SubCultures takes a look at cosplay by interviewing the trio of Ginny McQueen, Shea Standefer, and Jessie Pridemore (AKA RiffleButt Cosplay) about their experiences. Definitely worth a look. (Let me also give a shout out the equally talented Scruffy Rebel for sharing the link.)

SubCultures – Cosplay

We now have our first extended look at Batman: Arkham Origins, a prequel to the other Arkham games which features a younger Batman fighting off a series of assassins (including Deathstroke and an exceptionally bland version of Deadshot) hired by Black Mask to kill the Dark Knight Detective on Christmas Eve. Batman: Arkham Origins is scheduled for an October 25th release.

It’s been 26-and-a-half years since the name The Valeyard has been mentioned in an episode of Doctor Who. Not only does the final episode of the 50th Anniversary season mention him by name, but it strongly foreshadows his imminent return. Of course that’s far from all “The Name of The Doctor” offers. We finally learn the secret of Clara (Jenna-Louise Coleman), see The Doctor‘s (Matt Smith) final battle with The Great Intelligence (Richard E. Grant), and take a trip to the one place no Time Lord should ever go – his grave. The second-half of Series Seven has been high on concept, if a little shaky at times in execution, but the season finale sets up some huge stories for the show’s 50th Anniversary Special and beyond.

After a brief introduction of Clara falling through time and being edited into sequences with all the previous Doctors, the show opens with a warning to Madame Vastra (Neve McIntosh) from a condemned man forcing the Silurian detective to create a meeting through dream time with herself, Jenny Flint (Catrin Stewart), Strax (Dan Starkey), and River Song (Alex Kingston). The purpose of the meeting is to warn The Doctor that his greatest secret, the one prophesied that must never be answered, will soon be learned. The immediate effect, however, is for all of them except Clara to be kidnapped by the Whisper Men soldiers of The Great Intelligence to lure The Doctor to the one planet he avoids at all cost – Trenzalore.

Nearly destroying the TARDIS in an attempt to cross his own timeline and arrive at his own tomb, The Doctor and Clara are able to save their friends but the Time Lord can’t stop the villain from entering the tomb (the enlarged dead TARDIS of the future) and thrusting himself into The Doctor’s timeline to rewrite the Time Lord’s history. Knowing that anyone who enters has no chance of coming back, and will be scattered through time like confetti, Clara does what she must and jumps into the stream as versions of herself as shown over time saving The Doctor from The Great Intelligence.

The show ends with a highly questionable paradox as The Doctor, his timeline restored, enters his own timestream and returns with Clara (who should have been destroyed in the same manner as The Great Intelligence). Before the exit, however, Clara sees a version of The Doctor in the shadows, a future version whose dark purposes will force him to cast off the name of The Doctor for a different moniker. As the episode, and season come to a close, writer Steven Moffat re-introduces Who fans to the villain of The Trial of the Time Lord and foreshadows The Valeyard’s return.

Although I think Moffat goes a little overboard (as did Russell T. Davies) in over-emphasizing the importance of a single companion, the scenes of Clara with the different Doctors, although far from seamless, are an awful lot of fun. With every regeneration of the new series I’ve been waiting anxiously to see if the show would tackle The Valeyard, a dark version of The Doctor far more similar to The Master than the fun-loving space adventurer. A week after asking what the Cybermen would do with The Doctor’s knowledge the show asks an even better question, what would a version of the Time Lord himself do unrestrained by conscience or regret? The casting of Hurt suggests we may get an answer.

Although the title of the episode teases the Name of The Doctor being important, Moffat teases us once again by having the location of the grave being discovered, not the man’s darkest secret. We’re (thankfully) cheated out of hearing the name which is used by River Song (the first time we see a version of the character after the events of “The Forests of the Dead”) to open The Doctor’s tomb. The real secret, far more than a name, or even the location of his death, proves be the version of the character even his own timeline was hiding from Clara.

Aside from bringing back The Valeyard and explaining the impossible girl, the episode also changes things by permanently marking The Doctor’s death as not just a possibility but an unavoidable eventuality. It’s an important choice that brings back the idea of finite and limited lifespan for the character despite the show drastically increasing the Time Lord’s number of regenerations a few years back. Aside from one big logic issue (how The Doctor and Clara escape back to the land of the living), the episode is a great success in wrapping up the threads of the season while promising big things in those still to come. Bring on The Valeyard.

Kotobukiya’s new 12in. DC Comics Deathstroke New 52 ARTFX Statue comes complete with a removable faceplate (and the character’s ridiculously large sword), and will be available for purchase beginning in November.

Sounding an awful lot like a watered-down version of something Isaac Asimov wrote nearly 60 years ago, FOX’s new Fall sci-fi series from producer J.J. Abrams stars Karl Urban as police officer in the future with a distrust of robots who is forced to work with a human-looking android as his partner. Mackenzie Crook, Lili Taylor, Michael Ealy, Michael Irby, and Minka Kelly also star. Almost Human is scheduled to premiere this Fall on FOX.

The second issue of Mark Waid’s Green Hornet focuses on the vigilante continuing to try and uncover the true identity of “The Voice,” a dangerous new player intent on sabotage and damaging the United States war efforts at home by targeting docks, steel plants, and rail lines involved in the making and transporting of war material to be used overseas.

While the Green Hornet targets The Voice for moving in on his criminal empire by reminding local thugs that he owns this city, even going so far as to stage a scene of burning a cop alive before their eyes, Brit Reid uses the resources as a newspaper editor to talk with close friends and political allies to try and figure out where The Voice’s true motivations lie.

Waid’s take on the character continues to focus on the theatrics of the Hornet going to further and further extremes while also showcasing the power of the press and the threat from saboteurs in a world at war. Worth a look.

[Dynamite Entertainment, $3.99]

We shared with you the video for “I Follow You” from Melody’s Echo Chamber late last year. Now she’s back with a new video for “Some Time Alone, Alone” also from the Parisian psych-pop singer’s 2012 self-titled album.

Melody’s Echo Chamber – Some Time Alone, Alone (Official Music Video)

After finally allowing the pair to meet in the last issue, Supergirl #20 introduces Power Girl to Supergirl‘s little piece of Krypton on Earth – her hidden underwater Kryptonian Fortress of Solitude known as Sanctuary. There isn’t much time for small talk however when the sentience of Sanctuary throws a shit-fit at seeing two versions of Kara and tries its best to kill the one it believes is a clone.

For an issue about an out of control computer intelligence trying to kill two young women, Supergirl #20 is a hell of a lot of fun. We get a fun moment with Supergirl calling Power Girl on her choice of a new costume as well as the growing frustration of each woman when one and then the other is targeted for extinction.

Writer Michael Allen Johnson does a great job in showcasing both similarities and differences between the Karas of different Earths while providing a thrilling and amusing issue full of stark humor and life and death stakes that costs Supergirl something precious but introduces someone even more valuable into her life. Worth a look.

[DC, $2.99]

When their favorite DJ (Brent Chapman) is murdered on the air, and the station is in jeopardy of closing down without their #1 money maker, Shawn (James Roday) and Gus (Dulé Hill) go undercover as “Santa Barbara’s newest and most potent morning show” and “The Playa Gus” to find the killer. Suspects include the DJ’s producer (Haig Sutherland) and former partner (Dale Wolfe), the station manager (Garcelle Beauvais), who has a little thing for Gus, and another radio personality (Dale Wilson), all of whom had motives for wanting the man dead.

After replacing Shawn as the main host of their show an attempt is made on Gus’ life which leads to Lassie (Timothy Omundson) and Juliet (Maggie Lawson) questioning a fan (Jessica Makinson) obsessed with both the timeslot’s old and new hosts. Although she doesn’t turn out to be their killer, the woman’s stalker (Ken Kirzinger), who doesn’t like all the attention she showers on the radio hosts, proves to be a much more solid suspect – especially when he attacks Juliet after breaking into the young woman’s home.

The show uses the on-air conversations bring up Gus’ mixed feelings once he learns that Rachael (Parminder Nagra) needs to return to London due to a Visa issue and strongly foreshadows the end of their relationship. I liked Beauvais here and wouldn’t mind seeing her return as Gus’ rebound fling, but I doubt there are long term possibilities for the pair. I also enjoyed Shawn’s reaction to Juliet being hit on the head, wrongly suspecting his girlfriend might have brain damage. The joke goes on a little too long, but it’s sweet (in an abusrd, creepy kind of way).

The week’s mystery has a few too many late twists and turns, all occurring within a 10-minute period which produces a rushed, and somewhat unsatisfying ending, and the on-air versions of both Shawn and Gus’ radio shows aren’t as goofy as I expected them to be. In the end, “Dead Air” turns out to be a solid episode, but certainly not one of the season’s best.

Oh, goodness…it’s 1 hour and 30 minutes of Doctor Who, the week in comics, and of course a tribble ranch of Star Trek Into Darkness! Oh, and a little thing we like to call “the return of Bobby”. We don’t spoil the shit out of Star Trek because mostly we can’t articulate our thoughts particularly well, but there’s all manner of nerdraging and nerd boners.

Get some.

Arrow‘s First Season finale begins on the eve of The Undertaking with Green Arrow (Stephen Amell) in the clutches of Malcolm Merlyn (John Barrowman). After escaping, with the timely assistance of Diggle (David Ramsey), Starling City’s vigilante gathers the troops who include Felicity (Emily Bett Rickards) and Detective Lance (Paul Blackthorne), who puts his career in jeopardy to help save lives. Oliver convinces Tommy (Colin Donnell) to confront his father and Moira (Susanna Thompson) to stand-up publicly and reveal Malcolm’s plan, but the threat of stopping the Dark Archer falls on the shoulders of Green Arrow alone in a season finale where not everyone will survive.

With the Glades in total panic Thea (Willa Holland) heads out to rescue Roy (Colton Haynes) but is unable to talk him out of trying to save as many people as possible. Showing off her hacking skills, Felicity finds the location of the device on a fault under an old subway line and talks Det. Lance through defusing the bomb. Although they are successful in preventing the detonation of one device, they underestimate Merlyn who triggers a second explosion even after his plans have been laid bare to the public.

Flashbacks of the island pick up after the murder of Yao Fei (Byron Mann) with Oliver, Shado (Celina Jade), and Slade Wilson‘s (Manu Bennett) attempt to stop the plane from being shot down. Ollie sacrifices his best shot off the island to kill Edward Fryers (Sebastian Dunn) and save Shado’s life. With Fryers dead, and this storyline concluded, it will be interesting to see what next season’s flashbacks have in store for our hero (and the possible romantic entanglement with Shado).

The show ends with the death of one regular, the arrest of another, and a dramatic goodbye call from Detective Lance to Laurel (Katie Cassidy). Given the outcome of the season finale, things could certainly be shaken up next season as I’d expect to see Rickards, and possibly Haynes, look to join regular cast. With much of the city destroyed by his plans there will be plenty for Green Arrow to do when Arrow returns in the Fall, and the lingering question of how Tommy’s death (and possibly that of Det. Lance?) may effect his relationship with Laurel who producers have hinted we will see in fishnets sooner than we might expect.

The follow-up to director J.J. Abrams‘ 2009 relaunching of the Star Trek franchise is a mostly disappointing affair that cribs heavily off other films, including one of the franchise’s own, in an attempt to offer a sophomoric version of what is generally considered the best of the original franchise. It’s nearly impossible to discuss the film in any length, or its myriad of problems, without giving away a few of its secrets. So after a few broad points about Star Trek Into Darkness you’ll forgive me I move dangerously into spoiler territory.

One of the real disappointments with the first film was the numerous logic holes that plagued the story. This film has to build on that shaky foundation while introducing a host of new questionable story elements. You have to look no further than the movie’s opening sequence which involves the U.S.S. Enterprise hiding underwater on a planet where the natives have no knowledge of extraterrestrial life while performing a mission whose sole purpose seems to be to get Kirk in hot water with Starfleet Command (and give us an incredibly unsubtle nod to Raiders of the Lost Ark in the process).

Every piece of the mission could have been actually accomplished better with the Enterprise in orbit. Of course this wouldn’t offer the initial conflict the film wants so desperately to instill (only to throw it all away 10 minutes later for reasons that are as perplexing as how old Spock and Kirk managed to both get trapped on Hoth in the first film). If you had any doubt that this film would be even dumber than the first one this sequence puts all your doubts to rest.

Another huge logic issue is the troubling fact that Earth still hasn’t learned its lesson from the first movie as the home of Starfleet is still the least-defended planet in the universe (with the exception Qo’noS which appears to be guarded by a total 3 tiny ships and around 25 Klingons). Seriously, the movie states several times that Starfleet is on the brink of war with the Klingons and yet neither side seems able (or even all that interested in) defending their homeworld.

One of the other big problems with the first movie was that the crew of the Enterprise were just sort of thrown together by chance. Although they have served together, we’re told, with distinction since the end of the first film Captain Kirk (Chris Pine) still hasn’t done anything to earn his Captain’s chair which was handed to him at the end of the first movie (and will be done again here). Most of the rest of the cast are really only on-hand for either dramatic or comedic character moments, as need be. It’s in these small moments the characters come closest to the original series, even if Karl Urban and Simon Pegg seem to be in a race to eat as much scenery as possible before the film’s end.

Although I’d like the Kirk/Spock relationship to be a little further down the line than it is at the beginning of the film, Pine and Zachary Quinto work well together (even if it takes the better part of two full movies to actually begin their bromance). Hell, I even enjoyed the Spock/Uhura relationship with the mostly underutilized Zoe Saldana, John Cho gets a moment that foreshadows better things than helming a starship in Sulu’s future, and Alice Eve is a fine as the Enterprise’s new eye candy, I mean science officer. It’s when the film’s problematic plot gets in the way things really start going to hell.

I promised you spoilers, so here we go: the worst kept secret has been the choice of the film’s villain. As you will no doubt guess well before the character officially introduces himself to the Enterprise’s captain, Benedict Cumberbatch is indeed playing Khan Noonien Singh. This is problematic for several reasons, beginning with the fact the Abrams is attempting to deliver us Wrath of Khan without first giving us “Space Seed” (the episode of the original series which introduced Khan and whose events don’t even merit a flashback sequence as they are referred to in a single short monologue).

When you boil down all the issues of Star Trek Into Darkness‘s main problem (when it’s not trying to offer lesser versions the opening scene in Raiders or Anakin’s car-jumping sequence in Attack of the Clones) is the movie has no emotional weight of its own. It relies solely on fan knowledge and nostalgia of Wrath of Khan to try and force moments the new series hasn’t earned with characters audiences can’t possibly have invested the same amount of time and energy in as the original Enterprise crew.

The script has an incredibly forced confrontation between Kirk and a member of his crew early on, leading to an outcome that doesn’t fit the altercation, for the sole purpose to set up the character’s own storyline in the film’s final act. As the to film’s final act, the climactic space battle and the search for Khan, there’s a plot hole so gigantic it’s ludicrous no one notices it. Given the fallout of their space battle, and offering an emotionally inept version of the end of Wrath of Khan, the crew must take Khan alive. This is an important point as, much like the awful first sequence, colors every action and character motivation to come. It’s problematic, however, because the Enterprise doesn’t actually need to take the genetically-enhanced former frozen Popsicle alive (in fact there are 72 reasons why they could simply kill the man at any time). The only positive to this version of events is it prevents the series from rebooting Star Trek: The Search for Spock as the next sequel.

Star Trek Into Darkness is also burdened with its share of distracting lens flares (including a scene so bad Eve’s face is nearly completely obscured during her big dramatic moment), 3D effects that don’t add to the experience, the continued obsession with futuristic space bars, rehashing storlines and specific scenes with minor tweaks by simply swapping characters far less beloved than the originals and expecting the same emotional response from fans, hamfistedly foreshadowing big cheats and plot points to makes sure that no one actually has to sacrifice anything by the end of the film, and providing nearly every single major character scenes in different costumes (space suits, wet suits, multiple disguises) for the sole purpose of selling more action figures.

Cumberbatch is a good choice of villain, even if he becomes an unbeatable shell of the layered character we’re shown earlier in the movie as the film amps up the action and his unstoppableness. Pine and the rest of the crew, all of whom return, are more comfortable in the roles this time around, and it shows. When the film relies on its characters rather than huge action scenes and some ridiculous suped-up version the Enterprise-B (painted black because it’s evil) it provides all the movie’s best moments. Sadly, these aren’t enough to save what feels like a fan film with an insanely high budget that makes demands on its fans rather than provide a movie that can stand on its own merits (of which there are few).

Sorry Funny or Die, but you can’t convince me that NBC would ever greenlight something this cool.

She-Ra with Kylie Minogue

After going an entire week without any crime-fighting, and constantly getting into the business of the other members, the team forces a jittery Robin (Scott Menville) to learn to relax by locking him in the Titan Tower and refusing to let him out until their leader learns how to chill. (They do know Robin was trained by Batman, right?) The funniest moment of the episode involves a confession by Beast Boy (Greg Cipes) who admits at times he replaces himself with an animal he has painted green, allowing him to sneak back to the Tower and find his “oneness with the couch.”

In the episode’s second short the team goes through “an epic series of contests” as no member wants to be the one to clean their costumes, especially Robin who shirks his scheduled chores. As Raven (Tara Strong) tries repeatedly to get rid of the alien slime stuck the clothes the rest of the team tries to make do without their costumes (including a naked Robin who gets locked out of Titans Tower). When the slime takes over the heroes dirty clothes the heroes must fight them off until Robin finally agrees to do the laundry.

“Dude Relax!” gets a little bizarre as Robin finds himself lost in the realm of the couch, and the reasoning behind his anxiety is a little odd, but the episode has some nice moments from Beast Boy as Robin’s guru for chilling out and a humorous final scene as the team finally gets Robin to relax just when they need him to jump into action. The best scene of “Laundry Day” involves the costumes getting minds of their own and dressing the team in each other’s costumes. The episode also includes a look at Cyborg’s other cybernetic bodies, many of which should look quite familiar to fans of cartoon robots.

Five-0 investigates the murder of a security guard at geological site who stumbled upon Yakuza dumping ground of murder victims whose bodies the killers were removing. Things hit even closer to home for Kono (Grace Park) when Chin Ho (Daniel Dae Kim) discovers partial remains of two bodies whose killer was believed to be Adam‘s (Ian Anthony Dale) brother Michael (Daniel Henney). When her boyfriend returns home still secretive about his dealings in Japan, Kono traces a call from Adam to Yakuza hitmen and straight to a warehouse with the bodies of the Yakuza victims leading to a shoot-out with two suspects that leaves Kono seriously wounded.

Catherine (Michelle Borth) tells McGarrett (Alex O’Loughlin) the FBI has proof that her mother has been hacking their servers. Looking for an explanation from Doris (Christine Lahti), McGarrett discovers a covert operation run by his mother and two of his old friends, Mick Logan (Treat Williams) and Wade Gutches (David Keith), to try and recover the stolen microfiche from a former associate (Craig T. Nelson) of Doris who plans to use the information to ensure his confirmation of Director of National Intelligence. Unable to talk them out of their suicide mission, and unwilling to let them go in without his help, McGarrett puts himself on the team.

There’s trouble for Five-0 in both stories as Adam discovers Kono has cloned his phone while visiting his girlfriend in the hospital and Doris is captured while trying to make it out of the heavily guarded office building with the stolen microfiche. McGarrett is able to recover his mother in a tense standoff and make it out with the microfiche, thanks to pair of brass balls and a little magic (both which he learned from Doris). Things don’t end so well for Kono, however, when the series finally picks up a loose plot thread as Max (Masi Oka) discovers one of the victims from the grave site was killed with Kono’s gun setting up next week’s season finale.

After largely ignoring Gabby (Autumn Reeser) for most of the season, the show finds a way to write-off Danny’s girlfriend (although without an appearance by Reeser). I’m glade to see the show finally picking up the thread of Michael shooting someone with Kono’s gun, although I’m not surprised that the show waited until the end of the season. I think I know how the Adam/Kono storyline will play out, my only question is whether we’ll get a definitive conclusion next week or if the show has decided to set-up a cliffhanger with Kono’s future in the balance yet again. (If you’re counting, by the way, this would make the third time in four seasons.)

Harley Quinn, in all her original design awesomeness, can be yours with this new Premium Format Figure complete with her oversized er trademark mallet and swappable masked and unmasked heads for the low, low price of $359.99.

The latest issue of Star Wars is split between Han Solo and Chewbacca trying to stay one-step ahead of the Imperial agents on their trail deep underground in Coruscant and Leia and her team of Stealth X-Wings being ambushed by a Star Destroyer and an entire fleet of TIE Interceptors.

The Leia storyline provides much of the action as Leia is severely wounded in a dangerous attempt to save the squadron. While dodging Stormtrooper and a pair of recognizable bounty hunters, Han and Chewie make a new acquaintance who offers them a way off the Imperial homeworld, but there’s a question as to whether or not they can trust the young woman or meet her steep price.

With the focus on the other characters, Luke and Prithi‘s storyline gets only a couple of pages, as does that of the Dark Lord of the Sith who makes a decision concerning the troubling identity of the young man who destroyed the first Death Star and Vader‘s current assignment overseeing the new Death Star. Worth a look.

[Dark Horse, $2.99]

Chewie, I think Han is drunk again.

GTA IV – Star Wars The Millennium Falcon (MOD) HD

Director Delmer Daves‘ 1957 western about a cattle rancher forced into the role of getting a dangerous killer out of town finds new life on home video as 3:10 to Yuma is the latest classic to get the Criterion treatment.

Dan Evans (Van Heflin) is a struggling rancher with a wife (Leora Dana), two sons (Barry Curtis, Jerry Hartleben), and cattle who are dying of thirst during one of the worst droughts in recent memory. When Ben Wade (Glenn Ford), the leader of an outlaw gang who has terrorized the territory for years, is caught, Dan accepts an offer of $200 to escort Wade to a nearby town and put him on the 3:10 train to Yuma for trial.

With only the town drunk (Henry Jones) at his side, Evans tries to keep Wade hidden and put him on the train before the rest of his gang can find them and release their leader.

Set-up as a lesser version of High Noon, the action and drama come from waiting and trying to beat both the clock and an outlaw gang on their way. Although not what I would call a great movie, there are many good moments in this film. (And it’s certainly better than the recent remake with Christian Bale and Russell Crowe.) Ford provides Wade with a charming personality and his interaction with Evans as he tries to turn him, buy him, frighten him, and ultimately save him, are what make the film memorable. Wade is so charming he even sweeps the local barmaid (Felicia Farr) off her feet. Yes he’s a murderer and a bandit, but he’s about as likable, while still dangerous, as one you are likely to find.

Available on both Blu-ray and DVD, the single-disc set includes a newly restored 4K digital film transfer, both stereo and monaural soundtracks, new interviews with author Elmore Leonard and Glenn Ford’s son and biographer Peter Ford. The set also includes a collector’s booklet and essay by film critic Kent Jones.

[Criterion Collection, Blu-ray $39.95 / DVD $29.95]

This is London electronic artist Russ Chimes with the offical video for “Turn Me Out.”

Russ Chimes – Turn Me Out via videos.antville.org

The show’s Eighth Season finale opens on the eve of Robin (Cobie Smulders) and Barney’s (Neil Patrick Harris) wedding as the pair decide to break-up an annoying couple (Keegan Michael Key, Casey Wilson) at a restaurant after they steal Robin and Barney’s table. Meanwhile, Marshall’s (Jason Segel) takes an emergency trip back home to Minnesota with baby Marvin after his mother (Suzie Plakson) learns Marshall and Lily (Alyson Hannigan) are moving to Rome for a year and no one bothered to tell her.

While showing off his job renovating the house, Ted (Josh Radnor) breaks the news to Lily that he plans on selling his dream home and moving to Chicago as he doesn’t want to be around the woman he believes is the love of his life once she marries one of his best friends. Marshall gets his own news that his judgeship has been approved that makes him question his decision to move to Rome with Lily and Marvin.

Originally planned as the series’ finale you can tell events have been stretched to lead into next season’s premiere in the Fall. The Robin/Barney story reminds us of how much these two characters belong together but the mean-spirited humor doesn’t quite work, even with the pseudo happy ending. Ted’s heart-to-heart with Lily foreshadows the last step to break-up the cluster of friends as well as another heart-breaking disappointment for him as he finds the perfect gift for Robin’s wedding.

It’s the show’s final scene, however, that finally introduces a character who has been teased for eight full seasons as the future Mrs. Mosby (Cristin Milioti) heads in the direction of Barney’s wedding as well, with yellow umbrella in hand (in a final montage set to The Shins‘ “Simple Song“). The scene works well, even if it introduces the character without, you know, introducing the character (which is a pretty dick move when you think about it). I would doubt Milioti was creator’s first choice for the role (she wasn’t even acting when the show began) and would be interested to see how long ago she was chosen. The reveal of the actress, but nothing substantial about the character, will certainly give fans something to discuss over the summer, but until we get the first scene between Miloit and Radnor we won’t really know how good their chemistry on-screen is and if the show waited too long to finally reveal the true love of Ted’s life.

In the show’s Fifth Season finale Beckett (Stana Katic) and Castle (Nathan Fillion) investigate a murdered skid row prostitute who turns out to be a Harvard honor student as Beckett faces a difficult choice concerning her future after interviewing for a job in Washington D.C. working as an investigator for the Federal Government.

The victim’s parents believed their daughter was backpacking in Europe, not living a secretive second life in the seedier part of New York City. The mystery continues to thicken when Lanie (Tamala Jones) finds no evidence of recent sexual activity on the victim leading the team to wonder what they actually know about the victim, what she was really doing in that hotel, and why she wanted her neighbors to believe she was a prostitute.

Ryan (Seamus Dever) and Esposito (Jon Huertas) interview a friend (Mekenna Melvin) of the victim from Harvard who discovered the victim’s double-life but has no rational for her odd behavior. Castle surmises their victim was actually a hacker which explains the lengths she went to make it appear as if she was a prostitute to her neighbors while spending hours on a missing laptop which Ryan and Esposito are able to recover. The episode marks the return of Maya Stojan as video tech Tory Ellis who narrows down the IP activity of the hotel to the victim’s most likely target: a law firm who the victim hacked repeatedly over the week leading up to her murder.

The discovery of a second victim, the apparent suicide of a lawyer recently fired from the law firm the hacker was talking with, and a third death months before involving a friend of the hacker who interned at the law firm before dying in a car accident lead Beckett to take a much closer look at the law firm and a client of the firm with a promising political career which would have come to a quick end if he was tied to the drunken car crash involving the firm’s perky young intern.

Stumbling on to Beckett’s trip to D.C. on his own, and realizing that she went out of her way to hide and lie to him about the opportunity (which, to be fair, does seem a bit odd), Castle storms out. As Castle heads to Martha (Susan Sullivan) for advice Kate calls on the advice of both Lanie and her father (Scott Paulin) after she’s officially offered the job by the Deputy Director of the FBI (Kyle Secor). Making her mind up, Beckett finishes her last case but before the season’s end the writer will make her a counter offer.

The finale has some nice nods to previous episodes including Castle’s wariness to sign off on Alexis‘ (Molly C. Quinn) trip to Costa Rica given her kidnapping in Paris from earlier this season. The show also chooses to have Kate and her father meet in the same diner we’ve seen the pair in before. And for the final scene, our two leads find themselves on the same playground, and in the same swings, where they previously put aside their hurt feelings at the beginning of the show’s Fourth Season.

“Watershed” has trouble at times balancing a complicated murder investigation with the far more important decision surround the future of Beckett. A more straightforward case might have worked better given that the focus of the episode is often elsewhere. Beckett’s unnecessary secretiveness about her activities and the job offer feels forced to allow Castle to be justifiably angry at her deception rather than only petty about her choosing a job over their relationship. Without an easy answer, the cliffhanger shows Beckett officially offered the position and get an unexpected proposal from Castle on the same afternoon.

The tension of the situation works well, but I do have some trouble with choice of storylines, especially as I don’t see an easy out for the characters when the show returns next season. Since I don’t see the show relocating to Washington, the writers have put their characters in a corner to try and resume some version of the status quo without Beckett simply giving up her dream job for Castle (which doesn’t seem to be in the character’s DNA). It’s going to be a challenge for the show to keep the characters together at the NYPD after opening this Pandora’s Box since, as we know, Beckett does deserve working much higher profile cases, even if that means doing it without Castle.

With Willow‘s return and Xander preparing to betray his friends to save Dawn, Season Nine moves closer to the finale as “The Core” begins with Buffy, Willow, and Xander heading to the only place on Earth that might have enough magical energy to save Dawn’s life – The Deeper Well.

Angel fans should recognize the name of Ilyria‘s resting place where her sarcophagus was housed, along with those of countless other Old Ones, from “A Hole in the World” (you remember, the heart-wrenching episode where Fred dies – damn you Joss Whedon!). I like the comic bringing back the setting to kick start what looks to be the season’s final arc, and provide another instance of the characters making a bold short-term decision without really thinking out the lasting implications if something goes wrong (you know, Buffy logic).

Buffy and her friends will discover the Deeper Well has not been left unguarded as the powerful entities remaining in our dimension want to protect the power of the Old Ones from falling into the wrong hands (not that something like that will stop the Scoobies from their dangerous plan). Worth a look.

[Dark Horse, $2.99]

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