The Appraiser's

Honourable mention: The Ice Harvest (2005)

Harold Ramis’ off-beat Christmas heist movie is not his best work, but its quirky & dark humour make it worth a watch, even if just for John Cusack and Billy Bob Thornton.

25. Kiss Kiss Bang Bang (2005)

Another in the list of black comedy Christmas crime movies? Maybe 2005 was just an odd year. Shane Black’s directorial debut is sharp, entertaining, and like most of his movies, set during Christmas. It’s an enjoyable neo-noir romp with great performances from both Robert Downey Jr. and Val Kilmer.

24. Black Christmas (1974)

If you’re the type that loves Halloween and wishes that it would just continue, Black Christmas may be up your alley. Pre-dating John Carpenter’s Halloween (1978) and often considered one of the first slash films, this Canadian Christmas ho-ho-horror is smarter than expected. Not a creature was stirring… but a killer was.

23. A Christmas Story (1983)

It’s hard not to escape the cultural influence of this movie. Less a single movie, more a series of vignettes, but it captures relatable moments of childhood, especially as it relates to the holiday season. From snowsuit problems to wishing for presents parents say that they’ll never buy, there’s a universal feeling to this movie. Which is why it’s played year after year.

22. National Lampoon's Christmas Vacation (1989)

The third of National Lampoon’s Vacation films is still a reliable laugh-fest of the Griswold family’s misfortunes. Like A Christmas Story, there’s a relatability to trying to celebrate Christmas, put up lights, and deal with relatives. Between the two, my preference leans towards this one from the memories of watching it. But there’s still a relatable-ness to when Christmas goes wrong, but eventually right.

21. The Polar Express (2004)

Robert Zemeckis’ career has been long and varied. The Back to the Future film trilogy (1985—90) and Who Framed Roger Rabbit (1988) are childhood favourites, while Death Becomes Her (1992) and Forrest Gump (1994) are excellent for older audiences. His 2004 CGI/mo-cap film definitely dips into the Uncanny Valley and shows its age, but the heart of the story is strong. Ebert said the film has a “haunting, magical quality” (I think partially due to Alan Silvestri’s score) but that ineffable quality is part of its Christmas magic.

20. Little Women (2019)

There have been many adaptations of Louisa May Alcott’s classic novel, but Greta Gerwig’s adaptation is perhaps the best. An incredible cast each give their all with a tight script that focuses on family love and the bonds we share. Oh, this is not a Christmas movie? Not only do some of the most pivotal points happen during Christmas, but the themes of struggle, grief, and coming together are resonant during the holidays. This will not be the last movie where Christmas provides something of a thematic throughline.

19. The Snowman (1982)

An animated short (25 min), The Snowman is a touching piece about Christmas and the feeling of magic that comes from the holidays. A boy goes on a magical adventure with a snowman, shown with beautiful storybook illustrations and without dialogue. The only words come from the hauntingly beautiful “Walking in the Air”. This is basically the superior Frosty.

18. Tangerine (2015)

Set in the streets of L.A., Tangerine is the story of two transgender sex workers on Christmas eve having a journey about sisterhood, growth, and dealing with struggles. Similar to Little Women, the spirit of Christmas is in the themes of connection and redemptive acts, even without the snow. Filmed with iPhones, this film is raw but stylistic and engaging with fantastic performances. It’s also one of the few Christmas movies that explicitly features people in the LGBTQA+ community. It’s an unconventional pick but worth adding to your Christmas list.

17. Home Alone (1990)

Sometimes family is a lot to deal with. Sometimes you just wanna be alone. And that’s what Kevin gets on Christmas, a house all to himself. John Hughes’ script has a great mix of sweet and sardonic, mixing Christmas feels with a criminal caper. Chris Columbus’ filmmaking is fine, but Macaulay Culkin’s performance is what elevates this movie into a Christmas classic. There’s laughs, there’s feels, and there’s some good old-fashioned Christmas chaos.

16. Scrooge / A Christmas Carol (1951)

15. Santa Claus is Comin’ to Town (1970)

Of the retro Christmas animations, Rudolph and Frosty receive the most attention. But this stop-motion by Rankin/Bass holds a place in my heart. It tells the story of how Santa came to be through delightful songs, innovative animation, and charming characters. The story follows through a few different arcs, and the songs will stay, at least for the holiday seasons.

14. Elf (2003)

Will Ferrell movies in the 2000’s could often be hit-or-miss, with humour ranging from wild, to cringey, to downright offensive. But Elf is head and shoulders above the rest; Ferrell plays the “fish-out-of-water” role well, perhaps his best performance, and he balances comedy and sentimentality without making either feel lesser. The rest of the cast also play off each other well, and the blend of the magical Christmas story with family issues works to create a pleasant rewatch every Christmas.

13. The Nightmare Before Christmas (1993)

Is it a Halloween movie? Yes. Is it a Christmas movie? Also yes. But what’s more important is that it’s a spectacular animated movie with whimsy and darkness in tandem. Directed by Henry Selick (his debut!) who would also direct James and the Giant Peach (1996) and Coraline (2009), this innovative stop-motion animation made itself a classic through Burton’s imaginative story and Danny Elfman’s earworm tunes. Whether you choose to indulge at Halloween or Christmas, this animated classic is always a good choice.

12.  The Shop Around the Corner (1940)

Margaret Sullavan and James Stewart star in this funny and smartly scripted classic that would be the basis for Nora Ephron’s You’ve Got Mail (1998). Sullavan and Stewart are two employees at a leathergoods shop in Budapest; they can’t stand each other, but they are also anonymous letter correspondents slowly falling for each other. The script is both funny and sharp, and we get to spend time with the charming leads and amusing side characters.

11. Gremlins (1984)

Once again, I hear you saying, “This movie just uses Christmas to kickstart the plot and have neat set-dressing!”. And maybe that’s true. But sometimes, you get tired of the usual routine and want something more out-there. Joe Dante’s comedy film (written by Chris Columbus) about the gift of a Gremlin and the chaos they can cause. The 80’s effects are top notch and the score has an earworm effect. The Black Comedy vibes against the Christmas backdrop provides a number of great set-pieces, and come on, Gizmo is just too adorable to not love. 

10. The Muppet Christmas Carol (1992)

While Dickens’ story appears earlier on the list, the Muppets version is by far my favourite. The songs are fun, the technical puppet work spectacular, the script witty, and the feel of the movie all work wonders. Michael Caine makes a great Scrooge, and seeing the Muppets transposed into this classic story is both hilarious and charming. This is a Christmas classic that both children and adults can sit down and enjoy.

9. The Holdovers (2023)

This film, a retro throwback visually, aesthetically, and narratively, is like putting on a cozy Christmas sweater. There’s a comfortable warmness in the familiar, it’s a bit scratchy at times, and you get sad because you think about your grandma who knitted it and she passed away peacefully a few years ago. The film is a balancing act between humour and sadness, but does so with sincerity and charm to provide a movie which touches the heart with the performances and embrace of life.

8. Die Hard (1988)

Ah, the quintessential “is it really a Christmas movie?” movie. John McTiernan’s film is set during Christmas, but more than just the setting, John McClane’s adventure is a redemption of sorts (though the thematic analysis of Die Hard is surprisingly deep) and Christmas is a time for renewal and change. But whether it is or not, Die Hard is more than a mindless action flick. McTiernan’s camerawork is fantastic, always following or flowing with the action but never feeling overdone. The script keeps the action flowing with enough space to breathe in-between that also gives McClane and Gruber fantastic back-and-forth dialogue. Bruce Willis in the role of McClane, set against the 80’s muscle-men of Schwarzenegger or Stallone, was a smart move. He’s not a hulking mass of man, but a feasible yet quick-witted lead who has to use brain and brawn. And it’s hard to not talk about Alan Rickman’s fantastic performance, cementing himself as a brilliant villain actor for years to come. If you’re looking for something action but also Christmas, get ready to… Die Hard. 

7. Tokyo Godfathers (2003)

On Christmas Eve, three homeless people–a middle-aged alcoholic man, a transgender woman, and a teen runaway–find a baby in a dumpster. They decide that they should try to find this baby’s family, leading to a series of spectacular events on Christmas night. It’s not a conventional Nativity story, but this Christmas story about found family, shared struggle, and Christmas miracles is touching and heartwarming. While this Satoshi Kon film isn’t his usual tale of fiction bleeding into reality, the plot focuses on how miracles can still exist, even if they are a bit fantastical. Using beautiful animation and exaggeration, this film builds on the importance of connection and working through struggle together. This is a worthy addition to any Christmas list; frankly, Satoshi Kon’s whole filmography is worth watching.

6. It's a Wonderful Life (1946)

5. Klaus (2019)

The only film of my top 5 that came out past the 60’s, Klaus came out in 2019 and was instantly a Christmas classic. Essentially a “Santa Claus origin story”, Klaus is a heartwarming and humorous tale about the healing power of doing good. But it’s not just the story; every part of Klaus is perfectly put together. The voice acting is phenomenal across the board. The score swells with the emotional moments and compliments the humour well. And the animation, the animation is on another level. It’s traditional 2D animation, but through volumetric lightning and unique textures it has a 3D effect, despite being entirely 2D. It’s a work of art that shows the effort put in by the whole crew to create something with interesting shots, beautiful images, and spectacular performances. You are doing yourself a disservice if you don’t sit down and enjoy this new Christmas classic.

4. Rudolph the Red Nosed Reindeer (1964)

You know the song. Everyone knows the song. And you probably know the movie too, since it’s played year after year. And for good reason. Rather than just being a simple retelling, the animation expands the story to include catchy songs, fun side-characters, and a solid plot about who Rudolph was and how he came to save Christmas. In rewatching, I’ve realized one of the reasons why this film is engrossing is because the story is Joseph Campbell’s “The Hero’s Journey”. Rudolph faces challenges, heads out into The Unknown, and returns after growing; it’s a classic story formula that we come back to because it works. Animation-wise, the stop-motion puppet work has an ageless quality to it, always endearing to watch. It’s a timeless animation that will endure, snowy winter after snowy winter.

3. A Charlie Brown Christmas (1965)

Much like Rudolph before, there’s an ageless quality to A Charlie Brown Christmas. Of all the M. Schulz Peanuts animations, this is the one that lives in my head. The iconic opening, the dance scene, Snoopy’s humour side gags, the songs, and the warm, cheery feeling when watching is hard to beat. Apparently its jazz soundtrack, child voice actors, and lack of a laugh track were unconventional choices in the 60’s, but I can’t imagine this any other way. It’s timeless in the simple designs, slow but comfortable story, and exploration of the feeling of Christmas. It may be slow, but it knows to take its time, making something comfortable and warm to return to. There’s not really anything negative I have to say about this animated special.

2. Dr. Seuss' How the Grinch Stole Christmas (1966)

It was a bit of a toss up for me between Charlie Brown and this one. Between the two, this one is the one I prefer for Christmas Eve. Boris Karloff’s voice is perfect for both the narration and The Grinch, and the rest of the cast fit the whimsical Whos. Credit must also go to Thurl Ravenscroft as the bass vocalist for the iconic "You're a Mean One, Mr. Grinch". This half-hour animation is lively, hilarious, and all these years later, still a blast to watch. And that’s no surprise, since it was directed by Chuck Jones, aka, the man responsible for some of the best Looney Tunes animations. The story is simple but engaging, and Dr. Seuss’ eye-catching, wild designs help to keep everything fun to watch. The Grinch is as much a staple of Christmas as reindeer, presents, or stockings by the fire.

1. Miracle on 34th Street (1947)

25. The Ice Harvest (2005)

Harold Ramis’ off-beat Christmas heist movie is not his best work, but its quirky & dark humour make it worth a watch, even if just for John Cusack and Billy Bob Thornton.

24. Kiss Kiss Bang Bang (2005)

Another in the list of black comedy Christmas crime movies? Maybe 2005 was just an odd year. Shane Black’s directorial debut is sharp, entertaining, and like most of his movies, set during Christmas. It’s an enjoyable neo-noir romp with great performances from both Robert Downey Jr. and Val Kilmer.

23. Black Christmas (1974)

If you’re the type that loves Halloween and wishes that it would just continue, Black Christmas may be up your alley. Pre-dating John Carpenter’s Halloween (1978) and often considered one of the first slash films, this Canadian Christmas ho-ho-horror is smarter than expected. Not a creature was stirring… but a killer was.

22. A Christmas Story (1983)

It’s hard not to escape the cultural influence of this movie. Less a single movie, more a series of vignettes, but it captures relatable moments of childhood, especially as it relates to the holiday season. From snowsuit problems to wishing for presents parents say that they’ll never buy, there’s a universal feeling to this movie. Which is why it’s played year after year.

21. National Lampoon's Christmas Vacation (1989)

The third of National Lampoon’s Vacation films is still a reliable laugh-fest of the Griswold family’s misfortunes. Like A Christmas Story, there’s a relatability to trying to celebrate Christmas, put up lights, and deal with relatives. Between the two, my preference leans towards this one from the memories of watching it. But there’s still a relatable-ness to when Christmas goes wrong, but eventually right.

20. The Polar Express (2004)

Robert Zemeckis’ career has been long and varied. The Back to the Future film trilogy (1985—90) and Who Framed Roger Rabbit (1988) are childhood favourites, while Death Becomes Her (1992) and Forrest Gump (1994) are excellent for older audiences. His 2004 CGI/mo-cap film definitely dips into the Uncanny Valley and shows its age, but the heart of the story is strong. Ebert said the film has a “haunting, magical quality” (I think partially due to Alan Silvestri’s score) but that ineffable quality is part of its Christmas magic.

19. Little Women (2019)

There have been many adaptations of Louisa May Alcott’s classic novel, but Greta Gerwig’s adaptation is perhaps the best. An incredible cast each give their all with a tight script that focuses on family love and the bonds we share. Oh, this is not a Christmas movie? Not only do some of the most pivotal points happen during Christmas, but the themes of struggle, grief, and coming together are resonant during the holidays. This will not be the last movie where Christmas provides something of a thematic through-line.

18. The Snowman (1982)

An animated short (25 min), The Snowman is a touching piece about Christmas and the feeling of magic that comes from the holidays. A boy goes on a magical adventure with a snowman, shown with beautiful storybook illustrations and without dialogue. The only words come from the hauntingly beautiful “Walking in the Air”. This is basically the superior Frosty.

17. Tangerine (2015)

Set in the streets of L.A., Tangerine is the story of two transgender sex workers on Christmas eve having a journey about sisterhood, growth, and dealing with struggles. Similar to Little Women, the spirit of Christmas is in the themes of connection and redemptive acts, even without the snow. Filmed with iPhones, this film is raw but stylistic and engaging with fantastic performances. It’s also one of the few Christmas movies that explicitly features people in the LGBTQA community. It’s an unconventional pick but a worthy addition to your Christmas list.

16. Home Alone (1990)

15. Scrooge / A Christmas Carol (1951)

Sometimes classics are made by the performance of their lead, the centerpiece that brings you back. Alastair Sim’s portrayal of Ebenezer Scrooge captures his cantankerous nature and he perfectly portrays Scrooge's reactions to the hope and horrors from his three Christmas visitors. The tale is a classic one and the film captures Dickens’ style of both darkness and hope.

14. Santa Claus is Comin’ to Town (1970)

Of the retro Christmas animations, Rudolph and Frosty receive the most attention. But this stop-motion by Rankin/Bass holds a place in my heart. It tells the story of how Santa came to be through delightful songs, innovative animation, and charming characters. The story follows through a few different arcs, and the songs will stay, at least for the holiday seasons.

13. Elf (2003)

Will Ferrell movies in the 2000’s could often be hit-or-miss, with humour ranging from wild, to cringey, to downright offensive. But Elf is head and shoulders above the rest; Ferrell plays the “fish-out-of-water” role well, perhaps his best performance, and he balances comedy and sentimentality without making either feel lesser. The rest of the cast also play off each other well, and the blend of the magical Christmas story with family issues works to create a pleasant rewatch every Christmas.

12. The Nightmare Before Christmas (1993)

Is it a Halloween movie? Yes. Is it a Christmas movie? Also yes. But what’s more important is that it’s a spectacular animated movie with whimsy and darkness in tandem. Directed by Henry Selick (his debut!) who would also direct James and the Giant Peach (1996) and Coraline (2009), this innovative stop-motion animation made itself a classic through Burton’s imaginative story and Danny Elfman’s earworm tunes. Whether you choose to indulge at Halloween or Christmas, this animated classic is always a good choice.

11. Gremlins (1984)

Once again, I hear you saying, “This movie just uses Christmas to kickstart the plot and have neat set-dressing!”. And maybe that’s true. But sometimes, you get tired of the usual routine and want something more out-there. Joe Dante’s comedy film (written by Chris Columbus) about the gift of a Gremlin and the chaos they can cause. The 80’s effects are top notch and the score has an earworm effect. The Black Comedy vibes against the Christmas backdrop provides a number of great set-pieces, and come on, Gizmo is just too adorable to not love.

10. The Shop Around the Corner (1940)

Margaret Sullavan and James Stewart star in this funny and smartly scripted classic that would be the basis for Nora Ephron’s You’ve Got Mail (1998). Sullavan and Stewart are two employees at a leathergoods shop in Budapest; they can’t stand each other, but they are also anonymous letter correspondents slowly falling for each other. The script is both funny and sharp, and we get to spend time with the charming leads and amusing side characters.

9. The Muppet Christmas Carol (1992)

While Dickens’ story appears earlier on the list, the Muppets version is by far my favourite. The songs are fun, the technical puppet work spectacular, the script witty, and the feel of the movie all work wonders. Michael Caine makes a great Scrooge, and seeing the Muppets transposed into this classic story is both hilarious and charming. This is a Christmas classic that both children and adults can sit down and enjoy.

8. Die Hard (1988)

Ah, the quintessential “is it really a Christmas movie?” movie. John McTiernan’s film is set during Christmas, but more than just the setting, John McClane’s adventure is a redemption of sorts (though the thematic analysis of Die Hard is surprisingly deep) and Christmas is a time for renewal and change. But whether it is or not, Die Hard is more than a mindless action flick. McTiernan’s camerawork is fantastic, always following or flowing with the action but never feeling overdone. The script keeps the action flowing with enough space to breathe in-between that also gives McClane and Gruber fantastic back-and-forth dialogue. Bruce Willis in the role of McClane, set against the 80’s muscle-men of Schwarzenegger or Stallone, was a smart move. He’s not a hulking mass of man, but a feasible yet intelligent lead who has to use brain and brawn. And it’s hard to not talk about Alan Rickman’s fantastic performance, cementing himself as a brilliant villain actor for years to come. If you’re looking for something action but also Christmas, get ready to… Die Hard.

7. Tokyo Godfathers (2003)

On Christmas Eve, three homeless people–a middle-aged alcoholic man, a transgender woman, and a teen runaway–find a baby in a dumpster. They decide that they should try to find this baby’s family, leading to a series of spectacular events on Christmas night. It’s not a conventional Nativity story, but this Christmas story about found family, shared struggle, and Christmas miracles is touching and heartwarming. While this Satoshi Kon film isn’t his usual tale of fiction bleeding into reality, the plot focuses on how miracles can still exist, even if they are a bit fantastical. Using beautiful animation and exaggeration, this film builds on the importance of connection and working through struggle together. This is a worthy addition to any Christmas list; frankly, Satoshi Kon’s whole filmography is worth watching.

6. It's a Wonderful Life (1946)

5. Klaus (2019)

The only film of my top 5 that came out past the 60’s, Klaus came out in 2019 and was instantly a Christmas classic. Essentially a “Santa Claus origin story”, Klaus is a heartwarming and humorous tale about the healing power of doing good. But it’s not just the story; every part of Klaus is perfectly put together. The voice acting is phenomenal across the board. The score swells with the emotional moments and compliments the humour well. And the animation, the animation is on another level. It’s traditional 2D animation, but through volumetric lightning and unique textures it has a 3D effect, despite being entirely 2D. It’s a work of art that shows the effort put in by the whole crew to create something with interesting shots, beautiful images, and spectacular performances. You are doing yourself a disservice if you don’t sit down and enjoy this new Christmas classic.

4. Rudolph the Red Nosed Reindeer (1964)

You know the song. Everyone knows the song. And you probably know the movie too, since it’s played year after year. And for good reason. Rather than just being a simple retelling, the animation expands the story to include catchy songs, fun side-characters, and a solid plot about who Rudolph was and how he came to save Christmas. In re-watching, I’ve realized one of the reasons why this film is engrossing is because the story is Joseph Campbell’s “The Hero’s Journey”. Rudolph faces challenges, heads out into The Unknown, and returns after growing; it’s a classic story formula that we come back to because it works. Animation-wise, the stop-motion puppet work has an ageless quality to it, always endearing to watch. It’s a timeless animation that will endure, snowy winter after snowy winter.

3. A Charlie Brown Christmas (1965)

Much like Rudolph before, there’s an ageless quality to A Charlie Brown Christmas. Of all the M. Schulz Peanuts animations, this is the one that lives in my head. The iconic opening, the dance scene, Snoopy’s humour side gags, the songs, and the warm, cheery feeling when watching is hard to beat. Apparently its jazz soundtrack, child voice actors, and lack of a laugh track were unconventional choices in the 60’s, but I can’t imagine this any other way. It’s timeless in the simple designs, slow but comfortable story, and exploration of the feeling of Christmas. It may be slow, but it knows to take its time, making something comfortable and warm to return to. There’s nothing negative I have to say about this animated special.

2. Dr. Seuss' How the Grinch Stole Christmas (1966)

It was a bit of a toss up for me between Charlie Brown and this one. Between the two, this one is the one I prefer for Christmas Eve. Boris Karloff’s voice is perfect for both the narration and The Grinch, and the rest of the cast fit the whimsical Whos. Credit must also go to Thurl Ravenscroft as the bass vocalist for the iconic "You're a Mean One, Mr. Grinch". This half-hour animation is lively, hilarious, and all these years later, still a blast to watch. And that’s no surprise, since it was directed by Chuck Jones, aka, the man responsible for some of the best Looney Tunes animations. The story is simple but engaging, and Dr. Seuss’ eye-catching, wild designs help to keep everything fun to watch. The Grinch is as much a staple of Christmas as reindeer, presents, or stockings by the fire.

1. Miracle on 34th Street (1947)

In this series’ beginning, Aku, an Eldritch-like entity, came to Earth spreading ruin, despair, and malice. A young swordsman from Japan, having witnessed the destruction of his home, traveled the globe learning skills from different cultures, hoping to undo all of Aku’s evil by defeating him with a magic katana blessed by the gods. However, in the final moments of their battle, Aku flung the Samurai through a time portal to the future, where (and when) he would have total control and the Samurai would be helpless. When he arrives, the Samurai finds himself in a strange technological retrofuture with aliens on the planet, flying spaceships, and total domination by Aku. The Samurai, named Jack as a slang placeholder by some enthusiastic aliens, tries to fight Aku, help those in need, and most importantly, return home to the past, to undo the future that is Aku.

Samurai Jack was not a show I grew up with, simply for the reason of not having the channel, but as a teenager and young adult, I watched and appreciated the work and effort Genndy Tartakovsky put into the show. Samurai Jack had an overarching story in Jack’s attempts to return to the past, but it was a highly episodic show characterized by a slow, measured pace and highly visual storytelling, borrowing from the art of Frank Miller, the films of Akira Kurosawa, and Lone Wolf and Cub. Tartakovsky’s show had a minimalist design style, with clear forms, simplistic character designs, fluid motion, and generally detailed backgrounds. The focus was not moving a plot forward, but telling a story with visuals, with colour, sound, and motion; no matter the plot, Samurai Jack engaged its audience by making the process from beginning to end something to appreciate on its own. The action scenes were slick, with faux-zooms using black bars reminiscent of Spaghetti Westerns, and cinematography out of a, well, samurai movie.

Each episode had its own story and Tartakovsky would put the plot on pause for the sake of having Jack move through stylized and beautiful vistas, letting the audience breathe between action. A minute of stillness, or a shot of the strange but visually stunning world, and Samurai Jack would make a name for itself with its focus on something besides being mindless colour and noise for parents to use as something to keep their child occupied. But when there was action, Samurai Jack delivered with style, sometimes being surprisingly complex, but always fun.

But in 2004 Samurai Jack ended without any resolution as to whether or not Jack would be successful in his quest to return home and defeat Aku. There was no cliffhanger finale either, simply another episode in Jack’s continuing tale, part of the series’ appeal in not having to specifically watch episodes in order, barring the continuity of a character’s reappearance, which was rare. That overarching plot to return home was left unanswered, and Tartakovsky’s focus on other projects (Star Wars: Clone Wars, Hotel Transylvania) made it seem like there was never going to be a proper ending. There was a comic series published later (now deemed non-canon) but it wasn’t the same as having a return to television for an animated ending. However, sometime in 2015, there was an announcement for its return on Adult Swim in 2016, in a mini-series of ten episodes that would conclude the series, by Tartakovsky himself. After delays, Samurai Jack’s fifth season came out in 2017, on Adult Swim, meaning the series could delve into more mature themes, including an increase in psychological depth and violent content that the more child-friendly series couldn’t have. Minor spoilers.

So we come now to the first episode of Samurai Jack Season 5. Using a Cold Open, the story begins with two aliens running from some of the series’ classic enemies, Beetle Bots. Suddenly, an armoured Samurai figure arrives, with trident/spear, guns, and a futuristic motorcycle. Indeed Jack is back, with long unkempt hair and a bushy beard, no longer looking like the out-of-place Samurai, but a strange Mad Max-esque figure roaming the land. The opening is morose and grim, as Jack states that it has been 50 years since his coming to the future, but he does not age and simply wanders in a desperate search.

The first episode brings two plot-lines in, the first dealing with Jack's drifting and mental state, while the second introduces a new antagonistic group, the Daughters of Aku. This plot covers a large amount of time in their training by cruel mother figures for the sake of Aku. The mothers appear as a group of crazy cultists, but with the restrictions from the original series lifted, we know they are deadly. They worship Aku (who makes no appearance) and hate the Samurai, training 7 daughters from birth to be killing machines. Jack's story resumes in his traveling as we get a sense of the mental toll, the survivor's guilt and feelings of hopelessness. However, this is balanced by the confrontation of the episode with Scaramouche, a fantastic robot assassin and a particular high point of the episode. Classic episodes featured at least one major fight, and Scaramouche, voiced by Tom Kenny’s with show-stealing delivery, has charm to keep the episode from leaning too much on the hard-hitting subjects right off the bat. Samurai Jack was a show that has light and serious moments, and the premier of Season 5 has that as well. Both stories unfold well with the measured pace and style of Tartakovsky from the old series. Jack’s story picks up somewhere in the middle, again Mad Max styled as a drifter, while the Daughters of Aku start their story with this episode and will probably continue through at least some of the season.

Action was always a key component of Samurai Jack, and it continues to impress here. The use of the zooms keeps the eye focused on movement and the framing keeps the fighting clear from punch to kick to slice. Tartakovsky also frames the action with longer takes, choosing to avoid too much rapid cutting by making it seem like a there is a moving camera following the action. For the pilot, there’s enough action to show that the series is still top-notch for excellently shot fight scenes, holding until the end for the biggest set-piece.

The art is fantastic, a return to the original series’ mode of simple designs, fluid yet solid, with retro forms and clear silhouettes. However, those that are saying this art is exactly like the old series are wrong. The form, the general style of Tartakovsky across much of his 2-D work remains, but details, colours, motion, and even some of the designs have been changed. This is in part due to the time difference between the two series, as well as new crew members, and improvements in digital editing. When watching this series, you’ll be tempted to say “this is what the old show looked like”, because much has remained the same in style, but the differences are there. Not bad differences by any means, in fact they are hard to really notice without direct comparisons. The background art is beautiful, rich and coulourful, and detailed without drawing attention away from the figures in the foreground. Composition-wise, the shots, angles, those classic zooms, and use of colour all add up to make a beautiful show. Tartakovsky’s visual storytelling is as strong as ever with the start of a new season.

As a final note, the more mature elements such as additional violence, psychological themes of despair, and the horrific rituals of the Daughters of Aku add to the show’s depth. Rather than using the new rating and channel for the purposes of exploitative violence and shock, the show takes this opportunity to explore the mental effects of time-travel, Jack’s guilt, and the horrors that take place in Aku’s future.

Episode XCII brings us back to the future that is Aku, and back to Jack’s journey, with the promise that this season will bring Jack’s story to an end, and with ten episodes total, I fear that might be pushing things into rushed territory later. But with XCII, Tartakovsky returns to the comfortable slow-paced visual storytelling of the old series with added psychological depth and emotion.

Closing off Season 3 is “Bubbled”, an introspective and harrowing episode for Steven, lost in spaaaaace! Spoilers for the finale.

There is something about this episode that reminded me of the Futurama episode “Godfellas”, a critically acclaimed episode for its adept handling of the themes of prayer and theological musing. The Steven Universe episode doesn't have those same themes, but it uses a similar premise (space floating) to focus on processing the revelations of the latest few episodes.

With Steven floating off into space with Eyeball, the rather aggressive Ruby who was devoted to Jasper, this episode sets up a bubble, sorry, bottle episode. These types of episodes have a reputation of cheap production due to single locations, less actors, and less complex filming. However, with this being an animated show, the biggest strain is on the writers making an engaging episode without boring the audience because of the limitations. I suppose that because Steven is moving through space (and with the ending), it's not a perfect bottle episode, but it is functionally the same. And this episode focuses on good writing and interaction between Steven and the Ruby, enemies floating together.

We get to know more about Eyeball as she and Steven talk, specifically about her coming to Earth on the off chance that might see Rose Quartz. She doesn't idolize her as she did Jasper, but instead feels like Rose Quartz is some terrifying presence that she has to experience for herself. She's also wary of Steven now, given the many tricks he and the Crystal Gems have pulled, not even believing he could be Rose Quartz, at first. Things change when Steven brings her inside the bubble, to try to heal her Gem after being stuck by a meteor. There's a tense air (what little remains in the bubble) when she sees him as Rose Quartz, leaving Steven to make a choice. He’s upheld values of kindness, pacifism, and caring because he believes in what he’s learned about Rose as a loving force, and because of the care that the Crystal Gems have raised him on. If this episode’s conclusion seems a bit quick, it’s only to give proper time for the audience to reflect and take the emotions Steven is feeling.

The writing can make or break a bottle episode. Howard and Liu balance comedic exchanges between Steven and Eyeball, including a great healing scene and some fun visual comedy, with serious character exploration, somber moments, and difficult confrontations of desires. And for the ending, they choose to avoid dialogue until after an emotional moment, substituting it with the ending theme for a more emotional impact. The final bits of dialogue continue the episode’s somber notes, with Steven reflecting on how much he really knows about the Gem war and his mother and her actions.

The writing for this episode makes it enjoyable in its bottle format, but the sound-design, shot composition, and minimalist scoring raise the quality beyond a general episode. There’s a continual low sound throughout the episode, not distracting but adding with the ambient noise that exists within Steven’s bubble. It’s a nice touch that distinguishes this episode’s bizarre location. The audio-mixing for the voices is also improved, because depending on the shots (inside or outside the bubble) Steven and Eyeball’s voices have a reverb as if passing through the bubble. Those may sound like small points, but they give the episode a sense of fine-tuned construction in aspects usually ignored. Visually, Howard and Liu give Steven and Eyeball great expressive faces and frame the bubble in a way that gives it a sense of three-dimensionality in the two-dimensional visuals of the show. The background art helps give the episode an extra push with beautiful vistas of space, of stars and galaxies as the “camera” moves outwards. Steven Universe has always had pretty background art, but this episode’s art gives space that feeling of vast beauty and solitude. The scoring has that chip-tune quality, but this episode includes more minimal background musical pieces, long and slow, to fit with the “drifting in space’ theme. All of these smaller bits come together and show the amount of work and polish put into this episode.

It’s not the most action-packed finale, but it’s a fitting end to a series of mini-arcs of the third season, tying together events from the premier with Jasper and the Rubies, as well as further revelations about Rose Quartz, and Steven’s exploration of his powers and responsibilities. While perhaps uneven, Season 3 has delivered a number of strong episodes (“Gem Drill”, “Hit the Diamond”, “Monster Reunion”, “Steven vs Amethyst”, “Bismuth”, and the best, “Mr. Greg”) exploring character, powers, and laying the foundation for future struggles that Steven and the Crystal Gems will have to face.

While the last trip to the moon didn’t go well, it produced a very good episode that showed off the difference in the attitudes towards Homeworld between the Crystal Gems and Peridot. It was an episode near the closing point of her redemption arc, and provided a good mix of darkness with Homeworld’s previous plans for Earth with Peridot’s light-manner. This episode’s moon trip brings back the Rubies from “Hit the Diamond”, a fantastic episode early in the season, who are back in search of Jasper, again. Heads up for spoilers.

This episode is dialogue heavy, which after the previous episode’s focus on a single confrontation makes sense and works in favour of seeing the Rubies again. Steven has come up with corresponding names for each Ruby based on Gem placements, asking them why they’ve returned. The answer is “For Jasper”, currently bubbled away, so Amethyst thinks up a not-so-clever idea to pretend to be Jasper. Thank goodness Rubies aren’t known for intelligence. To avoid suspicion, “Jasper” agrees to follow them to the moon base to inform the Diamonds she’ll stay guarding the “prisoners” from Earth. So they journey to the moon.

This will be a shorter review because there’s not as much to elaborate on in this episode. There’s a good chunk of exposition and additional world-building, exploring more of what Jasper revealed last episode. With a bigger focus in this episode, we can piece together the various personalities and types of the Rubies, with the show focusing on giving them enough character to remain interesting even in an episode focused on exposition and building on the last episode’s ending. That’s part of what makes Steven Universe engaging, that focus on characterization even in the smaller parts.

The delivery of the information through the Rubies works, although it’s a lot to take in, especially for Steven, who’s still reeling from the last big revelation. It’s this moment that brings the episode to its second most serious point, with some great shots of pain and guilt in Garnet and Pearl. Before this moment, the episode uses a lot of comedic tension with Amethyst holding her shapeshifting and dealing with the Rubies, which helps carry the episode’s movement towards the moon and its conclusion. It may not be laugh out loud funny, but it’s amusing to watch the Rubies fawn over Amethyst, trying to not get caught.

Art-wise, it’s not my favourite boarding team, but they do a good job with the Rubies, in setting up their differing personalities not just in writing, but with visual detail. The voice acting is cute, although there’s a certain way that the gruff voices sound more like a child trying to be threatening. Ruby (our Ruby)’s voice is good, but these ones vary in terms of cuteness and seriousness. Pearl gets some fun melodramatic lines, and Amethyst’s Jasper is good for a smile.

I don’t find the episode particularly bad in any way, but because the show is simultaneously episodic and sequential, the role of this episode is more information delivery and set up for a surprising climax before the final episode of the season. Not to say the moments in this episode that work well in this episode are lessened, because they provide a lot of questions for future episodes. What else have Garnet and Pearl not told Steven? What do we really know about Rose? What did she really do? Does Steven have to answer for her crimes, and pay for her actions?

While I found the previous episode something of a drop in quality for the Amethyst/Jasper arc in the latter half of Season 3, this episode brings it up to the best it has been. There’s a great amount of humour, action, dramatic revelations, and a satisfying conclusion (and then a next time on Steven Universe cliffhanger). Spoilers for the episode from beginning to end. Hard not to, there’s so many great moments in this episode that need noting/analysis.

This episode mixes up a great battle with a number of character revelations before and after. There’s not as much in the way of episode summary, so I’ll get to the details. First off, hearing some of Jasper’s motives to stay alive and fight against Rose and the Crystal Gems. She sees the Crystal Gems, as well as the corrupted Gems (who she sees as corrupted from the planet, not Homeworld itself), as failures to Gem-kind, because they don’t fall within the order of the Diamonds. She has fought and struggled against the Earth for the Diamonds, and for one in particular. Like Peridot, she’s got them on a high pedestal, but doesn’t see any beauty in Earth and doesn’t have any companions to help her either. Second, having Peridot and Jasper confront each other, even for a short time, is a good touch. With Jasper and Lapis meeting in “Alone at Sea”, the Crew focused the twisted fusion relationship, while here Jasper sees Peridot as being “stripped down” to nothing, wondering why she would join the Crystal Gems and protect Earth. Finally, Smoky Quartz.

While this arc’s focus on Jasper and Amethyst is important, Steven’s remained a vital part because Amethyst sees his surpassing her in terms of skills and power. She tries to push him again, but with the fight, Steven reminds her that both of them aren’t how they are supposed to be, an overcooked Gem and a hybrid. They have to stick together as the “Worse Gems”, untrue but touching for both in realizing that their problems don’t have to be dealt with alone. Leading to a great moment with the fusion Gem of Amethyst and Steven (meaning Hybrid/Gem fusion is possible), Smoky Quartz, who is a riot. A great bouncy design, a mixture of Steven and Amethyst’s humour, a comedic fighting style, and just a pleasure to watch. The episode blends together serious stakes with this fight against Jasper and darker moments in terms of characterization, but Smoky Quartz brings it together with a lightness and happiness that’s infectious. With Smoky Quartz, the show answers a looming question, provides a great new fusion, and makes this episode a blast to watch for the antics.

Peridot provides a lot of comedy from the sidelines, showing off her “metal powers” and offering some great dialogue in light of her redemption arc and her place as a Crystal Gem. The vocal delivery is great, in fact, there’s not one bad line-read or awkward sounding voice. Jasper’s carries emotion and power, Steven and Amethyst, as well as Smoky, are strong, and Peridot’s is spot-on for humour and sincerity.

This is also some of the best work from Molisee and Villeco. Theirs is the most fluid and shape-changing style, seen in many of their episode works beforehand, and in faces. While I’m still not a fan of their Pearl design, they do a fantastic job with Smoky, Amethyst, and Peridot. Jasper’s overall animation is also good, but the faces, and focus on emotional express and eyes makes up for that. The fight is fluid and works with a lot of really good framing to keep the viewer entertained. aivi & surasshu also come up with great new musical character pieces as well as exciting battle music.

Another note for the episode is addressing fusion. Jasper feels that the Crystal Gems might be a bit of a one-trick pony for it, but Steven and Amethyst fusion is something important. It’s a connection in their relationship that it specific to their experiences and shared feelings, to work together to be the best they can. Meanwhile Jasper’s attempts go awry, leaving her feeling more stranded than ever on the planet.

Still spoilers here. The final moments, with Steven trying to help her, are important. Steven wants to help because he’s got a genuine desire to treat others with kindness, something important and vital not just for his character, but for the show. He’ll fight for what’s right, but he wants to do what he can so that no-one has to suffer. Naïve perhaps, but what makes the show is that he’s stuck to his convictions. Jasper, however, still seeing him as Rose, accuses him of manipulation, that those that are at their lowest will do anything, and that’s what Rose did to get others to follow her. It’s a great little monologue, ending with the shocking revelation. Rose Quartz’s action against Jasper, or more specifically, Jasper and Rose’s Diamond, Pink Diamond. That’s going to be a lot for Steven to take in, specifically with everything else about Rose’s life that people project on him.

One final note, ending this arc with Amethyst bubbling Jasper’s Gem is a great point to finish it on. Since we’ve never seen Amethyst bubble on-screen, it’s a great character moment with the set-up of their similarities and differences. Amethyst has grown a lot since “Crack the Whip”. And after returning back to the barn again, there’s another problem because the Rubies are back. Such is Steven’s life.

I’ve never connected with Amethyst more than in the first half of this episode while she’s being trucked around the barn by Peridot and Lapis. She’s not in a great mode, and they’re not really helping. Her mind is on Jasper and what she can do to beat her. Spoilers for the episode do follow, it’s hard not to address what makes the episodes work given the time-frame.

Usually I like the Zuke/Florido episodes, especially since they both write Peridot well, and episodes like “Too Far” and “Too Short to Ride” have shown that Amethyst and Peridot play off each other well. Episodes like “Barn Mates”, by comparison, felt awkward in trying to play Lapis’ deadpan nature against Peridot’s energy. Lapis seems like a character they’ve had a difficulty in writing.

Following the plotlines from “Steven vs Amethyst” and Amethyst’s focus on Jasper, Steven tries to take her for a break by visiting Lapis and Peridot, who’ve set up the barn with art projects or as they call them, meep-morps. Peridot’s enthusiasm for her creation is fine, and Lapis’ monotone delivery suits her state of just being able to rest, but something about the two doesn’t click. What makes it worse is that the show seems like it really wants to sell you on their friendship, which feels strange rather than natural. Peridot’s yelling to check if Lapis was okay when she was leaving also feels more like Zuke’s personal writing presence rather than Peridot’s character. That being said, Peridot’s voice acting and delivery is still great, so I can’t fault that.

Meanwhile, Amethyst can’t stand watching them fool around. And it’s hard not to sympathize with Amethyst in this situation as she is still brooding about Jasper because, while Steven helped her in “Steven vs Amethyst”, those lingering feelings remain in her. To help, Peridot decides to take Amethyst to the Beta Kindergarten, where Jasper came from. Because compared to Earth’s Prime Kindergarten, Beta, as Peridot puts it, makes Gems poorly. So this episode builds off the Amethyst/Jasper arc well by addressing the world-building side of the issues, while “Steven vs Amethyst” addressed the emotional side. This will be a fairly short review, in part because I’ve already addressed my issues with the first half. Maybe others will be more invested in the Peridot and Lapis situation, but from a character standpoint, it just feels like a strange event that was meant to slowly build Amethyst’s annoyance until we actually get to Beta.

When the episode shifts gear to examining Beta, building more on the final days of the Gem War and the rush job that was Beta, it starts to get interesting. We already know Homeworld makes Gems differently depending on their needs, which is why the Peridot’s of our Peridot’s generation were built with the idea that they would use enhancing mechanical equipment, rather than putting the time into proper growth. With Beta, Peridot expresses the kinds of humour she had in “Too Far”, finding amusement in the poor construction and conditions of Beta. She also gives some handy information as to the state of Homeworld’s activities before the end of the war.

Seriously, spoilers. All the holes from the Gems they see are misshaped, oddly angled, and the Kindergarten itself is shoddy. Peridot’s previous training comes in handy to help Amethyst, until they find one big hole. Jasper’s hole, perfect in size, shape, composition… Peridot’s understandably a little concerned, and it’s a really intense moment to not just see where Jasper came from, but how perfect, by Homeworld Gem standards, she is. It’s a neat character note in the episode setting up further complexities between Jasper and Amethyst as two Quartz soldiers, and why they’re the Gems to have clash in this arc dealing with Jasper’s return. Amethyst woke up after the war, having stayed in her hole too long. She came from the perfect Kindergarten, but is by Homeworld’s measurements “defective”, while Jasper comes from Beta (need more be said?) yet everything about her composition makes her an elite warrior.

The episode concludes shortly after this revelation, because there’s another discovery into a cliffhanger, for the next episode. Though the first half feels off by comparison, the episode pulls together by the end in returning to the elements of world-building, ending on a good, if tense note.

In the few instances of Steven and Co. watching Lonely Blade, I think that I’d like to watch the show too, shoddy dubbing and all. In the episodes that the Crew have inserted moments of Lonely Blade, there is usually either an important moment of the episode foreshadowed or a theme alluded to, as with many intertextual references. Lonely Blade gains a demon blade infused with a (presumable) evil soul and receives infinite power, with glowing sword and eyes to boot. Steven says he shouldn’t take the demon blade, and another character says if it gives him power, he should take it. She ignores or does not understand the consequences to Lonely Blade’s actions by choosing to only focus on power only; with that might, he may destroy others, but also himself in the process. Will he be pushed too far? Episode spoilers for the sake of analysis.

For the 100-episode special, the crew have paired two boarding teams to create a special 22-minute episode. Steven Universe’s usual 11-minute time works well for its individual episodic stories, where episodes will usually focus on one event without excess flab, which also lets the writers create larger sub-plots and arcs with specific focus points in those episodes. Some episodes are doubled up, but even those episodes, like the Season 1 finale, remain separated by a main idea or event. This episode is longer, not separated, and explores one core moral/philosophical quandary with the appearance of Bismuth, the Gem hidden away in Lion’s mane.

Bismuth’s gem has been a source of speculation since its first appearance in “Lion 3: Straight to Video”, in the first season. Obviously, Sugar’s plans run deep, with Peridot as she appears now as part of the Crystal Gems sketched out sometime in 2014, if I am remembering correctly. It was easy to see that is was a bismuth gem, but the question of why she was in Lion’s mane remained unanswered until this episode.

When Steven accidentally pops her bubble in Lion’s mane, he brings her out, which surprises Garnet and Pearl, who know Bismuth as a Crystal Gem of the Rebellion. Bismuth, voiced by Uzo Aduba of Orange is the New Black fame, comes out of the mane with energy, gusto, and battle-born humour—“We’re building bases out of wood?” she asks while ripping a floorboard off. The crew establish her history with Garnet and Pearl, as well as many other Crystal Gems gone since the Rebellion’s end, and together they reminisce about their war stories as Crystal Gems against the Homeworld “Elite” and “Upper Crusts”. After Garnet and Pearl show her the state of their battlefields, she takes them all to her forge, to show her skills in making weapons. Homeworld built her to make their structures, but Rose made her follow her own path, leading to her outfitting the Crystal Gems with material weapons and armour. After spending some time exercising as the Crystal Gems used to, and as Steven does now, the episode moves to focus on Bismuth talking with Steven about Rose, his differences to her, the Rebellion, and her new work, all leading up to the breaking point.

This episode reminded me of Avatar: The Last Airbender’s skill at tackling difficult subjects, where the show would slow its plot for the sake of exploring viewpoints, ideas, and moral codes. In this area, “Bismuth” succeeds, taking a serious tone to explore the Gem Rebellion and different ideas of how the Rebellion should fight against Homeworld. The real big spoilers start here. Bismuth and Steven interact solo from about the 13-minute mark. She shows him to the underbelly of the forge, where the episode shifts into a battle of wills, of individuals whose ideas clash because of their moral principles. Bismuth hates the caste system of the Gems and the Diamonds lording over, fighting in the Rebellion to bring that system down. She respects Rose as a Quartz solider who stepped out of that but resents her because she did not want to shatter her enemies. The show does a good job of having those values embodied in her shield and her sword, which was designed by Bismuth to cut through the projected bodies, not break Gems. Bismuth’s new weapon, the Breaking Point, is designed to shatter a Gem entirely, while Rose would poof and bubble with her sword. Bismuth placed Rose on a pedestal, as someone who liberated Gems from Homeworld’s oppressive caste-based system, but she felt betrayed when Rose would treat her enemies with kindness. She wanted to use the Breaking Point, to win one for the Crystal Gems, justifying the killing for “their cause”. And Rose said no; what happened after is unknown.

This second half of the episode is effective because it takes a character type we haven’t see much of—the battle hardened solider who hates Homeworld—against Steven who has inherited Rose’s position and carries much of her kindness. He wants to protect his friends and save everyone, and his pacifistic nature is something he strives to keep in fighting but not killing, similar again to Aang from Avatar: The Last Airbender. Both will fight and protect, but they value life too much to kill senselessly. His kindness and good-nature has carried the show, and he’ll fight for his friends, but his goal is to help and the show continues to develop his values, not exactly naïve but still optimistic.

Bismuth is not like Garnet, who fights for her freedom to stay as herself, or Pearl, who fights because of her adoration for Rose. Bismuth is not wrong to hate Homeworld but she and Steven clash on how the Crystal Gems should operate and fight against Homeworld. In a different series, we might have seen someone like Bismuth rise and destroy that system, only to have to deal with what comes next. The dialogue of the scene works well by not painting either as right or wrong. They both have valid points for their own ways, so this episode is not showing Steven vs an evil Gem, but Steven clashing with someone who believes that the Crystal Gems need to change their non-lethal ways. This serious, smart dialogue, paired with a tense fight, works well in terms of the writing, but also the art direction. The fight is effective as well not because it is full of fast-action, but because the stakes are high as both have something to prove. The steaming floor, Bismuth’s expressions, and the close framing create a fight that’s not like the monstrous clash of the Season’s opening, but something personal and for Steven, scary.

Having two pairs of boarding artist, Liu, Howard, Abrams, and Mitroff, means that there’s a slightly wider variety of styles, but they blend together well. However, there’s a far more focused direction in the conversation of the Breaking Point and the fight afterwards, with detailed close-ups, great angles and expressions, and good colour use of the whole scene. It feels tightly boarded and is clearly the focus point of the episode, and serves to make the conversation not just interesting on the writing level, but also visually catching. aivi & surasshu also put a lot of work into this episode, with Bismuth’s theme, as well as the music for the second half of the episode. The music is darker, moody, and fits with the tone of the battle.

Definitely a contender for one of the best episodes of Season 3, “Bismuth” boasts strong writing throughout for the episode’s story and for the characters, fitting music, and is visually great as well. It paces itself well by introducing Bismuth, taking its time to set up her relationships and show interactions with the Gems, before moving onto the confrontation between Steven and Bismuth. She presents Steven with a challenging situation, someone who is essentially on his side but has a radically different methodology that he must confront. What we get with “Bismuth” is the show working through the difficulties of the battles of the Crystal Gems, as well Steven’s relationship with Rose and her legacy. What else did she hide from the others, why did she, and who really was Rose? Will Steven have to pay for her actions?

“Why did you say that name?!” Directly following “Crack the Whip”, this episode delves right into Amethyst’s feelings of doubt and inadequacy in her form and power. So after Steven tries to boost her morale, Amethyst and Steven decide to have a contest for the title of “the worst” in by showing who’s the worst fighter.” Spoilers because more analysis.

“Steven vs Amethyst” wastes no time in getting the last episode’s events covered before moving onto Steven’s training with Pearl, in preparation for Jasper’s eventual return. Seeing that Amethyst is acting more dour than usual, Steven brings her along to participate in Pearl’s Positive Reinforcement training, which is a nice touch for Pearl character’s in focusing on the good in life and helping the self rather than erasing it, a la “Sworn to the Sword”. Amethyst joins in but in seeing that Steven is surpassing her, those feelings of doubt in herself grow, so much so that she calls herself “the worst Crystal Gem”.

This episode builds on a serious character note for Amethyst in her feelings that she’s not a valuable member of the team, something previously expressed in “Reformed”, further paired with her character’s issues of being a runt/defective, expressed with Jasper and with “Too Far”. What makes this episode work so well is by addressing those deeper issues without an overtly sombre tone. Amethyst, as she states in the episode, gets mad at herself for her shortcomings, which feeds into those negative emotions, creating a spiral that many people can relate their own experiences in life to her situation. Rose saw Gems of all kinds deserving love and care, so Amethyst’s flaws, furthered by Homeworld restrictions, are what Rose sought to smooth. In this episode, Steven picks up on that, working to make her feel better, even if he can’t change those things himself. So they fight. Playfully, of course.

Unlike the rather serious fight between Amethyst and Pearl in “On the Run”, this fight remains rather up beat with Steven and Amethyst focused on mocking their own abilities and praising the other. This gives the episode an exciting and well-animated fight scene without the strain of two characters attacking each other with negative intent. The serious situation behind their negative feelings remains, but is treated with enough lightness in tone that it remains balanced. Perhaps this has something to do with Kat Morris, the supervising director for half of Season 3, with Johnston as the other director for more serious episodes. The fight has weight and meaning, but it is not so sombre in tone that it drags the episode or characterization down.

Progression of the episode works well too, with a quick intro, the first training session with Pearl, an interlude, culminating to Steven and Amethyst’s rather lighthearted brawl. The episode flows nicely from point to point, and we each part works by itself but combines well. After the first training, Steven notices Amethyst’s frustrations, and this is an important bit not just for his character, but for the show, which often deals with the emotional states and situations. Rather than just moving from A to B, Steven Universe works in exploring empathy and feelings of its characters, of the world they live in and the challenges they face. This episode encapsulates that well with Steven’s attempt to improve how Amethyst is feeling, which he ultimately does even if he doesn’t have an answer to all her problems. In fact, that is another good point, in the episode having Amethyst acknowledge that she has her limits, but at the same time realizing that Steven works through similar problems in his identity as both himself and what remains of Rose Quartz. It’s a short but strong moment that doesn’t give a straightforward feel-good answer, instead letting the audience think about where they can go from there. Before Pearl berates the two anyway.

Florido and Zuke have a good mixture of styles that it’s difficult to tell when it is one or the other outside of some very specific frames or character designs. Pearl’s mid-shot explanation with Holo-Pearl is definitely a Zuke design, while her appearance in the beginning in probably Florido. Nonetheless, both artists create a great-looking fight and a fantastic look for Amethyst with her hair drawn back in a ponytail. While it probably won’t be used in the future, it’s a great look for Amethyst. The episode ends without a complete solution to Steven or Amethyst’s problems, but it lets us experience the search in a fun way while still retaining the emotional importance of their feelings.

Following on the heels of “Gem Hunt”, this episode puts Amethyst in charge of watching over Steven and Connie, free from a training day with Pearl, who is out searching for Jasper with Garnet. Nevertheless, Steven and Connie still want to train, so it’s up to Amethyst to “Crack the Whip”—an ironic title given the kinds of training she teaches. Spoilers for the entire episode, because this episode review is more analysis, and the next episode will be as well.

With Pearl and Garnet out on a mission, Amethyst watches over Steven and Connie’s training, although she’s clearly uninterested with the hard work. When they ask why, she says that fretting the small stuff can make you be too “in your own head” and that in battle you have to adapt and go with the flow. So rather than train, they take the day off, or rather the first half of the episode, to have fun lounging around Beach City. The second half of the episode deals with what happens when Jasper appears unexpectedly with those two Gem creatures and it’s up to Steven, Connie, Amethyst, and Lion to fight back.

It’s been a while since we’ve had a character-focused episode for Amethyst, with “Too Far”, “Reformed”, and “Maximum Capacity” being the most recent. Those are all episodes I’ve enjoyed for the characterization, in particular “Maximum Capacity” for its willingness to embrace a dark subject, even if the ending is slightly abrupt. Behind Pearl and Peridot, Amethyst has had the most character development, so this episode and the following, “Steven vs Amethyst” help in further exploring her facets. Previous episodes have primarily dealt with her insecurities in: her role as a Crystal Gem, because she only joined after the war, her “deformity” in her make and size, and her place in the team. This episode hones in on those parts of her character, while also exploring her devil-may-care attitude that makes her appear more childish and less powerful.

I’m reminded of the first episode when Steven asks each Gem how to form their weapons, with Amethyst replying that that “it just happens… didn’t have to try at all”, while Pearl had expressed a need for hard work and training. This is better explained with the revelation of Pearl as a servant-class Gem, who would have had to extensively train to summon a weapon, while Amethyst, as a Quartz, is a soldier and so it’s second nature. That information gives us a good understanding of Amethyst as a character and in the goal of her style of training, to learn how to go with the flow, adapt, stay loose, and trust your gut. She’s all about relaxation and enjoying herself, but it’s not purely hedonistic, because it’s about not overwhelming yourself in the face of adversity.

The first half of the episode deals with the set-up of the previous episode and the relaxation training, and it keeps up a good pace as they fool around The Big Donut, the amusement park, and finally the beach. The relaxation training is mostly montage leading into the second half’s confrontation, but it’s pleasant to watch them having fun and just taking a break. Amethyst’s desire for easy-going relaxation does hold truth to it, in that over-worry and over-working can cause worse results. While Amethyst’s motive for relaxing might not be so philosophical, there are good intentions behind her carefree style.

The second half the episode is a long fight scene, and there’s a good attention to character detail, both in the physical fights and in the resurfacing of Amethyst’s anxieties. Jasper represents everything Amethyst isn’t: she’s a big, powerful Gem warrior without any deformities in terms of the Gem culture. Amethyst struggles in her fight against the Gem beast, and against Jasper she seems powerless. Despite having the confidence from Rose that she was fine, Amethyst’s fears rush back and she’s poofed, leaving Steven and Connie to battle Jasper. What’s nice is that we also get a bit more of Jasper’s own issues explored with another case of fusion, with a better appearance for Stevonnie than their previous one. Fusion beast Jasper again, which must be getting on her nerves at this point. And all’s well that ends well… or is it? Amethyst was powerless against Jasper and with Steven and Connie saving her, those fears are even more pronounced, waiting to be explored next episode.

 Molisee and Villeco are great for their expressive forms and faces and it’s good that they are paired together due to similar styles with character eyes and faces. They tend to go big with expressions and emotions, a gamble that usually pays off, especially with Amethyst outgoing nature. While the finale fight isn’t as fluid as some of the others, it’s still nice, and Amethyst’s reforming and the shot of Stevonnie from behind are fantastic. As for the writing, there’s a good mix of serious lines with comic inserts both in the calm and serious scenes.

Season 3 has been dealing with an increase in serialization in terms of the overarching narrative, dealing with Jasper, with Steven’s newfound powers, those pesky Rubies, and in developing the Crystal Gems more. In particular, these last few episodes have been running more connective threads, although the show’s still pretty hybrid in terms of execution. While this episode does connect highly with “Steven vs Amethyst”, it’s still separated enough to judge on its own merits, by judging what each episode explores on its own. One last note, I’m digging Amethyst’s new outfit colours.

“Connie’s first mission!” The team of “Sworn to the Sword”, Steven, Connie, and Pearl are together again, this time engaging on Connie’s first Gem mission. While this episode doesn’t reach those same heights of perhaps the best episode of Season 2, it’s a light-hearted and fun episode that explores an important event (Steven and Connie’s first mission) with some set-up for future episodes. Spoilers.

The episode opens without any meandering, letting the audience know this is her first mission, that there is a corrupted Gem in the Great North, and that Steven is required to document the mission with photographs. While the idea of grappling with a corrupted Gem isn’t brand-new, having Steven and Connie going after it means that we can see if their training with Pearl will pay off. Of course, Pearl will tag along, providing teaching somewhere between mentor and mother. When they find out that there are two Gems, Pearl follows one while Steven and Connie follow the other, leading to some great Pearl lines as she instructs them over radio. Pearl’s lines, balancing between caring and neurotic, show that any character can be an enjoyable presence with the right words. Howard and Liu have a great sense of writing for Pearl’s dialogue that keeps it light but in-character.

But it’s not just Pearl’s character that has good moments here. A personal highlight of the show is Steven and Connie’s friendship, which is explored a bit more here. It’s a great relationship that has grown naturally; they play off each other well and, as sword and shield, helping where the other is lacks. Connie has definitely picked up some Pearl-isms, in her full preparation and dedication to survival skills on this mission, but she’s also prepared to have a bit of fun as well. What is important, however, is that Steven acts as a counter-balance to her at-times too logical focus. In facing off against a corrupted Gem, who may be shifting between forms, he reminds her that there is still that essence within Gems, and the end goal is to help if possible.

I suppose there might be come complaints that this episode less than action packed, but in re-watching, I was surprised at the simple fun of the episode. It’s the conversations and character interactions that propel the episode towards the dramatic conclusion. And in that final confrontation and conclusion, that we get a two-fold payoff. First is in Connie’s reaction; despite her preparation for survival, she freezes up in the confrontation with the huge Gem beast. Unlike the zombie-like shard monsters, these corrupted Gems have animalistic tendencies and are a much bigger threat. Connie’s grown stronger, but that anxiety present in her early appearances is still part of her and it’s good to see that it’s a slower change.

Second, are the final moments of the episode that build tension for future events, with the return of Jasper, who captures the two corrupted Gems. Ending her appearance after she addresses Steven—still as Rose—keeps the suspense up, as she takes away those Gems for some unknown future plan. Jasper’s advances for fusion have been spurned, so she seems to have a new plan involving corrupted Gems.

On boarding, Howard proves to be an excellent match for Liu’s style once again. Their first episode was okay, but here they show off more action and more Pearl (a difficult character depending on the boarders). While I might have been worried about the loss of Johnston from the boarding time, I can trust that any episode boarded by Howard and Liu will match for quality. While it doesn’t have the same impact as “Sworn to the Sword”, it stands alone well as a strong episode that balances out a fun adventure with comedic moments and good character beats.

‘Greg the Babysitter’ is the third ‘young Greg’ episode, a trilogy that has focused on Greg’s young adult years, his early interactions with the Gems, and usually ends with some moral lesson. Johnston and Liu’s ‘Story for Steven’ is still my favourite of the bunch due to its magical story nature, although ‘We Need to Talk’ does have strength in its emphasis for communication. This episode focuses on the nature of growing up, that human trait to change with time, while also adding to the continuity of Greg’s past, some Beach City dwellers, and Rose’s views. Spoilers.

Once again, Greg has a story, this time about how he came to run the carwash, and so Steven wants to hear it (in the presentation of a song). That’s the opening synopsis, but strangely, how Greg came to own the carwash is almost entirely ignored for the more fun story of Greg taking care of baby Sour Cream. We see him hanging around the Gems, enamored with Rose, but he doesn’t have much to his name. Greg’s past isn’t the show-y life he might have dreamed of, as he bums around the beach and in Vidalia’s house, figuring that he could use some change. To earn some of that change, he agrees to babysit Sour Cream. Without revealing too much of the final act, that’s the episode in a nutshell, with the carwash only as an afterthought. But Greg babysitting does lead to getting to know Rose more, which the show continues to do, albeit slowly. The return to the past, including a previously used design for Vidalia, has nice sense of continuity with the show’s visuals and style. Seeing Rose highlights just how much Steven really looks like her, and how they share a love for others.

Rose, upon seeing the baby, expresses her delight in how humans change and grow. Her character, still somewhat of a mystery even with her sporadic appearances, is one that we can see in Steven’s, a person of seemingly unlimited caring and joy in the world around them. With what is known of the Gem hierarchy and the formation of their society—everything for a purpose, built the way it should be—it makes perfect sense why she would declare her love for beings that change and have a choice in what they are. As we see later in the episode, she has more to learn about humans, but her character coming into focus is a definite plus.

But the episode’s pace is fairly quick, opening slowly with Greg’s past and Rose’s observations, but once Sour Cream goes missing, because Rose was ‘watching’ him, it speeds up and ends rather suddenly with the mention of the carwash. It’s not a big concern, as many episodes have to keep a faster pace with the 11-minute time.

Unlike ‘Alone at Sea’, there’s less of a balance in tone as it moves from light to slightly heavier, and like ‘Alone at Sea’, there’s a heavy-handedness in the message of needing to grow up. Overall, this is an enjoyable episode, if just for getting to see young Greg, baby Sour Cream and young mother Vidalia, and Rose but ultimately it is the weakest of the young Greg episodes so far. That being said, the continue trend in the third season of expanding powers, growth, and maturity is thematically continued and seems to be building up even more.

What struck me about this episode is the foreboding atmosphere from the second half onward. Maybe it’s just the cultural notes left with us from Jaws, or the ominous grey clouds as the episode progresses. While ‘Alone at Sea’ starts as a fun excursion on a rented boat, it turns quickly to the examination of Lapis’ emotional state, as Steven tries not to stir up troubled waters. Spoilers.

The episode premise involves Steven inviting Lapis on a boat trip, to help her become comfortable with the ocean again. There are humorous lines and events in the first half as Steven tells boat puns and goes fishing, trying to make Lapis smile. It’s when they try to fish that there’s a turning point towards a more ominous atmosphere. As much as Lapis tries to have fun, being back on the ocean causes her to reflect on her powers and her time as Malachite. The episode builds up tension from there, until it breaks with appearance of Jasper. The confrontation between these two, preceded by a large amount of tension, is dramatic and handles some very mature ideas in regards to relationships and fusion.

The tension before the confrontation is half of that makes the episode so effective, while the other half is the character exploration. Rather than just a sudden appearance from Jasper, we slowly see Lapis’ discomfort in trying to have fun but worrying about messing up. She’s still a troubled character dealing with a lot of problems. One issue I do have is that her character tends to switch between apathetic and expressive depending on the episode and situation. Granted, she displays this apathy usually while interacting with other Gems, and becomes expressive just around Steven, but it feels like a flip-flop between personalities. ‘Hit the Diamond’ balanced it best, as she was apathetic and sardonic most of the time, but had little expressive moments. Her character has a lot of room to grow, and this episode displays that well, but her character should balance that apathy with expressiveness.

Jasper is also getting more and more development, as she confronts Lapis and Steven after climbing aboard. I was genuinely surprised when she asked Lapis to fuse with her, claiming that it would be different, asking for fusion because of Lapis’ power. Before Jasper’s arrival, Lapis confessed to Steven that she misses Jasper and as we later learn the power of control. Likewise, Jasper wants fusion to become bigger and stronger, to submit to Lapis’ power. Their fusion, a kind of sado-masochist relationship, where Jasper craves the control from Lapis, is understandable unhealthy and the show address it at such. That message is blunt and lacks the subtlety of Steven Universe’s usual moral lessons, but it is important to address that Malachite was unhealthy for both members and really shouldn’t be something either one wants.

I’ve noticed that I haven’t mentioned Steven much in this review, partially because his role is the episode is not as large as others. Here, he continues to display his usual attitudes, his sweetness to try to help Lapis. However, he doesn’t trust Jasper, and with good reason. He can see that Lapis is punishing herself because of their fusion and understands that what they had was wrong. While he tries to be friends with pretty much everyone, Jasper is a different story because of his previous interactions with her and because of the effects she’s had on Lapis. But with Jasper punched away, we’ll have to wait for future interactions and what Steven will do. Steven’s child-like nature is still a strong point for his character but we’ll have to see if he will change his simple world-view, or stand fast to change the world instead. He’s still got a lot of potential, and I can’t wait to see what the outcome of his ultimately pacifist nature will be.

Having turned this review into more analysis of the last few minutes of the episode, let me wrap it up with a summary. There are some great visual moments, especially with the faces and hands in Jasper’s appearance, and the setting of the boat and water help build on the previously mentioned tension. While blunt, there is an important message about the nature of a bad relationship and the lasting effects. The episode does end a bit abruptly, fitting for its plot, but Jasper will more than likely be back, maybe as an actual antagonist rather than a minor inconvenience (i.e. what Peridot was).