The Wife:

You guys all remember that car accident whence the Observer allegedly saved Walter and Peter? Well, he actually only saved Walter. Because Peter did done died. And he has no memories of his early childhood at all, because the Peter we know was stolen from another dimension to replace the son Walter lost in this life. Snoo! I thought I’d just get that big revelation out of the way because it was super good. We’d long been discussing that Peter might be a clone or a cyborg like Nina Sharp, but because there’s more than one of everything, he’s actually just his other self. At least, this is what I believe we are supposed to infer from the coin he doesn’t remember flipping, his grave and Walter’s lengthy discussion of how he started looking into parallel dimensions after he lost something very dear to him.

But before that revelation, Nina Sharp, shot at the end of the last episode, is rushed to surgery, requiring lots of specialists because she’s more cyborg than we previously thought. After analyzing the audio recorded by the security camera during her shooting, Olivia et al realize that it was David Robert Jones who shot her. He removed something from her arm, a super cell, powerful enough to make whatever he’s doing unstoppable. Olivia is ready to chase down Bell, but Nina assures her that Bell is not the enemy in this case. Jones worked for Bell 15 years ago, and was fired, so she posits that these actions, The Pattern, are Jones’ way of getting back at Bell. Nina tells Olivia that if she stops Jones, she will arrange a private meeting for Olivia with William Bell.

I know there's a pattern here, but what is it?

I know there's a pattern here, but what is it?

Meanwhile, Jones and his crew are out trying to open up other dimensions, using the super cell to power a device that rips open windows to other worlds. Only it isn’t totally working right, ripping things in half that try to enter or exit. (See: truck missing its back half, soccer player missing half of his body.) Olivia starts doing some hardcore paranormal research and realizes that The Pattern really does form a pattern, a series of incidents radiating out from the places in which Jones tested his ability to break down soft spots in the fabric of the universe. Conveniently, if you rearrange the way you look at those patterns, they form a new one, pointing to Jones’ next target: Reiden Lake.

Walter has been missing while all this has gone down, taking some sweet mind trips with The Observer to graveyards and beach houses and whatnot. The Observer reminds him of Peter’s otherworldly origins by giving him the coin the boy used to flip, asserting that there is more than one of everything. He tells Walter that he should now know what he has to find, and Walter goes searching his old beach house. Peter eventually catches up to him there, remembering at the least that they used to go there when he was a child, and Walter tells his son about all his old acid trips with Bell and how they thought they were seeing other dimensions and spent their lives trying to find ways to access them without LSD. In a box, he uncovers Peter’s other coin, as well as a plugging device that will stop any rifts between dimensions from opening.

I stole you from another dimesion when you were a child, don't you remember?

I stole you from another dimesion when you were a child, don't you remember?

Walter and Peter meet up with Olivia et al at Raiden Lake, where Jones is already working on opening a hole to get to the other side. Peter manages to shut down the hole just in time, which is extremely helpful, as the transporter made Jones impervious to bullets, but not impervious to being sliced in half by straddling two dimensions.

Nina sends Olivia to NYC to meet with Bell, after informing her that Bell’s research with Cortexafam was to allow gifted children to travel in and out of other dimensions without widening soft spots. Bell, it seems, has been hiding out in another dimension this whole time, and after Olivia waits for about eight hours to meet with him and he never shows, she hops in an elevator and leaves. But during the 15th and 16th floors, something weird happens: suddenly, other people appear, and then disappear, and when the doors open, she’s welcomed into a bright, white hallway and taken to Bell’s office . . . which happens to be in one of the Twin Towers . . . in another universe where 9/11 never happened. (But Obama is still president, if the New York Post on Bell’s desk is to be believed.)

This was a great season finale, and I’m very excited for the possibilities for next season. I think there will be a greater focus on the mytharc of The Pattern and interdimensional travel/alternate realities. If there’s one thing J.J. Abrams does really well, it’s peering into alternate realities or altering the time line, and I can see Fringe doing very well down that route.

Questions still unanswered:

  • Why, exactly, is Nina Sharp a cyborg? I mean, I love her even more now that I know she has Kevlar ribs, but since I’m so into cyberpunk now, I’d love to learn more about that.
  • What happened to Peter’s mother?
  • Why did the folks at ZFT do so much experimentation with hybridity and diseases? Are these experiments also to prepare soldiers for the war against people from other dimensions?
  • Everyone seems very fearful of other realities, but if Bell is hanging in one where 9/11 didn’t happen, that somehow doesn’t seem so bad to me. Where are the horrible realities filled with people with no orifices and swamp monster chimera thingies? (Husband Note: The Post did mention a New White House, which may indicate something horrible happened to the old one.)

There are definitely more questions still unanswered, but I’m sick currently and am amazed I was able to lucidly discuss that episode at all. Anyway, I’ve enjoyed geeking out with you all about Fringe, and I think we can all agree that the show has gotten to a really good place and can only get better during its sophomore season.

Until then, I leave you with my favorite Walter line this week:

“We’re trying to plug a hole in the universe. What are you doing here?”

The Husband:

Even in this post-Lost television landscape, I was still damned surprised that Fringe got away with such a slow burn during its premiere season. Did they really do that good of a job keeping me away from learning about these alternate dimensions, a maaaaajor game changer, and how they related to The Pattern? Did they actually trust in the intelligence of its viewers to keep 20 episodes in mind, many standalone and seemingly unimportant?

Between this finale and Star Trek, I am genuinely impressed with what Kurtzman and Orci cooked up. Yeah, the dudes who wrote the fun-but-dumb-as-a-bag-of-hammers Transformers figured it out, along with help from the justly maligned Akiva Goldsman, the man who helped turn the Batman universe into a peacock explosion of neon, codpieces and puns about ice.

And what of alternate realities? Is this show now going to become Sliders? (I actually never watched Sliders, but I do know two things about it. 1. It starred the O’Connell Brothers and my beloved Sabrina Lloyd. 2. It was about jumping between dimensions. Good enough, right?)

And hey, to that jackass that gave me shit for my negative review of The Mentalist pilot and gave me some numbers that the Mentalist pilot scored more viewers than Fringe, I’d like to point out that as of last week, Fringe surpassed that CBS crap to become the highest-rated new series of the 2008-2009 television season. Premiere numbers are one thing, but returning viewers are another, and so Fringe proves that it has legs and drawing power. There’s nothing better than word-of-mouth, especially those words that brought back a good deal of viewers once Fringe realllly got cooking several episodes in. Suck it, hater.

And so, I will leave you with how I began writing about Fringe – with a haiku!

Alternate worlds are

Tricky. Good: David Lynch films.

Bad: James Wong’s The One.

(Wife’s note: Maybe one day I’ll tell you all about the time I spent Easter in James Wong’s living room. I usually don’t get to name drop like my husband the former entertainment journalist does, but I’ve been to James Wong’s house. And that’s fucking awesome.)

The Husband:

Here it is, another installment of Fox’s Animation DOOMMMMINAAAAAAATION!

The Simpsons 20.4 “Treehouse of Horror XIX”

The Treehouse of Horror episodes always tend to be my least favorite of the season save for a few good early ones – Homer’s one inspired by The Raven as well as the aliens taking over human bodies and running for president – so I never really go into them with any real expectations. The jokes are far too telegraphed and the stories never really seem to go anywhere, but I’ll admit that this week I found a few very shiny gems amidst all the bullshit.

In the first story, “UNTITLED ROBOT PARODY,” Bart buys Lisa a Malibu Stacey car for Christmas, much to her surprise – last year he gave her a box of his burps – but soon it is discovered that the toy car is actually a Transformer who turns all of her toys and all the Simpson appliances into Transformers as well, intent on doing battle with their enemies on our soil. Marge convinces the robots not to fight each other, so instead they band up and enslave all of humanity. *yawn*

The best line of the night, though, was in this third.

“Merry Christmas, dad. We bought you three more minutes of oxygen.” – Homer to Grandpa

The second story, “HOW TO GET AHEAD IN DEAD-VERTISING,” opened with a great Mad Men title sequence parody, which while very impressive will probably go over the heads of many Simpsons viewers. The story itself concerns Homer, who during a scuffle accidentally kills Krusty the Klown, piquing the interest of a group of ad men who prey on the image rights of dead celebrities (a different clause than living celebrities). They hire Homer to kill of celebrities one-by-one (George Clooney, Prince and Neil Armstrong) and give him a cut of the advertising profits. Up in Celebrity Heaven (which is different from Regular Heaven), all the dead are pissed and decide to stage a revolution back on Earth. John Lennon’s battle cry?

“All we are saying is let’s eat some brains.”

On Earth, the ghosts/zombies attack, but just before they perish the humans want to know what the one true religion is, to which Krusty replies, “It’s a mix of voodoo and Methodism.” It’s good to know where cartoons stand on that question, as South Park has more than once proclaimed that the one true religion is Mormonism, and Heaven involves spending a lot of time making shit out of empty egg cartons.

You eat the unborn???????

You eat the unborn???????

In the third story, The Simpsons take It’s The Great Pumpkin, Charlie Brown and turn it into “IT’S THE GRAND PUMPKIN, MILHOUSE,” replacing Linus with Milhouse. As with the original tale, all of the children are celebrating Christmas except for Milhouse, who is in the pumpkin patch waiting for the Grand Pumpkin to rise, which gets him a lot of guff.

“Your god is wrong.” – Ralph

When Milhouse’s tears mix with the soil, the Grand Pumpkin rises from the Earth, but when he finds out that we humans carve pumpkins and “roast the unborn” (i.e. pumpkin seeds), it goes on a destructive spree, eating humans and trying to kill the children. Lisa manages to get Milhouse to resurrect another mythical being, a giant turkey, who kills the Grand Pumpkin, only to turn on the children when it finds out what exactly we eat on Thanksgiving.

All in all, I’m just waiting for a regular Simpsons episode next week, and I’ll continue each year to basically ignore their Halloween episode. Does anybody still like these?

King Of The Hill 13.4 “Lost In My Space”

It’s Hank against the Internet. Noticing that a long-time propane customer is buying from a competing service, Hank discovers that it’s because the other service has been advertising and communicating with customers via MySpace. Hank, as usual an ignorant technophobe, does not see this change as posing a problem to Strickland Propane.

“Propane may be a gas, but it’s like a rock.” – Hank

Soon they are losing business, so Mr. Strickland promotes their lazy young female accountant, Donna, to a position as the assistant manager in charge of new media, as she is very knowledgeable about social networking site, viral videos and blogs. Soon, Strickland Propane’s website contains videos of its employees doing very peculiar things – humping propane containers, being drunk at parties, etc. – in order to gain a following and ultimately big business.

Hank is not a happy camper at this change of events – he’s the only assistant manager, dammit – but Peggy tries to inform him of the wonders of the Internet and the anonymity it provides.

“I’m Ted Danson online. People will tell Ted Danson anything. Kahn is manic-depressive.” – Peggy

At work, Hank refuses to blog about his personal issues, and only does so when forced to, simply writing “Donna is an idiot.” Donna’s thousands of MySpace friends gather at Strickland Propane ready to beat up Hank, but they accidentally beat up Mr. Strickland, who quickly fires Donna for all the trouble.

Ah, but Donna has changed the password to their MySpace profile and turns it into an anti-Strickland Propane site, posting angry videos of her screaming, “Death to Strickland Propane.” They can’t track her down, because when she was an employee she never bothered to update the roster, so Hank must read through all of her blogs (once a day for months) to discover her whereabouts. They finally hunt her down to a restaurant and demand that she makes the changes, so she relents and apologizes, weeping that at any job she needs supervision or she’s bound to be a bad employee. Hank educates her that telling everyone all of your thoughts is simply not the traditional way of doing things and that Strickland Propane is a family, and like a family you’re not supposed to share everything.

Once again, another very bizarre moral taught through a very relatable yet seemingly ridiculous premise. It’s a shame that Fox has decided to halt production forever on King Of The Hill – meaning that it will end some time in the 2009-2010 season – but apparently ABC has already shown interest in picking it up when that day comes around. It’d be a shame to lose this show, and I hope it can continue to at least 20 seasons. It deserves it, and I can’t imagine television without new episodes of King Of The Hill.

Family Guy 6.4 “Baby Not On Board”

In a fairly middling but nicely old-fashioned episode – old-fashioned meaning FG before it was canceled (and then returned) – Peter goes to visit Chris at work (welcome back, H. Jon Benjamin as Chris’ boss!) and, after a misunderstanding, threatens to sue the business. Instead, the H. Jon Benjamin character gives Peter a card that gives him one free year of gas, much to Peter’s delight. (One of his ideas? To fly a rocket out of orbit, complete with his goofy giggle that always seems to get me.)

The family decides to use the gas card for better ideas, so they decide to take a road trip to Grand Canyon, but they accidentally leave Stewie behind…but not realizing it until they make a side trip to New York to visit Ground Zero.

“Ground Zero. So this is where the first guy got AIDS.” – Peter

Stewie, home alone, decides to try things he never did before (i.e. that soda-induced sugar rush they showed in every single damned ad for this episode), but then realizes that he needs to work to survive, so he gets a job at McBurgertown. He is ultimately fired for stealing some of the fish sandwiches and vomiting all over the restaurant.

On the road trip, after a very unfunny extended sequence when the whole family sang most of the Bette Midler song “The Rose,” Peter accidentally crashes the car when he sees someone in another car watching television. At the train station, instead of buying tickets he buys some shower curtain rings, leading Lois to completely tell him off. His response, a take-off on John Candy’s big speech near the end of Planes, Trains & Automobiles, gets Chris, in his own response, the biggest laugh of the night.

“Hahaha…movie references.” – Chris

The family finally gets back home, and while the score to Home Alone plays in the background, Stewie realizes that despite all his issues with his family, he knows he can’t live without them.

American Dad 4.4 “Choosy Wives Choose Smith”

Stan is once again questioning Francine’s love for him when he discovers that she was once engaged to be married, but when her fiancé’s tiny plane crashed, she thought he was dead (which ultimately turned out not to be the case) and just continued on with his life, meeting and marrying Stan.

Stan tracks the man down and finds that he is a handsome Montana-based philanthropist cowboy who is just about perfect. He even births calves with John Cougar Mellancamp, who apparently also makes his guitar picks out of sun-dried cow placentas.

Not one to leave anything untested, Stan sets up a situation where he and Roger would take a small plane and fake a crash, wait on a secret CIA island and spy on her via all the cameras he left back at their home.

“I’d rather be acting crazy than feeling crazy.” – Stan

Not long after landing, however, a tsunami destroys the island and the plane, leaving Stan and Roger only a small desert island on which to go slowly insane over 90 long days. While Roger turns a bird into a hat, Stan tries to make a raft out of dead seagulls, then rocks, until he realizes that Roger is actually a great floatation device. They are finally picked up in the middle of the sea by an ocean liner.

When Stan returns home, he sees that Francine has apparently given up hope that Stan was alive and hooked back up with the philanthropist cowboy, but in actuality she was simply leading him on to show Stan that he should never question her love. (Her tipoff that Stan was actually alive? All the huge and very obvious cameras placed around the house.)

In the B-story, Steve decides to take up the cello in order to score with a fellow student.

“Lindsey Coolidge is what we call a cello slut.”

But he has worse things on his mind, as one day when he was playing with a kitten on the street, a car races by and accidentally crushes the cat. Steve tries to help but only gets his face scratched up in the process, so he decides to leave the feisty cat dying on the side of the road.

He soon begins having nightmares about the cat, so he tries again to get the kitty off the road and once again gets attacked for doing so. He can no longer take it.

“Screw you, jerk cat! Son of a whore!” – Steve

This is the point where I have to say that humor involving animal abuse is very much unfunny, unless you do it right. It’s definitely hard to watch a show poke fun at a dying cat when you’re watching television on a couch bookended by two cats of your own. In fact, we have our very own jerk cat, better known by the name of Marlowe Rasputin Douchecat Jerkmeat.

Iz on ur pilowz, prevntn ur sleepz.

Iz on ur pilowz, prevntn ur sleepz.

At his cello recital, Steve rocks his instrument and gets Lindsey’s attention, but then the kitty drags itself into the auditorium, squirming and groaning, and Steve understands, finally, that the cat wanted to be with Steve when it takes its last dying breath. Ah, but not really, for just as Steve embraces the cat, it attacks once again.

It is here that a fundamental concept of comedy comes through – that no matter how tasteless a joke or a concept, if you take it so over-the-top so as to be completely ridiculous it will become funny on its own. This is why I am surprised at how much I laughed when Steve, while fighting with the cat, decides to body slam it several times until it gives up. Like I said, not funny on its own, but AD is going at making the very tasteless remarkably funny despite the fact that you as a viewer know better than to laugh at something like that.

Back at home, Steve finds that his family has taken in the cat, where it can continue to tear out chunks of Steve’s flesh for years to come.

After last week’s dud, AD is hilarious again, and as I’m always a big fan of Steve-centered stories, I was quite pleased with his shenanigans despite the fact that it revolved around dying cats.

The Wife:

The thing I loved most about “Chuck vs. Tom Sawyer” is the fact that the Buy More was once again integral to Chuck’s spy work. I think the episodes that marry the two worlds are often some of the best, and this one came with the added bonus of telling us a little more about the creepy burnout known as Jeff.

Back in 1983, Jeff was on top of the world. He was king of the slackers, rocked a sweet mullet and had a babe on each arm, all because he could play the hell out of an arcade game called Missile Command. Once Missile Command World Champion, Jeff now seems to barely possess any mental faculties and, somehow, holds down a job at the Buy More. His many tasty options in the lady department have been reduced 25 years later to many tasty options from the Buy More vending machine. With a staff full of Jeff-like slackers, Big Mike brings in efficiency expert Emmett Milbarge (Tony Hale) to monitor the staff at the Buy More. In their interviews with Milbarge, all of the Nerd Herders point to Chuck as their leader, instantly putting Chuck under suspicion.

This is not very efficient, Bartowski.

This is not very efficient, Bartowski.

Chuck flashes on a man in black who comes into the Buy More and learns that the man is looking for Jeff. When Chuck brings this news back to Sarah and Casey, they order him to hang out with Jeff in order to learn more about him and figure out why the terrorists are interested in Jeff. Meanwhile at home, Ellie and Awesome are worried about Chuck’s recent reversion to a directionless existence, as he has been using Morgan as a cover for his late-night spy outings. Ellie comes in to the Orange Orange talk to Sarah about what’s going on with Chuck, citing that she’s worried about her little brother, who was only 12 credits short of graduating Stanford when he was expelled, and his capabilities to complete the big plans he started talking about at the beginning of this season when he thought his spy life was over. Ellie grows even more worried when Chuck comes home carrying a wasted Jeff on his back.

Chuck: How about we grab a beer?
Jeff: No, thanks. I could be enticed to grab a dozen beers, however.

Before Chuck was forced to drag Jeff back to his place, he learned about Jeff’s creepy obsession with Anna, as well as Jeff’s former life as a video game champion. Jeff shows Chuck the news footage of his win (which, by the way, was only $100 in quarters and a year’s supply of Slim Jims), Chuck flashes on Mr. Morimoto, the CEO of Atari. When Chuck brings that news to Sarah and Casey, they discover that Mr. Morimoto, creator of Missile Command, also designed programs for the military that could launch dozens of doomsday missiles from a single satellite.

“The guy who created Missile Command commands actual missiles.” – Chuck

Chuck, Sarah and Casey plot to break into Atari headquarters posing as Nerd Herders. After a failed attempt to help the Atari employees repair their computers (riddled with a virus that Chuck himself created), Chuck and Casey bring in Sarah to create a diversion so that they can sneak upstairs and find Morimoto’s missile disarmament codes. They are too late, however, and they find Morimoto listening to Rush and playing his own video game until the bomb to which it’s rigged explodes in a blaze of glory. Before his death, however, Morimoto is able to tell Chuck that the disarm codes are contained on the fabled “kill screen” of the video game.

Chuck then brings Jeff out of Missile Command retirement, thinking that Jeff is the only person now alive who can get to the kill screen and access the codes so that Casey can remotely disarm the satellite, rather than having the folks up at Vandenberg AFB (in lovely Lompoc, CA) blow up the satellite, causing a potential rainfall of horrible flaming detritus that could kill many civilians. Jeff agrees to do this only if Chuck can create a tournament-style setting for him, with all of his fans and Anna in a hula skirt fanning him down. Morgan, jealous of all the time Chuck has been spending with Jeff, refuses to help put on the tournament until Chuck reassures him that he is indispensable to Chuck and that he is the only person in the Buy More with years of theatre tech experience (“Who was a roadie for Mamma Mia four summers in a row?”). Once Chuck and Morgan have set up the tournament within the Buy More and conceded to all of Jeff’s demands, Chuck flashes on the news reporter covering the event and realizes that the terrorists are using a local TV station to control the satellite, to which Sarah immediately heads off to kick some ass.

Maybe we shouldnt have given him all of those Slim Jims . . .

Maybe we shouldn't have given him all of those Slim Jims . . .

As he is about to take the stage, Jeff gets some serious cold feet and passes out, so Morgan introduces Chuck as a challenger to Jeff’s record. (Chuck is so Jewish, by the way, that his middle name is Irving. Charles Irving Bartowski.) Chuck at first fails the game, and when he is heckled by a Rush fan in the audience he realizes that the reason Morimoto had to play the game to Rush’s “Tom Sawyer” is that the song itself is a mathematical formula for how to play the game. Chuck orders Morgan to queue up the song and as Chuck plays along, he finally reaches the kill screen and receives the code. He calls it in to Sarah with 38 second left on the clock. Fortunately, the code works and Chuck has saved the world, Last Starfighter-style, by playing an arcade game really well.

After the tournament, Milbarge, who had been spying on Chuck throughout the episode, is named as the new Assistant Manager of the Buy More by Big Mike. Chuck returns home to apologize to his sister for acting so strangely as of late, and Ellie forgives Chuck immediately because Sarah had told her that Chuck was taking night classes to finish his final 12 credits. Ellie gives him a package to open containing his diploma from Stanford. Chuck confronts Sarah about the diploma, telling her how nice it was of her to make Ellie feel at ease by creating a fake diploma for him. Sarah assures him that it is real, and that she and Casey convinced the dean at Stanford to accept Chuck’s outstanding field service as college internship credit to round out the credits he needed.

All in all, a really good episode where all three of Chuck’s lives (spy life, home life and Buy More life) fused together into one funny and super-geeky plot. Good times. And now, unfortunately, I have Rush’s “Tom Sawyer” stuck in my head.

The Husband:

When the machinations of the plot came into focus, I was sincerely hoping for the Missile Command system to literally be tied to real-life missiles, in which case we’d get a great combination of The Last Starfighter (one of my favorite movies) and Ender’s Game, where video gamers are either recruited or tricked into military service due to their sweet hand-eye coordination and military abilities.

Sittin on the dock of the Buy More.

Sittin' on the dock of the Buy More.

Fortunately, the plot they came up with was just as interesting and a little less derivative, as I love the idea that hidden inside certain Atari games are codes that can change the world. (And hell, Atari did change the world, dammit!) The video gamers of the 80s and the 90s are now the ones in charge of all your money and hold your lives in their hands, so you’d best apologize for bullying them, foo!

There is a bizarre connection, though, that is too specific to be a coincidence, and that is the combination of Atari and the music of Rush. In the s4 episode of Futurama, “Tales of Interest II,” something very similar happens one of the “tales of interest,” which shows as per Fry’s request what it would be like if life were more like a video game. Near the end of the story, Leela looks up and points to the sky in fear.

“Invaders! Possibly from space!” – Leela

Fry, being a video game expert, jumps into a military vehicle and uses his expertise at the Atari game “Space Invaders” to destroy the oncoming extra-terrestrial force coming down toward Earth.

“All right. It’s Saturday night, I have no date, a two-liter bottle of Shasta and my all-Rush mix-tape. Let’s rock.” – Fry

As Fry commands the vehicle and fires lasers into the sky, the song that comes up on the soundtrack is none other than Rush’s “Tom Sawyer,” the very same song that was the key to defeated a very similar Atari game in this episode of Chuck.

I know that Rush’s wild and vocal cult following are definitely those who grew up in the Golden Age of videogames, but I was unaware that it so closely tied into these games specifically. Am I missing some bizarre connection – like Pink Floyd’s Dark Side Of The Moon and its relation to The Wizard Of Oz – that actually exists in real life? Or is this Chuck taking a joke from Futurama and applying it to an actual plot?

Weird, I know. I guess I should listen to Rush more than I do now (which is not at all). I’ve always wanted to get into their music, so I guess this is as good a time as any to start.

And with the episode’s usage of the admittedly sweet-ass Rush song, plus minutes earlier using “The Touch” – the theme song from the animated Transformers movie (you know, the one that’s actually good and not just enjoyable in an ironic way) – Chuck continues to vie with My Name Is Earl as having the best TV soundtracks ever. Whether it’s using Huey Lewis & The News for some geektastic montages or using The Band to wrap up an episode’s theme, both shows really know how to pique the interest of their musically inclined fans.