#tv coverage

ABC’s Abbott Elementary is undoubtedly the best new comedy of the year, and it’s entirely because of its wholesome, thoughtful approach to teaching. Despite the fact that the majority of us viewing are no longer in elementary school, there’s something special for us to take away every week. If nothing else, then there’s an opportunity to continue appreciating teachers.

This week, however, Abbott Elementary’s “Gifted Program” did something different, prompting me to get a little personal. It touched on my frustration and anger from my own experiences through Tyler James Williams’ Gregory Eddie. When a new student from another school’s gifted program comes to Abbott, the teachers look into incorporating more lessons in their curriculums to involve other gifted kids.

On paper, it sounds like a solid plan—reward the kids who showcase their talents to step ahead. We saw another form of it last week with Janine trying to find ways to get through a misbehaving student like Courtney. It’s a great plan, and a steady approach, but what about the kids who aren’t traditionally gifted? What about the kids who suffer from so much test anxiety they could never show their true potential in a classroom setting? Abbott Elementary’s “Gifted Program” understands exactly what this means by the end of the episode, and there’s something incredibly special about this.

Hello, Chicago P.D., long time no see. I didn’t plan on ever returning to this sphere, though we all know how much I used to (and still) care about Jay Halstead. I don’t even know Hailey Upton that well, but damn do I care about her too. And I care about this relationship. And maybe, just maybe I’ll return to this place if Hank Voight leaves the show for good.

After watching Chicago P.D. “In the Dark” take Hailey Upton (Tracy Spiridakos) through a horrific journey acutely portraying the claws of deep-seated trauma, I couldn’t keep quiet. And watching Jay Halstead finally call out and punch Voight for everything he’s done in since the show’s beginning has has been one of the most satisfying moments on television this year.

Again, I don’t know much about Hailey. I stopped watching Chicago P.D. at the end of season four when it became painfully clear the series valued plot more than its characters. But I’m around in the social spheres and thus, everything I’ve seen with Hailey during the Chicago Fire crossovers made it clear she’s someone to adore. She’s someone who cares and she’s someone who loves fiercely.

Well, dear readers—we’re back to Grosvenor Square, it’s now 1814, and Anthony Bridgerton is looking for a wife. Quite literally, too, in the same way, most normal people go off looking for employees, conducting interviews, etcetera—he’s taking the word “duty” and running with it, two dramatic steps at a time.

Bridgerton‘s “Capital R Rake” kicks off Season 2 with more interruptions than steady moments, but it’s joyous, no less, as Whistledown returns from her hiatus with sharpened knives. She, a grieving Penelope Featherington, coordinates her latest column to release right as Eloise Bridgerton is about to be presented to Queen Charlotte, giving Claudia Jessie some exquisite facial expressions to don as she realizes what’s happening.

The opening montage sets up some rather fascinating viewpoints on work, specifically through how Whistledown works and later, how much Anthony overworks himself. The sleeplessness is a crucial detail to showcase precisely what we’ll see as the series moves forward to indicate how little he does for himself, even though no one necessarily expects him to do as much as he does either. But this is what the season essentially exhibits, thematically pointing out that there are characters within this series who have brought it upon themselves, either by choice or no other option, to be everyone’s protector.

So much of the reason why James Holden and Naomi Nagata have always been one of my favorite on-screen couples is because of how intrinsically they understand each other’s boundaries. It’s especially the case for how much they’ve grown throughout the years, even when they were in different places, physically away from each other and with minimal contact. Thus, The Expanse’s “Force Projection” and their conversation about Naomi’s trauma does ample than merely showcase the detail that these two will always be around for each other. It clarifies how perfectly fit they are to be a solid couple.

The series’ decision not to shy away from Naomi’s heartaches and trauma by brushing it all off is everything to me as a woman who’s eager to watch realistic depictions of strong women on my screen. And Naomi Nagata is, in every way, the kind of strong woman who’s an inspiration to us all. Her journey ultimately tells us that strong women fall—strong women aren’t invincible. They’re human. At this moment, Naomi’s strength comes from the fact that she’s actively talking about the fact that she froze. It authenticates that vulnerability is a strength by revealing that amidst her heartaches and the trauma, she is dealing with it in a healthy way. She isn’t shying away from the truth, but rather, she is admitting to it and figuring out ways to overcome it.

ABC’s Abbott Elementary continues to be a beacon of light on Tuesday nights with the kind of reassurance many of us could all use, even as adults. In “Art Teacher,” Janine recruits an old college friend to fill the now-vacant role, but when her teachings don’t match Melissa’s standards, all hell almost breaks loose in the hallway.

Lisa Ann Walter is superlative at playing the kind of conundrum Melissa is. She has a specific way of teaching and understanding her students, but she also has a particular form of treating Janine. They aren’t friends yet per se; however, after Abbott Elementary’s “Art Teacher,” there’s a chance much of their dynamic could shift. At the very least, we know now that Janine belongs in Abbott. She’s safe here.

Well, everyone, looks like Lucy Chen and Tim Bradford finally went on a date…sort of. I know, I know, the double date wasn’t exactly what you were hoping for, dear Chenford shippers. Although the results of the dinner date weren’t desirable, there were some great moments between our favorite LAPD duo. Now that we’ve had some time to reflect on the episode, let’s take a closer look, shall we?

Personally, one of my favorite moments in The Rookie “The Knock” is how quick Bradford is to invite Chen to dinner at Osia after Ashley’s friend pulls out. Tim suggesting Lucy indicates two important things: first, he was listening to her all day when she was “pining” about Osia and realizing it was important to her, and second, Tim is super comfortable with having Lucy around. Tim would prefer to have Lucy around so much so that he also immediately secures her a date by asking Sanford to join just to ensure Lucy would be there.

The Morning Show’s “A Private Person” is about many things, but at its core, it’s about stolen agency. It’s the showcase of what happens when someone is robbed of their own choice, and it’s something that more often than not happens to women and/or people in marginalized communities.

There was always something about Cory Ellison I couldn’t fully trust—a reputation no less, but I at least hoped that where Bradley Jackson was concerned, he’d do the bare minimum and protect her as he said he would.

In choosing to stand back, in choosing to reveal what he knew, Cory Ellison robbed both Bradley Jackson and Laura Peterson of their agency. It’s one thing to out someone publicly, and it’s another to do it to someone you supposedly care for. The thing with Bradley Jackson is—she’s still got a lot to overcome. She comes from the kind of monstrosity filled upbringing that goes against so much of what she believes in, but it also leaves her powerless in the face of adversity.

At this point, I’ll have to give up on the fact that a show like Chicago P.D. will ever properly allow Hank Voight to pay for his crimes, and if this is something the show proves me wrong on—I’ll happily admit to being wrong. “Fractures” makes it clear that healing needs to start at the root, but Chicago P.D. “No Way Out” only harps on the fact that involving more people in lies is the tangible solution. That’s not it. And while Jay Halstead’s decision not to give up Voight will always be something that stings, his decision to ask Hailey to marry him right away is something that surprisingly works in this episode.

It’s almost fitting that the two would elope because the show is mostly lacking in its familial fortitude that it’s hard to expect a full-blown wedding. (But it’s also, not something that I’d ever rule out for the future.) If one thing is clear, anything is possible with these two. And though I was a bit taken aback by the lighting and the framework of the scenes, at the very least, Chicago P.D. “No Way Out” is making it clear that these two are in it for the long haul.