Early Edition (“The Cat”)

Season 1, Episode 19
Date of airing:
 April 13, 1997 (CBS)
Nielsen ratings information: 11.1/17 in Households

This happened to be a nice little family mother/daughter drama wrapped into a surprisingly good episode. The one premise I would usually discover in any of the family television dramas on the air, albeit not developed like in this episode, because in those TV dramas, it is an arc for six seasons and not focused on one single episode. Mother issues that get resolved after 45 minutes — this is perfect for my damaged soul. And it worked for me in this episode, since the story was light, but focused, enough to connect with the characters and have hope that Eunice and Robin were able to reconnect before she dies. In the meantime, this episode was also good enough to continue carrying on developing a back story of a character who died before the show even began. It is almost like EARLY EDITION is a show about Lucius Snow as much as it is about Gary Hobson. Every once in a while we learn something about Lucius’ life that fleshes him out as a character who existed in this series universe and who could be revisited in a flashback storyline.

Shoot your show in Chicago and invite Roger Ebert to cameo.

And that makes things really intriguing in this show. The writers decided to play with a character who never had any screentime and who never will have any (barring said flashback sequences that may come over the course of the show, or not), because that character is dead, yet he is a focal point of the show’s back story and premise, and almost a midpoint in the entire mythology of the show that needs discovering, even if Lucius’ story happens to be anything but important. Yes, Gary would most likely learn a lot and advance in his efforts to help people through the paper, if he understands fully how his predecessor did it for 50 years (although the question has never arisen whether Lucius was indeed helping people in need for all of his 50 years — maybe he tried to prevent the assassination of JFK, but did he care enough for the little man in the neighborhood to get out every morning and save lives?), but other than that it’s not like the mythology of the paper will be explained through Lucius. After all, I don’t think that Lucius was the first recipient of the paper, and he was just another Gary Hobson who started receiving the paper after his predecessor died. Maybe Lucius once tried to figure out where the paper come from, but he did not get very far. Maybe the only thing Lucius learned about his situation is who received the paper before he did.

Anyway, Eunice and Robin were interesting characters. I knew from the beginning that Eunice once was involved with Lucius, right after she remembered the cat, and the cat continued to deliver the paper to her (and especially after she quickly mentioned that one of her former lovers was doing things with newspapers), but even with that predictability, her story was still quite enjoyable. For once I believed that Gary just wanted not to be involved in something like this and just stay away and do his daily routine, and he really tried to get out of the way of it all, since the cat always forced him back to Eunice, where he had to deal with her illness, where he had to reluctantly deal with her boyfriend, and where he had to deal with Robin. Still, the writers helped themselves with conveniences, like not mentioning immediately that Eunice felt the cat reminded her of her week-long boyfriend from decades ago, or having Gary wonder why the cat started delivering the paper to this dying woman (he could have asked her about her past, trying to figure out connections?). The writers also figured that it was a good idea to not connect Lucius’ fate with Gary’s future fate — Gary has already come to realize that the paper kills his social life, and as it shows, Lucius only met the love of his life for one week (interesting question: When he was in Rome, did he get the Italian edition of the Sun-Times and saved lives in Rome?), but other than that he lived a secluded life as well. Is this something Gary learned over the course of this episode and decided to do something about it? The answer to that is “No,” because that is not the kind of show EARLY EDITION wants to be.

Senior women and cats go hand-in-hand.

That brings me to BUFFY THE VAMPIRE SLAYER, and how the Chosen One was supposed to fight against the forces of darkness herself, yet during the first two episodes of said show, she assembled friends and she was not fighting the fight by herself. In EARLY EDITION, the writers were never going this far. Yes, Gary occasionally gets help from Chuck and Marissa, and Chuck even saved a group of Chinese people for a hilarious scene that involved being lost in translation, but it’s not like Gary accepts help around him — he keeps to himself with the paper, showing that the Chosen One premise can truly be alive in a TV show that wants to deal with that premise.

Early Edition (“Psychic”)

Season 1, Episode 18
Date of airing: April 12, 1997 (CBS)
Nielsen ratings information:
 8.7/16 in Households

I learned that some networks and studios were trying to create characters for potential television shows, and testing them out in other shows before making a decision about whether to order a pilot or not. My original favorite TV show SEVEN DAYS apparently had a few characters in it during the third season, which Paramount thought would be interesting enough for their own little show, including Lucy from “Live from Death Row,” who could have been a character to mix up Voodoo and the crime genre which apparently was a thing back in the day. In the case of EARLY EDITION, Claire was a solid-enough character as well, with the potential of getting her own TV show and help people in need, because that makes a good TV show if you have some money left over and need to produce something (if only just for syndication), due to certain contracts you have running and can’t just back out of without having to pay a ton of money. Claire could have been the central character of MEDIUM before Patricia Arquette was cast. And it’s not like Claire’s “visions” are indifferent from Phoebe’s visions in CHARMED. Granted, she could not see the future, but there were some similarities between these two characters, and when Phoebe was able to see the future and do stuff for eight whole seasons, then Claire would have been a main character for at least one season or at least have been part of MEDIUM for a long-running story arc (or not).

1997 was the year to show yourself talking into huge blocks while holding them onto your ear.

The episode was okay. It somehow established a world of the supernaturals, with Gary getting tomorrow’s paper and Claire’s ability to sense the future. It is easy to write it into the show, especially when the supernatural genre is not the one your show is set in, because you could easily just forget all about it during the next episode, thanks to the proceduralized nature of the show. EARLY EDITION could even go towards aliens and no one would bat an eye, since at this point in the show, the writers decided to care about the stand-alone stories and the guest characters. It shows that you don’t care a lot about the nature of your show and where it’s set in and what happens after your episode has finished, but since these kind of shows existed for decades before and after EARLY EDITION, it must mean audiences are still having the hots for them. When it comes to my television tastes though, something needs to happen here to get me interested in the show for another season. Yes, EARLY EDITION is television of my childhood, and I already know of the big character arc in the third season, but still…

So, Gary was supposed to have a partner for the episode, because maybe Chuck or Marissa were not good enough, or unable to be placed in the world of the supernatural… It’s not like Gary never had a partner before, and I kind of like the spiel of Gary not doing his errands well when he also has to take care of people around him, but there is also a case to be made about how the writers didn’t even think of making a real story out of it. It is the typical “I work alone” trope that you can bring anytime you want, but for some reason Gary was not of that type and instead tolerated Claire. Maybe because she was actually an interesting character for him, maybe because the writers needed their conflict for the story of the second half, when Elizabeth kidnapped the baby. Fact is, this episode clearly needed Gary to have a partner, although he should have been doing it all on his own. And if he really needed a partner, he could have asked one of his two best friends in existence.

No new clue from the world of the supernatural.

By the way, it was interesting to notice how Claire was fully ready to explain to Gary what her “gift” might entail and how it works and where the origin story was, but Gary was just sitting there, listening, not telling his story and what his “gift” is at all. Also, Gary was the one asking Claire about how and why, and Claire for some reason decided to be mum about her questions for Gary. Yes, she asked him a few times, but her questions seemed to have been delivered in a lighter “how did you do that” tone, never expecting an answer anyway. I don’t know if there is a double standard at play here, or if the writers just didn’t want Gary driving into non-explanation mode. Someone like Meredith learns about the paper pretty fast, but now it seems like Gary wants to keep his secret even quieter. Understandable though, after the whole disaster with Meredith episodes ago. So hey, there is continuity in the show after all!

Early Edition (“The Jury”)

Season 1, Episode 17
Date of airing: March 8, 1997 (CBS)
Nielsen ratings information: 7.5/14 in Households

If Linda had been a guy, there would have been a shitshow in the hotel and in court as well, and this would have been the 1990s equivalent of #MeToo. It is always interesting to notice the double standard here, and in this case it might even be more noteworthy, as I cannot imagine that the writers have not thought about the prospect of having a guy sneak into Linda’s hotel room and join her in the shower, which means I have to ask the question why the two guy writers Norman Morrill and Matt Dearborn decided to portray Linda as this horny woman who needed to have Gary for herself, who needed to show her breaking into Gary’s hotel room and join him in the shower, and whether this part of the story was more male wish-fulfillment than an attempt at comedy in this family-friendly television drama. This is the social justice warrior in me talking, but in the times and ages of #MeToo, it’s important to note that this episode was penned and directed by men, and that they most likely found the whole thing between Gary and Linda super funny — something they wished that could have happened to them, because it iss erotic and sexy and naughty that a woman would sneak into your hotel room and join you in the bathroom for some funtime, even if you made clear before that you are not interested. In 2020, this scene wouldn’t even go through Standards and Practices like that, and it would cause an uproar on the social medias of the world. In 1997, it was primetime television comedy gold. Times have changed indeed…

Chuck just wants to spend some quality time with his “friend.”

The episode was okay. Gary as a jury member looked like an interesting idea, especially since his service for the country was an intriguing way to have his normal life bite with his life of being the recipient of tomorrow’s newspaper. Granted, Gary getting the paper right in the courtroom was a super huge plot device, because I would have loved to know how tomorrow’s paper knew that De Luca could have been innocent because of whatever his wife knew (it would have meant the case was still ongoing for a journalist after the verdict and I cannot think of a reason why this local and unimportant white collar crime would be of interest for the city’s largest daily newspaper). Maybe the paper missed De Luca’s actual suicide the first time around, and it only became a plot device when Gary was able to handle the case from outside the courtroom, but it is a fact that the writers knew how to use the paper as a plot device to advance the story, even if it does not make sense all the time. Gary could have noticed the suicide article right after he got the paper in his hotel room, yet he read the title page for the first time in the bar when his two best friends joined. Yes, convenience makes the scene flow better, but still, the writers tend to show that they were never interested in consistency.

The court case itself seemed a little boring, but I guess that’s what stealing money is all about. I am getting the feeling that television writers only know how to write murder cases, because the story, while not going very deep into the case at all, rather focused on how it was important for Gary to realize that De Luca is innocent, and how his handling of the case will at least give De Luca a chance. Oh well, at least the declaration of a mistrial was more than justified here, so in that sense the writers indeed had watched some legal dramas of their time. Otherwise the Judge would have had his own little problem breathing down his neck, as there would have been no way the case could have continued.

When women break into men’s hotel rooms for a quickie, you know this episode was written by men.

At least Chuck’s involvement brought me some joy during this episode. The gay moment between him and Gary was fantastic, and I loved that Chuck was all in for this scam, here to help Gary help an innocent person. Besides that story being a pro-LGBT comedy moment (that kind of makes you want to forget that a woman was about to hop into a man’s shower without consent), it also showed that Chuck was truly interested in assisting Gary with his good deeds, and that he didn’t even question about what to do or how to do it, when Gary asked for his help. Seventeen episodes in, and Chuck is not the self-centered and narcissistic asshole any longer, instead he serves quite well as Gary’s right-hand man, even going so far as to playing a role dutifully. More of that, please.

Early Edition (“Bat Masterson”)

Season 1, Episode 16
Date of airing: February 22, 1997 (CBS)
Nielsen ratings information: 12.8 million viewers, 8.3/15 in Households

Ah, those 1980s and 90s shows that have a two or three-headed cast and focus a lot on the guest stars of the week in a story that might be interesting for a hot second or two, but become one amongst the forgotten after a week, right before the main characters gets into a new adventure. There is probably some high rewatch value in shows like these (if the stories are intriguing), and it turns out the EARLY EDITION writers were planning to carry that kind of show into the twenty-first century. I don’t really mind, since there is always room for anthology television with regular characters, but maybe the stories should in fact be a little more interesting. This episode wasn’t, thanks to Bat Masterson, also known as Mike, not being an intriguing-enough character for me. Or the fact that the story was pretty much a predictable snoozer midway through, when even I came to realize that Ike was the guy who shot Mike’s partner, and that all of this is just a way for Mike to get out of his urges to play the role of Bat Masterson and see it as his one and only life. By the way, is there a medical term for Mike’s condition? Dr. Feinstein definitely wasn’t going into the psychological aspects of her patient, which is probably because the writers decided not to put too many research hours into it. But maybe it would have made this hour a little better if the writers had delivered a more scientific and medical back story for Mike, his decision to step into the role of Bat, and believing that he is Bat.

Mr. Masterson was not the only cop on a horse chasing bad guys in the 1990s.

But oh well, Gary made himself known as the guy who wants to help other people, and his co-stars of the week tend to notice now. Before this episode, the paper directed him to help the people in need and sometimes he stuck around, because he knew there was still trouble to come and his help was still needed (best example would be the episode “Gun”). But in this episode he genuinely wanted to hang out with Bat/Mike and kind of watch over him, just to make sure the old Sheriff doesn’t get int any more trouble. For the first time, Gary became the protector and helper for someone without looking into the paper first, to see if there is new trouble brewing. For the first time Gary became something of a counsellor, for people to talk to when they need someone, because maybe their lives are a little more interesting on an emotional level. Maybe this is an intended change after the ending of “The Wall, Part 2,” which said that Gary is now a changed man because of the events depicted in that episode, but maybe it’s also just a coincidence. EARLY EDITION is after all a 1970s/80s proceduralized show with focus on guest stars, which happened to air in 1997 when shows were about to change and television was about to step into the next century.

Meanwhile, the actual story of the episode was… yeah, it definitely was a snoozer. I could have taken a nap instead, but here was a guy who thought of himself as a hero of the Wild West, a genre I was never really interested in to begin with (too many macho men who have guns and shoot people like there’s no tomorrow is not really my thing), and never was Bat a more aggressive or angry person, as if everything was picture perfect and happy-go-lucky in the 1800s. If Bat Masterson of this episode really existed in 1800s, then the guy would have been murdered by whichever gang came through town first, because there is no way that Bat could have ever survived in the job by being nice and correct and lawful and always choosing the right-sounding words. I’m actually impressed that no one in Chicago during the two weeks Bat/Mike was out on the street found this crazy dude and decided to either beat him up or mug him. I mean, wouldn’t he be a perfect target for a little nightly crime by some random gangster thinking himself as the coolest bandit in town?

Why did this guy have a gun at this place of employment?

The story also made some ridiculous choices. Mike was living in something of a mental institution, so why does one of the orderly guys Dr. Feinstein has hired a pistol for Mike to steal and potentially wave around? When the guy said that Mike stole his gun, all I could do was roll my eyes into the Andromeda galaxy, being shocked about the fact that someone in this joint was actually packing loaded heat. That’s one crazy plot convenience, and one that doesn’t make the episode look better at all. Also, it doesn’t make gun-crazed America look better when the muscle men of mental institutions carry anything more than a night stick. Imagine if the rapey fat bastard from TERMINATOR 2: JUDGMENT DAY had a gun and was all alone with Sarah Connor, as he was licking her face…

Early Edition (“The Wall”, Part 2)

Season 1, Episode 15
Date of airing:
 February 8, 1997 (CBS)
Nielsen ratings information: 12.1 million viewers, 7.9/14 in Households

As expected, there weren’t a lot of surprises in this episode, as things were going along as they were planned from the beginning. That might be wonderful in retrospect, because the writers clearly kept their sanity and locked their insanity away by removing all twists from this episode and let the story flow in a natural way. Although maybe the storytelling was kept on the downlow a little too obviously, since by the end of the episode I was wondering why Marley, also known as Dobbs, wanted the President dead (okay, explanations aren’t really needed, but killing JFK and this fictional president must mean something, especially when you most likely haven’t attempted another assassination between 1963 and 1997), and if he was the only one involved in this conspiracy or if Marley was hired by another country or even cartel to execute the assassination. If Marley was the only person involved in the whole thing, it means it was the typical lone man terrorist attack, the crazy guy deciding that the world must change, and the only way it can be changed is through violence and death. It’s not at all a government conspiracy, and in a way a kick in the balls for all the people who believe in the conspiracy theory. No, it wasn’t Oswald, it was Marley. Though maybe I don’t think it’s such a good idea to tell your audience that in your show, which isn’t really historical to begin with, Oswald was not the shooter. Not that we are interested in even more JFK conspiracy theories, but EARLY EDITION just created another one. And I was about to get used to the notion that the killer was the cigarette-smoking man.

This should have been the end of the story, but the show went on for three and a half more years.

Anyway, the episode was solid. A little more streamlined than the previous one, since all Gary needed was to find out who framed him, but also a little more serious when it comes to … seriousness and tense drama. Even if you knew that Dobbs was Marley, there still was the potential of Gary being caught by the police, and for Dobbs’s plan to blow up in his face like Hawks and Crumb were supposed to feel the letter bomb in their faces, and from here on, everything could have been possible. But at the end of the day, this episode only had one purpose, and it was to depict what the JFK assassination would have looked like in 1997, and what a different conspiracy (this being a one-man job) would have looked like, if perfectly executed. Maybe Gary was even useless in this plot, as his reason for being here was only to show that one-man plan, and to depict a presidential assassination either succeed or fail. The writers had fun with the premise for sure, but it also meant that the character had to take a few steps back. They became pawns in the story they were in and Marley was running the show from the back of the room. At least it’s logical how Marley was hinging on Gary being in the building at the time, since Marley knew all about tomorrow’s paper and Gary being the next Lucious Snow.

To prevent the characters taking steps back to let Marley run the show, there could have been moments of character drama. At the end there was a sense of the paper having changed Gary (and not just because of Chuck’s voiceovers), but other than that the story didn’t do anything for Gary at all. Chuck became something of a hero here, but only because the writers figured they needed to rewrite his character to suit the story. And Marissa was basically left out of it, only being a voice of … I don’t know what kind of voice she was, but because the police decided not to maybe call her into the precinct and ask some questions about her friend, the suspected killer on the run, makes me think the writers not only used the characters as pawns for the story, but also forgot to actually use them as characters as a whole.

Gary is in the room with the device that could change the future.

Meanwhile, the winter version of Chicago was shown, which was lovely, and it’s all I have been waiting for. The Christmas episode was a little void of snow, thanks to the fact that the episode wasn’t shot during the winter months, but I’m glad that the producers continued to use the setting as part of the show, and have EARLY EDITION look like it isn’t a soundstage show. There is a different feel in watching a show which uses its outdoor settings, to have Chuck run through the snow, and to have Gary and Marissa meet up between whiteness that was left on the streets. All of this almost makes me want to wish living in Chicago and just enjoy the freezing cold and chaos on the streets after the snow has fallen. I do like depressing weather. I am after all a depressed soul.

Early Edition (“The Wall”, Part 1)

Season 1, Episode 14
Date of airing: February 1, 1997 (CBS)
Nielsen ratings information: 12.6 million viewers, 8.4/15 in Households

One might have wondered how long it will take for Gary to be involved in a conspiracy that leads to a repeat of the JFK assassination plot, or alternatively to the reveal of the crash of an unidentified flying object, together with its deceased unidentified humanoid pilots. One might have wondered how often Lucius Snow went through Kennedy-like situation and how many he was able to prevent, and how often he failed. You know all the tragic accidents and events in American history, but without Snow there might have been a lot more, and that is usually something you don’t tend to think about when watching a show about characters changing the future and preventing catastrophes. And now Gary gets the chance to prevent an American tragedy from happening, and it might even be the event that turns the guy into a true silent heroic character, always in the background, waiting to spring into action and prevent your death, and then going back to his hotel room and bitching about the fact that he still hasn’t gotten a job, let alone a life to live. No girlfriend, no real friends who are not pushing him to get to the race track and make some money, instead just the newspaper from tomorrow and an assassination plot against the president every once in a while.

Gary is a little behind on reading his way through breaking news coverage.

This episode also want a tad bit further in things regarding the paper. The smeared title page headline showed that the paper was warning Gary of what’s to come, which means the paper was giving Gary not only the future of today, but the future of two days from now, meaning the paper could easily be from the day after tomorrow, if the writers wanted to get down that route. Granted, it was just a plot device to have Gary figure out the headline of the day of tomorrow the day before tomorrow, and to end this episode with him on a run before everyone even figures out that the president might be in some crosshairs, but it’s also a good plot device for a two-part episode, and to dump Gary into a seemingly inescapable situation, during which he will have to face the villains to save the day, and maybe even risk his life to do so. And when the story even goes so far as to giving some back story involving Snow, then there even is a way to enjoy this episode and give some back story to its fantastical premise. Who knows, maybe we will know a lot more about Snow by the end of the series.

But I didn’t enjoy the episode much, because it happens to be extremely predictable. Even without having seen the episodes once many moons ago, there is reason to believe that J.T. Marley is indeed alive, and listens to the name of Dobbs; that Crumb might be suspicious of Dobbs already, as well as Gary’s innocence in the whole thing Crumb might not even know anything about, and that Snow’s way of trying to prevent Kennedy’s assassination in 1963 pretty much has nothing to do with the story now, because all the 1963 back story wants to tell Gary is that he has to face the same adversaries today as Snow probably had to face 33 years ago. Who knows, maybe in this weird and messed-up series universe, it was Lee Harvey Oswald who received tomorrow’s newspaper and it was him who was framed for the assassination, and after Oswald got assassinated, Snow was given that duty. Of course that wouldn’t explain Snow’s decision to fly to Dallas the day of the assassination, but wouldn’t that be a fascinating headscratcher, even if it happened to distort well-known American history on a fictional television show, especially when it comes to making Oswald the scapegoat in the show, when he was the assassin in the undistorted version of real-life history. I don’t know, if the writers would have brought that twist in EARLY EDITION, might the show have gotten some criticism, similar to how FRINGE got some words about depicting the twin towers in its first season finale?

Chuck gets arrested for bad behaviour on a television show.

In a way, this episode was just a big setup. A lot of back story regarding Lucious Snow, and a lot of preparations to lead Gary into the conspiracy and to have the viewers figure out how he is going to prevent the president’s murder, as well as the ongoing frame job against Gary. Maybe without the Snow back story, the premise would have been enough for a one-hour story only, but the thing is, the back story helps to put a spotlight on the narrative, and I found it fascinating to learn what Snow was doing to prevent an American tragedy, as Gary was going through his very own American tragedy. But yeah, there were some stupid moves being executed here. First of all, the terribleness that is Dobbs’ character, and secondly, the way Crumb wasn’t even fully invested in what was happening here. Getting persuaded by the Secret Service to order a search warrant for Gary? I’m pretty sure you need a super compelling reason to raid someone’s hotel room, and Crumb definitely did not have anything more to call a compelling reason than a hunch that wasn’t even his own to begin with. Even the raid on Michael Cohen’s offices and homes in April of 2018 started off with compelling reason and evidence for his actions that were against the law. Gary should sue, because his hotel room was definitely raided due to a hunch.

Early Edition (“Mob Wife”)

Season 1, Episode 13
Date of airing: January 25, 1997 (CBS)
Nielsen ratings information: 13.5 million viewers, 8.7/15 in Households

This being a family show, the ending of the episode became a game of predictability. Family shows don’t tend to show how characters are killed on-screen, like it is an unwritten rule about fictional sitting US presidents getting killed (COMMANDER-IN-CHIEF and DESIGNATED SURVIVOR being notable examples, due to their pilot premises, but they weren’t killed off-screen), so when Theresa was apparently shot (notice how the show did not depict bullet wounds or blood) and then fell into the river, it was pretty obvious that this was just Frank’s way of making sure he is “killing” Theresa for her own good, instead of another mob family killing Theresa for real to make a statement. This being a family show, not only was Theresa unable to die, but Frank was unable to be the real villain of the episode, while the Feds were unable to be actual Feds here, being mean to Gary and all that stuff. Sometimes, being a family show hampers you in making sure that characters are actually characters and adversaries can be antagonists. At the end of the day, the only one who had actual control over everything was Gary, because of his magical newspaper.

In Chicago, gangsters don’t have to worry about the time of day to pull out their pistols.

The episode was kind of boring and entertaining at the same time. Sticking the characters into a mob story could have been a good idea, but for a family show it’s kind of a crappy idea, considering mob characters are usually killers who dump you into the ocean with a brick of cement at your feet, yet nothing of it could be depicted in this show due to its family-friendly nature. Then again, I’m not so sure if Gary would have been able to stand the test of time against actual mobsters, even with tomorrow’s paper, because Chicago mobsters should be as evil as Italian mobsters in New York, or so I’ve seen on THE SOPRANOS, of which I have never seen more than the first season of, because I never got into it (yet every time I hear the HBO stinger, I imagine that “Woke Up This Morning” is about to play). Anyway, the mob premise stuck the characters in a weird story, one that didn’t fit with the characters, especially when Chuck became the central figure here, who decided to fall in love with a pretty young woman, because Hollywood and male writers. If there is ever a story, written by men, about a man who does not fall in love with the female guest star of the episode, especially on 1990s shows and earlier, please tell me. This episode is just another one in the long list of television episodes that promotes male wish-fulfillment. Only the male central characters are allowed to fall in love with the female guest star and no one else.

But hey, at least Theresa wasn’t a boring character. Pauley Perrette must have been somewhat of a household name even in the 1990s or otherwise she would have not been given a role like this, let alone being credited as “Pauley P,” which I found to be enough of a weird fact. That Theresa would fall in love with Chuck of all people was maybe just a little bit ridiculous, but it did good things for Chuck as a character, who for once was not the jerk or the idiot of the story. It almost looked good on him that he was in love and I would almost consider this episode’s version of Chuck to be the one I would love to see all throughout the show, but knowing the show, and seeing how the character has been treated by the writers so far, it’s probably going to be a “never gonna happen” situation, and I can get myself prepared for another episode in which Chuck is the jerk and the idiot of the story, making me question why Gary is still friends with the guy.

The receiver of tomorrow’s newspaper should smell the inside of an interrogation room more often.

One can hope that Chuck has an opportunity to get back to being the character he was in this episode. After all, the writers gave Meredith two episodes, and with her an opportunity for Gary to flirt with the guest character of the week. The same could happen for Chuck, and Theresa seemed like she would be the right character — she is snappy, she can take care of herself, and for a moment she actually looked like she wasn’t just a plot device for Chuck’s story. It’s almost like she is made for a return in a future episode.