So I feel like I'm putting down the same thing in each one of these. This show is good. There's some faults, but it's still pretty good. Pretty good. It feels like it's coming together. I secretly think this would've been better as a streaming show, which is all true.

But this is a cheerful, I guess, smirk to Olan Rogers and the Final Space crew for effectively playing the long game in a way I don't think anybody noted. So Avocato finally gets the message from Little Cato on the last episode about where he's being held. Of course it's a trap. Everybody knows it's a trap. But it's a trap none the same. It creates a rift where it's Quinn wants to not save him first, whereas Avocato, being a father and a person, cat-looking non-cat person, is like, no, I disagree with that voraciously, and I wish to continue on with that.

So they tie Quinn up, they do. I know Olan Rogers' background is essentially that he was a very good animator at the low budget, I assume, of the internet animation. It's real fun to watch .... Oh, man. I've gotta come up with a new way to talk about this.

So I don't know what really what the point of this whole scene was, where they jump to the planet and then they land on the wrong planet and jump to the next planet, although that does create a pretty funny joke about how ... They're planning loud music so they can't really hear what's being said. Okay, Anyway so to avoid detection they have to jump up, and they're using super high techy, spacey glider suits to jump from planets.

And they land on the wrong planet, which is kind of a cul-de-sac, although I did find the whole joke, the reason they land on the wrong planet just because they were playing music funny as a concept. So, yeah, I explained that twice so I think people will get it. Maybe I'll explain it a third time. And you can't go wrong explaining it five or 20 more times the same thing over and over again. That's how you know I'm a professional reviewer who knows exactly what he's doing and is not some incompetent who's just desperately scrounging around.

Anyway so I feel like a little bit like a black hole seven or whatever. People are allowed that. And Avocato and Little Cato are united, well I mean it's a trap, it's obviously a trap, by Lord Commander. Reunited on his prison planet where there's nobody there but the Lord Commander. So they find Avocato floating, and the Lord Commander, I do have to say Lord Commander seems so powerful. I at times wonder why he even needs an army. Can't he take over the entire universe by himself? He has powers, so that clearly means he could take over the entire universe by himself. A universe then in conflict is so not ... That's lame.

Alright this critique of this episode is really turning into a lot of critiques ... So let's get to the big end game here, where most of my talking points will be about. So Avocato has been mentally possessed by Lord Commander, and they fight and Little Cato is saved by Avocato and all is good until right at the end where Lord Commander attaches a grenade to Little Cato. And when Avocato sees it, he grabs it, I've got a tear in my eye. He saves Little Cato's life by killing himself.

So that is a fricken' huge twist, man. It's pretty clever. I certainly didn't see it coming. I mean they put Avocato right in the opening credits. They made him a friend of Gary's, so that's a clever long game because believe this. TV is a medium constrained by, always has bene a parameter constraint thing, so

what I mean is the kid. If you see someone in the cast list, the cast list is pretty certain. I mean Columbo wasn't gonna get killed at the end of a Columbo episode. That just wasn't gonna happen, but. So it consciously sets up for the fact that a, this is a show that is not interested in playing by the conventional rules of television, even though the set-up is classical science fiction, but its subversion is there.

I still find one of the single most interesting concepts in the show is the evil, villainous leader who is killing everybody is trying desperately to save his life. There's an issue in science fiction where, especially in these sorts of space opera shows, where the emperor figure has no real motivation beyond just wanting to be powerful. And this is true motivation. So the death of Avocato, it's tragic, man. That bummed me out. I was impressed with the narrative switching and manipulation of the whole thing, and it creates an interesting dynamic. You see, the whole time, watching I was like, oh, it's gonna be like ... And is this a nerdy thing? A

It's like that Metal Gear game. Metal Gear Solid, the Phantom. You know, the one where it was essentially a glorified demo I guess not that nerdy, I can't remember all the Metal Gear Solid games off the top of my head, but anyways. I was like, oh, they're gonna do that, where they spend the whole time trying to rescue the hostage, and then they kill the hostage, and it's like a clever way to subvert even my further expectation.

Okay, Olan Rogers. You pulled an Edgar Wright, Okay. So, yeah. So what does this say about the grander state of the world, where science fiction and animation and comedy are all at right now? I don't know. I have a long running theory in my head that we're starting to see less and less pure comedies more often now, and that's an unusual thing if you think about it. I feel the genre lines are so thoroughly blurred it's amazing. So again Final Space is a good show. Really love it. I probably would love it even more if I didn't make this weird, give myself a job of this, but it's great, it's enjoyable. Mooncake forever!