We are currently living in the age of “peak” television. There are just so many shows that it’s hard to decide on the few you’re going to watch. Quantity doesn’t always promise quality, and there have certainly been a fair share of duds on the television landscape this fall. However, 2015 as a whole has supplied television consumers with ample amounts of fantastic television moments.
From sitcoms and sketch shows to superheroes and high brow intellectualism, TV just about had it all, and here is the TYF’s official list of the very best episodes the year (in alphabetical order). Of course, due to practicality, we couldn’t include everything. So while we love shows such as Fargo, iZombie, Orange is the New Black, Brooklyn Nine-Nine, The Mindy Project and Transparent, we simply opted for other choices this time around.
Make sure to let us know in the comments which ones made your list!
Please be warned that there are plenty of SPOILERS in these write ups; so if you don’t want to be SPOILED, please don’t read.
The 100 – “Blood Must Have Blood Part Two”
The 100 is one of the best shows currently on television that people aren’t watching. After two seasons of continual growth in quality, with dire consequences for our characters at every turn, the end of season two ended on an indisputable high point. Facing the unimaginably tough decision on how to save their people from the terrors of Mount Weather, Clarke and Bellamy must make the ultimate sacrifice of killing all of the inhabitants of the facility (innocents and guilty alike) in order to save their own. It’s not an easy choice to make, but season two was all about Clarke making one difficult decision after the other, and this one is the breaking point, leading Clarke to walk away from Bellamy in the end, unable to deal with facing those she’s saved. The 100 has never been afraid of writing their characters as being morally grey, and the season finale does just that, along with showing how the characters then deal with the choices they made, for better or worse. It’s an action packed hour as we see the character development of Octavia (innocent wild child to warrior), Jasper and Monty (goofy kids to two teens who have faced impossible losses), Bellamy (antagonist to group protector) and Clarke (healer to killer) and exemplifies just why this is one of the most interesting shows currently airing. – By Allyson Johnson
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The Americans “Walter Taffet”
As I described in my original review, ‘Walter Taffet’ is The Americans at its best. It brings everything that works so well about this Cold War period drama together in exciting and tension-filled ways. Two stellar sequences, in particular, stand out. One involves the discovery of a bug in the FBI director’s office and the wordless actions that follow. Another is the action that ends this episode, with Fleetwood Mac’s ‘The Chain’ scoring the scene. Other realizations and strong character moments populate this episode as well, which only leads to more annoyance everytime The Americans is overlooked during the awards season. The show had a superb third season overall, but ‘Walter Taffet’ did plenty to represent why. – By Aaron Neuwirth
Better Call Saul – “Five-O”
It still baffles me that Jonathan Banks lost out on an Emmy for his astounding performance as Mike in this episode of one of my favorite new shows of 2015, Better Call Saul. Centered around Mike’s tragic past, it’s a new look at the character for both Breaking Bad fans and new viewers. For episode that didn’t really play into the series’ main story arc, it was essential viewing and allowed us to better appreciate the Jimmy/Saul and Mike partnership. While it may not be the episode that best represents the tone of Better Call Saul, the pacing and interwoven storylines is masterfully done, delivering a gripping hour of television. – By Gabrielle Bondi
BoJack Horseman – “Let’s Find Out”
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BoJack Horseman made the right decision in the middle of season one to throw out its more Family Guy like tendencies in favor of emotional storytelling and it has benefited greatly ever since. Season two saw BoJack’s barely concealed depression getting a greater showcase and while he’s never been an easy character to root for, he has become more and more sympathetic as we’ve seen hints of his abusive upbringing and inner self-loathing, but what “Let’s Find Out” does wonderfully is it mixes the pathos of the show with the comedy. Mr. Peanutbutter hosting a game show was always going to be comedy gold, and couple that with just how ludicrous the rules are only makes it better, but adding BoJack to the mix ups the stakes. The episode also highlights just how insightful Mr. Peanutbutter can be, instead of always being the oblivious goofball we enjoy. BoJack gets to run the gamut of personality traits, from moments of insight, to connecting with Mr. Peanutbutter as they air their passive aggression on live television, to BoJack purposefully getting a question wrong at the end (one that serves charity) all in order to stick it to his opponent Daniel Radcliffe. There isn’t a hero of the Netflix series, which makes them all the more fascinating to watch. – By Allyson Johnson
Broad City – “Coat Check”
The highs of season two of Broad City possessed some of the funniest moments in comedy this year, with stars Ilana Glazer and particularly Abbi Jacobson extending their talents further than in season one. While overall the season lacked the consistency in quality as its debut, it also managed to hone in on what made each character individually funny. “Coat Check” is a highlight by being one of the few episodes where the show is just as funny when the two leading ladies are apart as they are together, and this is greatly aided in the presence of Alia Shawkat and Kelly Ripa in excellent guest starring roles. Shawkat is less of a surprise, having been a charismatic actress for years now, but whoever thought of using her and Glazer’s likeness, and having Ilana be attracted to Shawkat’s character, was genius. It’s a nice way to continue showing Ilana’s fluid sexuality, while also showing that even her narcissism has limits. Ripa was more of the delightful surprise, playing a raunchy, alcoholic version of herself that greatly differs in her sunny, good morning host personality. Watching as Abbi tries to keep up her enthusiasm the entire episode is one of the funniest bits the show has ever done. – By Allyson Johnson
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Catastrophe – “Episode 4″
Compact at just six episodes, Hulu’s Catastrophe never had a wasted moment in their storytelling, but it was “Episode 4” that had one of its greatest, emotionally poignant moments, much of which is all due to the tremendous work done by Sharon Horgan. Rob Delaney is a delight on the show, but it’s Horgan’s character who is going through the most shocking changes, and it seems that every trip to the doctors in regards to her surprise pregnancy leads to more potential health risks. “Episode 4” continues this trend when she learns that there’s a very high chance her child with have Down Syndrome, and it leads to an episode of introspection and fear as she grapples with each and every possible scenario. The installment doesn’t forget the biting and frank humor, but much is gleaned from Sharon’s anxiety. It’s also ends with one of the most beautiful moments in television this year, as she sees a young mother and her daughter who has Down Syndrome, happy and healthy and content, and a wave of emotions wash over her face. She’s just learned that her child does not have Down Syndrome, and seeing this mother and daughter evokes a sense of grief, shame, and relief. Human to a fault, the characters of Catastrophe have rarely been as nuanced. – Allyson Johnson
Daredevil – “Nelson V. Murdock”
In retrospect there is more of Daredevil that was worth nitpicking, but the highs were undeniable, and I had a tough time picking one episode that ranked as the best. However, the one that stands apart from the rest due to how it tells its story is “Nelson V. Murdock,” which focuses on the friendship between Matt and Foggy, and, consequently, the fallout of Foggy learning about Matt’s nighttime, vigilante activities after finding his friend an inch from death. It’s the most physically and emotionally crippled we’ve ever seen Matt, who essentially sits and allows his friend to angrily berate him for his lies, and this juxtaposed with flashbacks to their first meeting and developing friendship just about kicks you in the gut with emotion. What’s even more interesting about the episode is how their friendship is shot, playing out more like a breakup than a fight between friends, which showcases the significance of Foggy in Matt’s life. The flashbacks are adorable and playful, while the present day is painful. Charlie Cox and Elden Henson are both strong here, and the episode is the last GREAT episode of the season. – By Allyson Johnson
Doctor Who – “Heaven Sent”
Beware: SPOILERS
Directed by Rachel Talalay, “Heaven Sent” is one of Doctor Who’s finest episodes not just this year, but in its decades old history. Following the episode where Clara seemingly met her end finds the Doctor in his own personal hell, or, more specifically, his own person purgatory. The episode sees him running from a faceless horror, inching along ever changing corridors, under a night sky whose stars are no longer the stars he knows, placing him thousands of years into the future. Working as a reactionary piece to the episode before, as the Doctor achingly works through his grief for his friend over billions of years in solitary, it’s a heartbreaking episode of television, one beautifully shot by Talalay and performed brilliantly by Peter Capaldi, who spends 95% of the episode alone. The ending montage is one of the most inventive pieces of film-making the show has ever done, continuing on a string of great episodes from the season. We have never seen an episode like it from the show, with hints of melancholy, sorrowful instead of the Eleven styled whimsical, that deeply penetrates the series core of a lonely alien who travels space and time, always looking for an audience, always looking for his next companion who he destined to loose, one way or the other. – By Allyson Johnson
Empire – “Pilot”
Thinking of how the series has progressed since its debut makes this pick a bit of a confusing one. However, it would be negligent to not acknowledge the cultural phenomenon that accompanied Empire this year. It’s the pilot where it all started, and viewers became entranced by the Shakespearean drama that engulfs the Lyons family’s daily lives. It threw everything at us in this first episode, and it was impossible to not be curious to find out what happens next. With lively and dynamite performances from Taraji P. Henson and Terrence Howard, they took the soapy drama to a new level and made every crazy (and unbelievable) new twist so much fun. – By Gabrielle Bondi
The season one finale of The Flash was always going to have a tough time making sure all of the storylines played out in a way that was coherent and entertaining, and for a while it seemed like it was going to be a very talky hour of television, with more being said then done. However, once it kicks into high gear, it refuses to relent, and there’s a lot to digest. Eddie sacrifices himself in order to rid their world of Eobard Thawne’s Reverse Flash, a breach is unleashed in Central City, putting everyone at risk with the episode ending with Barry running straight into the wormhole, determined to do whatever he can to save those he loves and protects. However, while the action is strong as usual, it’s the moment where Barry travels back in time to try and save his mom that’s the real highlight of the hour. It’s what the entire season had been leading to and it earns its big, emotional payoff, when Barry makes this crucial and risky choice only to be signaled by his future self to allow his mother to die. It’s heartbreaking to watch, and Grant Gustin gave one of the best of performances so far on the show as he gets a chance to say goodbye to his mom. – By Allyson Johnson
Game of Thrones – “Hardhome”
I don’t think that it’s a reach to say that Game of Thrones season five was a bit of a disappointment. From messy plotting, to more sexual violence towards women, to the show-runners completely disregarding certain plot developments from the books (important ones), it seemed that season five fell in line with the one prior in making book fans frustrated more often than not. However, the biggest surprise of the season came in the form of Jon Snow, who finally lived up to the basic intrigue the character generates in a season where he got tested to his limits, never being as apparent as in the epic battle episode “Hardhome.” Shot with an expansive and cinematic edge, with brutal fight choreography and even emotional poignancy, “Hardhome” was the climatic moment of the season, as well as the very best. – By Allyson Johnson
Gravity Falls – “Not What He Seems”
Spoilers Ahead!
Gravity Falls will end its two season lifespan early next year, but despite its showings from its ongoing Weirdmageddon finale arc most emblematizing the show in its element, maxing out on the oddity and supernatural strangeness that’s accompanied the show since episode one, “Not What He Seems” is the payoff to the forward momentum that drove the show to new heights in the first half of its second season as Grunkle Stan moved forward with his secret plan while Dipper got closer and closer to that and the other mysteries of the Oregon town.
Hannibal – “The Wrath of the Lamb”
As our critic put it, “nobody thought Hannibal would end with pretty rainbows and bright sunrises,” but few could have predicted the bloody, orchestrated and haunting mess that was the finale of the series. Hannibal has always danced on a tight rope between grotesque fairy tale and psychological love story, and the series end (while fans weep over it being truly the end) exemplifies these two halves with exercised delicacy and beauty. There is no subtly in the show, particularly in its last season, and Hannibal and Will falling to their (likely) deaths over the cliff side, embraced in one another’s arms after they’ve killed Richard Armitage’s Red Dragon is about as fitting as an ending as the show could do, leaving audiences feeling completely wiped after the rigorously emotional hour. – By Allyson Johnson
It’s Always Sunny in Philadelphia – “Charlie Work”
For years we have heard of what Charlie works means, from all things disgusting and dirty and a whole lot of rat hounding. It has never sounded pleasant and has always resulted in helping paint Charlie as a more sympathetic character the the rest of his deplorable group. However, in “Charlie Work,” the often put upon character get’s his rare moment to shine, as he prepares Paddy’s Pub for a health inspector visit, doing the work that the gang never notices, keeping them on their feet and employed without them being any the wiser. Amusingly shot in a Birdman type style, in one of the more stylishly ambitious episodes the show has ever done in its ten season tenure, the camera tracks Charlie as he solves one problem after the next, overcoming hurdles set forth by his seemingly useless coworkers. Shot with a refreshingly, stylish eye (especially in comedy), deftly performed by the always scene stealer Charlie Day, and an episode that brings in old characteristics to construct a fresh and new plot, “Charlie Work” isn’t just one of the best episodes of the year, but one of the best episodes in the entirety of the series run. – By Allyson Johnson
Jane the Virgin – “Chapter Twenty”
I have many favorite Jane the Virgin moments, and I love to praise its consistency as a series. However, if I had to pick one entire episode that captures the essence of the series and why it’s so, so good and underrated, it’s “Chapter Twenty.” After revisiting it lately, I found that I liked it quite a lot more than I had originally. The wrestling-themed episode pins Jane vs. Petra vs. Rafael vs. Luisa on and on… It’s one of the few episodes that is a full ensemble effort. It showcases the range of tones Jane balances weekly from fantasy wrestling match-ups that illustrate the show’s trademark magical realism to the emotionally powerful ending that drove home the complicated and difficult situation Jane finds herself in–once again we see just how talented Gina Rodriguez is. – By Gabrielle Bondi
Jessica Jones – “AKA Sin Bin”
This was another show where I was conflicted on just what episode to pick. Plenty other episodes had moments that were worthy of mention, from the hard to watch trauma of the character Hope as she’s bodily carried out of the horrors Kilgrave inflicted on her, kicking and screaming, to the first time Jessica and Luke test their strength on one another. AKA Sin Bin is all of those strong moments stitched together, with one horrific moment following the other. It’s the episode where we see more than ever some of the character’s truest selves, from Jessica’s determination but also desperation, Trish’s loyalty, Hogarth’s cold hearted assertion of others who could be of use of her and, most importantly, we learn that there is no gray areas with Kilgrave; he’s mean, embittered, narcissistic and violent with no sympathy whatsoever for any who stand in his way. Shot with a taut tension from beginning to end, with five final minutes that are stressful, violent and even at the end, exuberant, it brings all of the main players together only to rip them apart before any good comes from the crimes they’ve committed. – By Allyson Johnson
Last Man on Earth – “Alive in Tuscan”
It was obvious from the start that The Last Man on Earth wasn’t going to be a show that only featured Will Forte talking to a soccer ball. However, its pilot provides good on that premise, and what a cast of one and a unique setting for a sitcom can do. The show takes place one year after a virus eradicates the entire human race, with seemingly one exception – a decidedly average man named Phil Miller (Forte) who is slowly driven nuts out of loneliness and reduced to talking to sports balls that he has drawn faces on. The pilot episode uses its setting of an empty America quite well, with some high budget special effects unusual for a comedy and fantastic cinematography. It’s a great example of Forte’s comic and dramatic chops that he can fill a half hour by himself so well. While the episode is fantastic, you wonder as it closes into the third act what direction the show will take.
Of course, we get our answer at the end of the episode when Kristen Schaal drops in as survivor number two, Carol Pilbasian, and immediately becomes the show’s secret weapon. The comic pairing of Forte and Schaal is fantastic in the two subsequent episodes where they’re the only cast members and arguably a show only starring the two of them as the reluctant last couple on Earth is a far more interesting premise than Forte alone or the show we eventually got as five other characters join the cast. While the show continues to be strong, these early episodes (and the first two of the second season, which also feature Schaal and Forte solo) are the show at its quirky, minimalist best. – By Ryan Gibbs
Last Week Tonight With John Oliver – “Online Harassment”
As much as its host disagrees with the sentiment, Last Week Tonight with John Oliver is one of the best journalism outlets on television. Perhaps that’s more of an indicator at the state of American television journalism today, he’s provided his own unique, informative spin on making the news funny since he debuted on HBO in April 2014, by eschewing interviews for longer in depth segments about subjects that usually aren’t covered anywhere else on television.
Perhaps no episode exemplified that better than the June 21 episode, in which Oliver tactfully covers the shooting in Charleston before transition into a frank, wonderful and often very funny segment on online harassment, victim blaming and rape culture. It was one of the strongest segments on the topics I’ve ever seen. That it pissed off some of the worst groups on the internet, including a big one that it barely touched upon, only served to prove the points that were contained in the piece. – By Ryan Gibbs
The Leftovers – “Lens”
In many ways, season two of The Leftovers is partly Nora’s (Carrie Coon) season. While this episode doesn’t carry the show’s biggest twists, what I enjoyed was how many questions it answered and how well the narrative answered them. It’s rare for a show to satisfyingly demystify certain unknown details. What makes this particular episode a favorite is the poised yet unsettling scene between Nora and Erika (played perfectly by Regina King). It’s a match between blame and denial and a true representation of how divergent the feelings that accompany unexplained loss can feel. Nora is impulsive; she reacts immediately and dramatically. Erika is the opposite, making her the biggest mystery of all the show’s characters. – By Gabrielle Bondi
Louie – “Sleepover”
Louie is a television show that is built around our inner most crises throughout life, as seen through the eyes of a mid-aged comedian in New York, and season five showed the consistency of this show’s greatness. “Sleepover” was this season’s best episode as it contains a lot of thoughts about sex, marriage, relationships, and fatherhood into one compact apartment. It’s able to make light of uneasy subject matter and deliver some mild-volume laughs. It’s congruent as it is solemn and loud, due to the nature of this episode. Louie and Pamela’s relationship is also eloquently developed more through a phone call, which is brought to light by Louis C.K. direction and writing. – By Kevin Montes
Mad Men – “Lost Horizon”
I mean, need I say more?
In a fabulous last season, of a series that will go down as one of television’s best, it was time for Mad Men to give it’s characters it’s rightful due. No character had seen more growth throughout the series as Peggy, and as the GIF so beautifully show’s before, she owned her exit from the company that had helped shape her, and the company that she also helped succeed. Peggy, even more than Don, has often been the most intriguing character of the series, and her moment is only a brief one in a long list of them in one of the shows last finest hours. – By Allyson Johnson /Jon Espino
Master of None – “Parents”
I was very close to choosing the equally great “Mornings” for Aziz Ansari’s excellent Master of None, but it was the second episode of the Netflix series, “Parents” that truly encompassed what the show was trying to accomplish, after the series premiere that was middling in tone and humor. Shot stylishly and offering great insight on children of immigrants who can’t begin to comprehend what their parents went through to offer them a better life, the episode doesn’t forget the humor while also adding an extra layer of pathos about the relationships these characters have with one another. – By Allyson Johnson
Mr. Robot – “eps1.8m1rr0r1ng.qt”
Be Warned: SPOILERS AHEAD
It was between this and he pilot for me, with episode eight winning out because it built on all that we’d known since the first episode, the clues we’d managed to work out and the anticipation of what was to come and made an jaw dropping good episode where Elliot finally realizes the truth. SPOILERS!!!! Mr. Robot isn’t real, he’s a hallucination of his dead father, and he’s much further gone than even he ever expected. It’s yet another tour de force performance for Rami Malek in a season full of them with Christian Slater offering some of his best work to date as well. What makes the episode so fantastic isn’t that we were surprised by the reveal-we all pretty much knew that Mr. Robot was a figment of Eliot’s imagination. What makes it great is that by the time of the reveal we don’t care that we knew because the execution is so gripping and emotional that it makes the build up and our knowledge as a narrative tool-that we know something the protagonist didn’t the entire time. – By Allyson Johnson
New Girl – “Spiderhunt”
Season four of New Girl was an reinvigorated version of the Fox series after some stumbles in season three, and “Spiderhunt” showed the series at its very best by creating one of their bottle episodes as the gang search for a spider that’s terrorizing them-Schmidt in particular. Free of the familiar sitcom trappings (for an one half hour at least), New Girl got to do what it does best and focused in on the relationship between the main characters, their different dynamics and what makes them tick, without any of the stumbles of episodes that try to weave in serial storylines and romantic ventures. New Girl is one of the few shows that does best when it does very little with the plot, and instead lets these decidedly odd characters just chill out…well, as much as one can when Jess is pairing people up into different type of spider squads. Hilarious in the wacky way that made New Girl popular in the first place, before the character assassinations of season three, “Spiderhunt” is New Girl nailing their tone and having a hell of a lot of fun. – By Allyson Johnson
Outlander – “The Devil’s Mark”
The final two episodes of Outlander’s first season may be the most controversial and talked about, but “The Devil’s Mark” is the biggest turning point in the series. What made this episode so entertaining is how it touched on all of the genres Outlander covers (romance, drama, thriller, action), in particular the time travel element. Essentially a court-room drama, it was tightly and suspensefully filmed, playing on great performances and the absurdities of the time. It also was the episode the steers the series into its major story arc: Is it possible to change the past? – By Gabrielle Bondi
Parks and Recreation – “Leslie and Ron”
While I don’t know that I’d ever say that the last season was Parks and Recreation’s best, it very obviously is wrought with the good natured humor and earnest heartfelt moments that become customary for the series. Where the season shined however was in “Leslie and Ron”, a near perfect episode of television that was ultimately a two hander between Amy Poehler and Nick Offerman, both doing some of their finest work of the series. Their dynamic has always been one of the shows very best and the episode makes their rift at the start of the season worthwhile. Locked in their old office space together, they’re forced to confront what caused their broken relationship, all of it boiling down to Ron having felt abandoned, something he never would have openly admitted years ago. Disarmingly sweet and heartwarming but also ridiculously funny, the episode plays it close to the heart, deservedly so, with two beloved characters. – By Allyson Johnson
Please Like Me – “Pancakes with Faces”
It seems silly to not go with the premiere of season three which created a mini movie in it’s half hour running time, but it was “Pancakes with Faces” that expertly bridged everything that I adore about this show and also what makes it so drastically separate from it’s contemporaries. The show deals with Claire going to get an abortion, and Josh accompanying her and being the best friend he can be while never loosing what makes Josh exclusively himself. What makes the episode so special is how unremarkable the whole proceedings are. While many shows would take this plot line as an excuse to do a “very special episode”, Please Like Me treats it as normal. Claire still goes through a gamut of emotions, but none of them are guilt. She experiences doubts, she feels sadness over a loss of her innocence and youth, realizing that she is now a grown up with consequences and responsibility. Then, the episode turns around and allows Claire to experience a moment of pure, unadulterated joy, dressed in an old Halloween costume, and smashing a toy city. Please Like Me is a show about young adults doing the very best they can, trying to overcome daily disruptions to their lives, however minute or emotional, with a dash of humor and a lot of heart. – By Allyson Johnson
Silicon Valley – “Runaway Devaluation”
Truthfully, this episode makes the list for the brilliant gag at the end of the episode. After an okay season two premiere, Silicon Valley stepped up its game with this second episode, which was more of an ensemble piece. As quickly as Pied Piper rises to success, it falls in this episode. So when Richard (Thomas Middleditch) gets a call from Hooli’s CEO Gavin Belson, a meeting at a Mexican restaurant commences where Belson offers to buy out Pied Piper. Before Richard can answer, a mariachi band interrupts. The two sit in uncomfortable but hilarious silence. – By Gabrielle Bondi
Unbreakable Kimmy Schmidt “Kimmy Goes Outside”
The pilot of “Unbreakable Kimmy Schmidt” is a great study in how to set up the plot of a television comedy and the background of its lead character while not overwhelming the half-hour with backstory. We meet Kimmy (Ellie Kemper) as she is freed from the doomsday cult she has been held against her will in for the past 15 years. As she does the tour of talk shows with the other women she was held with, she decides that she wants to start her life anew in New York City. From there, the show never uses her naivete and innocence as the punchline. Her unwavering brand of optimism that has allowed her to withstand an unspeakable tragedy – makes the lives of people around her better. The show quickly introduces its quirky-but-lovable supporting cast, and immerses itself in the rapid fire, offbeat comedy that made Tina Fey’s previous series “30 Rock” so beloved. Yet, “Kimmy Schmidt” does not stand as merely Fey’s sequel series to “30 Rock”: It’s its own show, with its own personality and message. It stands as one of the year’s best comedies, and it’s crazy to imagine that NBC passed over this fantastic show to resurrect “Heroes” instead. – By Ryan Gibbs
I’m sure there are plenty of You’re the Worst fans who wished that the entire depression arc with Gretchen hadn’t happened, instead hoping for a strictly comedic episode of television but Gretchen battling with depression is granted us one of the storylines in TV this year. This all begun with “There is Not Currently a Problem” where Gretchen begins to unravel. Taking day drinking to a whole new level, Gretchen barely makes it through the morning sober, and, once she realizes they’ll all be stuck inside for the day, keeping her from distractions, she starts to take it out on those around her. Once there’s no more booze for her to inhale, she get’s mean, ripping into each and every person near her, including Jimmy, before going and curling in a ball in bed. The episode ends with her telling Jimmy she has clinical depression and Jimmy in returning making a promise he can’t keep about trying not to fix her. It’s a very funny episode that also places Gretchen in whirlwind mode, further proving that sometimes comedy is the best venue for serious conversations. – By Allyson Johnson
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