might be a detective but his unorthodox methods soon reveal otherwise when he drives up on sidewalks and opens car doors with a wire hanger. But Rodrigo calls him “brother” so we know he’s good people. Manu explains that if there’s a Bergozi on the streets all they need to do is find this guy, Erasmo, and he’ll know where it is. He’s apparently THE priceless violin guy in Mexico City. The unfortunate caveat – nobody ever knows where the damn guy is.

They search for the mysterious Erasmo at strip clubs, alleyways, and various dark rooms but we get a sense that Manu isn’t just looking for Erasmo because he never takes off his sunglasses and is constantly skulking off to the side to whisper into his cellphone. Along the way Manu also asks Warren Boyd a few pointed questions about the attack to get a clear picture of what happened. But their primary focus is finding Erasmo, who they’re certain has all the relevant info. Then, finally after what seems an eternity of searching, they meet the mysterious Erasmo who offers them a primo violin for 150,000 pesos. Erasmo plays them a few gorgeous notes on it and declares that he hears every note in this city, “and if there was a Bergozi here I would know,” but he’s heard not a pluck of a Bergozi string. They leave Erasmo’s with the temporary replacement violin so Boyd can play in the concert for Rodrigo’s mentor that night. As they leave Erasmo’s hideaway Manu asks Warren Boyd one more question about his attack and then promises to have the violin for them soon. Rodrigo says Manuel always keeps his promises.

Despite these challenges, the symphony plays a magnificent concert the following night. Rodrigo’s mentor points out a few flaws but was overwhelmingly impressed with how much the symphony improved with Rodrigo’s conducting. He seems to see every little detail of the performance and even notices that Hailey “played with the blood” which makes her smile. After the show Manuel comes to Rodrigo and says he’s found the Bergozi. So, Warren goes with him to meet Manu outside the concert hall where the violin mystery finally unravels for all of us. It turns out Manuel is a sort of free range detective and that he’s been deducing the true story from Warren’s many telltale tiny clues all along. Manu informs us that the truth is Warren Boyd was never actually attacked. He faked the whole thing to collect the insurance money on his priceless violin. Manu shows Rodrigo and Warren the package Boyd gave to the concierge at the hotel to mail back to the states for him. They open it and inside is the famous Bergozi. It was back at the hotel all along, right where Warren Boyd had left it. Warren explains to Rodrigo that he’s got two girls in college and a second mortgage on a Manhattan apartment he can’t afford… these things coupled with fears of an imminent symphony spiraled him into financial panic and thus, bad decision-making.

Rodrigo plays the confession scene like a king disappointed in his right hand man – his concertino and first chair violin. But no, he won’t turn Warren Boyd in to the police for this because Rodrigo forgives the crime. Warren Boyd’s future role in the symphony, though, remains uncertain. Rodrigo offers him no guarantee and thus Boyd’s punishment will be to live with that uncertainty mixed with a certain guilt that he betrayed his king.

This was the first episode of Mozart in the Jungle to really stick to one main storyline all the way through. There was a brief sidebar when we saw sexual tension among orchestra players and snuck a peek at Gloria and Pavel sharing a hotel room. But for the most part this episode belonged entirely to the king and his right hand man. It was an adventurous way to introduce Rodrigo at home again but the true party has hardly started because the good stuff awaits in episode six. That’s right, it’s finally here, the best episode of the season is next and it’s a doozy. Get ready for laughs, romance, surprises, and even a glimpse into Rodrigo’s sweet, sad, vulnerable side. It’s a glorious visit to the place that made Rodrigo who he is and also forces him to face all the ways he’s changed. Luckily, he’s got Hailey by his side this time.

–Katherine Recap

Oath of the Gatewatch

Oath of the Gatewatch Spoiler Alert

Posted by Brian David-Marshall | Games, Magic

Kitchen Table Gaming videographer David Troth Wright is back with another Spoiler Alert… This time focusing on Oath of the Gatewatch!

This episode of Spoiler Alert is a shockingly accurate (but nevertheless quite funny) recap of the narrative events in Battle for Zendikar (and of course its follow up set, the nominal Oath of the Gatewatch). Ever wonder how to kill a giant Eldrazi Cthulhu monster? What qualities make for a reliable Planeswalker superhero? Chandra (of Oath of Chandra fame) has you covered on both ends!

What gate exactly are Jace, Chandra, Gideon, and Nissa supposed to be watching again?

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

Amazon.com Summary:
Touché, Maestro, Touché. Hailey goes out with a famous guest Cellist, Pembridge and Rodrigo enjoy a guys night in, and Gloria proves herself.

Searching is the theme of Mozart in the Jungle episode four. They haven’t left for Mexico yet but these characters are already on their way somewhere. Hailey explores the world of elite classical musicians, Rodrigo and Pembridge reach a newfound echelon of consciousness, and Gloria harkens back to her former self in a search that takes her to the most unexpected place of all. It begins, as many explorations do, with an inspiring guest, in this case the famous cellist Andrew Walsh (played by Dermot Mulroney) who brings fresh insight on the status quo of the orchestra. In this case his insight is merely that Rodrigo needs to cut down on the cookies… but it’s new thinking nonetheless.

The show opens on the symphony now glorious with the addition of the star cellist who’s a free agent in the classical music world; a nomad who comes and goes as he pleases, and sexy too. After the performance he introduces himself to Hailey and invites her out “to see Lang Lang play” (Lang Lang is a virtuouso Chinese pianist) after sniffing around red-lipped stunner Cynthia in such a way that it’s clear they previously slept together. Meanwhile outside the concert hall Rodrigo gazes at the photo of Hailey on the marquis outside when Pembridge comes by in a limo and offers him a ride. So, Rodrigo puts his bike in the trunk and joins his hermano maestro for the evening.

Turns out Walsh was using the verb “play” as a double entendre because he takes Hailet to a bar party that doubles as a sort of playground for the classical elite. World-renowned pianist Emanuel Ax plays ping pong with Joshua Bell, famous violinist, while Lang Lang asks Hailey for dating advice. They bowl and play assorted arcade games then end up in a photo booth together, Hailey ensconced in the middle of all this musical genius. She’s in heaven. It’s a whole new world and, though surrounded by virile young men, it’s clear Walsh is the Aladdin to Hailey’s Jasmine. After the party she goes back to Walsh’s place and he paints cello marks on her naked back to take a photo before they fall into each other’s arms for the night. Later in the after sex glow they talk about their careers and Hailey’s intrigued by Walsh’s independence and happiness as he travels the world playing music freelance style.

Back at Pembridge’s apartment it’s pity party time as he explains to Rodrigo his “fugue of despair” AKA divorce papers, a bittersweet symphony. He pulls out a bottle of booze and Rodrigo stops him from opening it saying it’s poison for Pembridge (who gave up drinking) and they don’t need it. Maestro is mad grateful and Rodrigo says that’s what hermanos are for. Then he offers up a way for them to seek their own brand of abyss – booze free. His friend in Fort lee, New Jersey gave him this odd hallucinogenic concoction of resin, mushroom, and frog venom which, though they both declare “smells like shit” they also immediately start eating. Before long they’re curled up in a tent they concocted on the floor of Pembridge’s study to play a mind blowingly funny game of question and answer. Their deadpan faces and absurd commentary are laugh out loud hilarious and then they get serious, talk about mothers and death and recite a loving poem to each other in unison before Pembridge passes out on the couch. Then Rodrigo stays up to conduct an imaginary orchestra but gets distracted by the luminous face of imaginary Hailey, sitting in the oboe chair and looking at him that way he loves.

All the while Gloria is off on her own brand of adventure, an open mike night. She tantalizes the room in a gorgeous sequin dress with a sexy song. She doesn’t see Pavel from the orchestral crew in the audience but there he is with his Czech absinthe and beard, leaning against the brick wall. Gloria walks over near the wall to sing the end of the sultry song and then recognizes Pavel. She sings to him, even rubbing up against him a little. After her song she joins Pavel for a drink and it turns out he just happens to be a regular at this place because it’s right by his apartment. He compliments her voice and Gloria says it was the last place she expected to see someone she knew. Pavel asks her what she’s doing there and she says, “Searching… I suppose,” and then the episode ends as Rodrigo’s assistant tells him it’s time to go to JFK and get on their plane to Mexico. So, their journeys continue.

–Katherine Recap