Read Ebook {PDF EPUB} Three to Tango by Chloe Cole Kye Palmer. Kye is a native of southern California and a graduate of Cal-Poly, Pomona. He held the trumpet chair in the house band on the Tonight Show with Jay Leno from 2006-2009 and was heard nightly on NBC. Since then, he has maintained a busy recording schedule including movie and TV soundtracks as well as CDs with major artists. He is a featured soloist on the soundtrack of Clint Eastwood’s J. Edgar and Kareem Abdul Jabbar’s On The Shoulders of Giants . Other movie soundtrack work includes Selma, Jersey Boys, Skating to New York, Gangster Squad, Seven Pounds, Three to Tango, Stuart Little and Man of the Year . Before his tenure on the Tonight Show , Kye toured with the Poncho Sanchez Latin Jazz Band. This included many jazz festival appearances as well as the Wave Fest at the Greek Theatre and a night at the Hollywood Bowl with Eddie Palmieri, Donald Harrison and Joey DeFrancesco. He has also performed and recorded with the widely acclaimed Brian Setzer Orchestra. He appears on the BSO’s Grammy award winning recording of Caravan , the certified gold CD Best of the Big Band, Vavoom , and Boogie Woogie Christmas . Kye can be heard on Ray Charles’ A Romantic Evening at the McCallum Theatre , Diana Krall’s From This Moment On , Michael Bolton’s Bolton Swings Sinatra , LeAnn Rimes’ What A Wonderful World , Rodney Carrington’s Make It Christmas , Matthew Morrison’s Where It All Began and Michael Buble’s It’s Time . Jazz recordings include 1619 Broadway with Kurt Elling, Imaginacion with Bill Cunliffe, No Bounds and Home of My Heart with Chris Walden, Straight Ahead Vol. II with DMQ, and The Clifford Brown Project with Tim Hagans, Gary Smulyan, and Joe LaBarbera. As an orchestral musician Kye can be heard on Chris Walden’s Symphony No. 1: The Four Elements with the Hollywood Studio Symphony Orchestra. Kye has performed live with music legends Bob Dylan, Tom Jones, Tony Bennett, Seal, Stanley Clarke, Helen Reddy, and Joe Williams. He has toured Japan with the Clayton-Hamilton Jazz Orchestra and Europe with Brian Setzer. Other European appearances include guest artist with the HR Big Band in Frankfurt, Germany. Besides his regular spot in the house band, Kye has appeared on the Tonight Show with musical guests Seth MacFarlane, Michael Bolton, Switchfoot, Brian Setzer, Ray LaMontagne, Los Lonely Boys and Natalie Cole. Other TV appearances include Late Night with David Letterman, Good Morning America , The Today Show, The Conan O’Brien Show, Christmas Tree Lighting at Rockefeller Center, Live with Regis and Kathie Lee, Sessions at West 54th , and The VH-1 Fashion Awards . Television soundtrack work includes Mob City, Vampire Diaries, Judging Amy, Beverly Hills 90210 , and jingles for Cadillac, Nissan, Suntory and Hyundai. Kye can be heard playing live jazz with his own group at various Los Angeles venues including The Lighthouse and Vibrato. Regular appearances as a sideman include DMQ, the Edmund Velasco Quintet, the Chris Walden Big Band, and Bill Cunliffe’s Imaginacion. He has also appeared with Gordon Goodwin’s Big Phat Band, Arturo Sandoval’s all star LA big band, and the big bands of Johnny Mandel and Emil Richards. Kye’s compositions can be heard live with several of these groups and his arrangement of Kenny Barron’s Voyage was recorded by Poncho Sanchez and is available on iTunes. As an educator, Kye has taught applied trumpet at USC and Cal-State Fullerton, Jazz Theory and Improvisation at Riverside Community College, and maintained a private teaching studio for students of all ages since 1999. His former students include members of John Mayer’s and Michael Buble’s touring bands as well as a Downbeat college award winner and a Grammy In The Schools band member. As a clinician/soloist he has worked with students and bands at the University of North Florida, University of Memphis, Mount San Antonio College, Riverside Community College, Cal-State Fullerton, and many local high schools. He has also authored several articles on jazz improvisation for the International Trumpet Guild. Strictly Come Dancing announce three hot new dancers joining the show this year after Brendan Cole was sacked. STRICTLY chiefs yesterday unveiled two hunky dancers to replace axed Brendan Cole on this year’s series. Female viewers will get to drool over Italian Graziano Di Prima, 24, and South African Johannes Radebe, 31. Russian Luba Mushtuk, 28, also joins as a new female pro dancer. She has previously been a Strictly backing dancer and has gone on the live tour. She was also pictured in a sauna with ex-Strictly star Louise Redknapp and pals last year. The recruits take the show’s dancers from 17 to 18 — the most ever. Bosses hope it will let them attract a better crop of celebs. Luba Mushtuk. A source on the BBC1 series said last night: “Most celebrity bookings are based on the professional dancers available. “The more pros they have and the more varied, the better the chances of different types of celebrity signing up. “Producers hope it means they can attract all shapes and sizes this time around. It will also mean group dances are bigger than ever — something fans really love. “But it won’t mean a longer series. There will be the same number of shows as last year.” Graziano Di Prima. New boy Graziano, an Italian Latin Champion, has toured the world with dance company Burn the Floor. He is currently dating a fellow dancer, Gianda Lini. Johannes, twice Professional South African Latin champ, has been a pro on his country’s version of Strictly. He called joining the UK series one of his “greatest achievements”. Johannes Radebe. And Luba is a four-time winner of the Italian Dance Championship. She has been pals with Strictly’s Giovanni Pernice, 27, for 15 years. Dancers Kevin and Karen Clifton will also return for the new series in September despite their marriage split two months ago. But ballroom dancer Chloe Hewitt, who joined in 2016, will not be back. MOST READ IN TV & SHOWBIZ. CAREER ON ICE? PRIVATE JET CONFIDENTIAL. NOEL WAY! ANT AND WED. KEPT MUM. MAMA BEAR. Got a story? email [email protected] or call us direct on 02077824220. We pay for videos too . Click here to upload yours. More from The Sun. BLUSHING BRIDE. Boris & Carrie share touching first wedding picture after secret ceremony. FWENDS REUNITED. The Inbetweeners reunion confirmed - but one big name won't be taking part. Moment Chelsea & Man City fans throw punches and chairs in WWE-style scrap. TURF WAR. Travellers row with security guards after 12 caravans pitch up next to £2m homes. Follow The Sun. 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He is a featured soloist on the soundtrack of Clint Eastwood’s J. Edgar and Kareem Abdul Jabbar’s On The Shoulders of Giants . Other movie soundtrack work includes Selma, Jersey Boys, Skating to New York, Gangster Squad, Seven Pounds, Three to Tango, Stuart Little and Man of the Year . Before his tenure on the Tonight Show , Kye toured with the Poncho Sanchez Latin Jazz Band. This included many jazz festival appearances as well as the Wave Fest at the Greek Theatre and a night at the Hollywood Bowl with Eddie Palmieri, Donald Harrison and Joey DeFrancesco. He has also performed and recorded with the widely acclaimed Brian Setzer Orchestra. He appears on the BSO’s Grammy award winning recording of Caravan , the certified gold CD Best of the Big Band, Vavoom , and Boogie Woogie Christmas . Kye can be heard on Ray Charles’ A Romantic Evening at the McCallum Theatre , Diana Krall’s From This Moment On , Michael Bolton’s Bolton Swings Sinatra , LeAnn Rimes’ What A Wonderful World , Rodney Carrington’s Make It Christmas , Matthew Morrison’s Where It All Began and Michael Buble’s It’s Time . Jazz recordings include 1619 Broadway with Kurt Elling, Imaginacion with Bill Cunliffe, No Bounds and Home of My Heart with Chris Walden, Straight Ahead Vol. II with DMQ, and The Clifford Brown Project with Tim Hagans, Gary Smulyan, and Joe LaBarbera. As an orchestral musician Kye can be heard on Chris Walden’s Symphony No. 1: The Four Elements with the Hollywood Studio Symphony Orchestra. Kye has performed live with music legends Bob Dylan, Tom Jones, Tony Bennett, Seal, Stanley Clarke, Helen Reddy, and Joe Williams. He has toured Japan with the Clayton-Hamilton Jazz Orchestra and Europe with Brian Setzer. Other European appearances include guest artist with the HR Big Band in Frankfurt, Germany. Besides his regular spot in the house band, Kye has appeared on the Tonight Show with musical guests Seth MacFarlane, Michael Bolton, Switchfoot, Brian Setzer, Ray LaMontagne, Los Lonely Boys and Natalie Cole. Other TV appearances include Late Night with David Letterman, Good Morning America , The Today Show, The Conan O’Brien Show, Christmas Tree Lighting at Rockefeller Center, Live with Regis and Kathie Lee, Sessions at West 54th , and The VH-1 Fashion Awards . Television soundtrack work includes Mob City, Vampire Diaries, Judging Amy, Beverly Hills 90210 , and jingles for Cadillac, Nissan, Suntory and Hyundai. Kye can be heard playing live jazz with his own group at various Los Angeles venues including The Lighthouse and Vibrato. Regular appearances as a sideman include DMQ, the Edmund Velasco Quintet, the Chris Walden Big Band, and Bill Cunliffe’s Imaginacion. He has also appeared with Gordon Goodwin’s Big Phat Band, Arturo Sandoval’s all star LA big band, and the big bands of Johnny Mandel and Emil Richards. Kye’s compositions can be heard live with several of these groups and his arrangement of Kenny Barron’s Voyage was recorded by Poncho Sanchez and is available on iTunes. As an educator, Kye has taught applied trumpet at USC and Cal-State Fullerton, Jazz Theory and Improvisation at Riverside Community College, and maintained a private teaching studio for students of all ages since 1999. His former students include members of John Mayer’s and Michael Buble’s touring bands as well as a Downbeat college award winner and a Grammy In The Schools band member. As a clinician/soloist he has worked with students and bands at the University of North Florida, University of Memphis, Mount San Antonio College, Riverside Community College, Cal-State Fullerton, and many local high schools. He has also authored several articles on jazz improvisation for the International Trumpet Guild. On Lucifer , it takes three to tango (and solve crime or whatever) After dealing with the rather stressful Cain and Abel saga in “Infernal Guinea Pig,” Lucifer naturally chooses to follow that up with a much lighter episode in the form of “Let Pinhead Sing!” Even Pierce’s mourning—which, to be clear, is mourning another failed attempt at death, not his brother dying again—in this episode is played mostly for laughs. And while that works, the comedy from Lucifer’s decision to trick his dad into thinking Chloe’s not all that important to him (bomb scares, you know?) really falls flat. Which is unexpected, since Lucifer and laughs going together like… well, Lucifer and laughs. "Let Pinhead Sing!"/"The Last Heartbreak" "Let Pinhead Sing!"/"The Last Heartbreak" Episode. Episode. But before getting into the laughs, it’s worth discussing the most serious part of the episode, the Maze/Linda conflict. While Charlotte’s mediation brings a little levity to it, Maze is more than willing to remind Linda and anyone who wants to get involved why it’s not just a little friendly squabble When this storyline began, it was pretty easy to understand Maze’s point of view, even if you wanted Amenadiel and Linda together. Her friend did the one thing she ever asked her not to, simple as that. But as it’s progressed—and especially in this episode—with Linda groveling again and again and making perfectly clear to Maze just how important their friendship is to her, Maze has officially become “in the wrong.” Yes, her behavior is still “understandable,” but Maze no longer has a leather-clad leg to stand on when Linda is buying her an axe (that Maze admires… and destroys) and constantly taking all the blame for this situation. Maze claims she didn’t do anything wrong here, but she also refuses to accept any of Linda’s (or Amenadiel’s) attempts to do anything at all to repair their friendship. I’ve seen some arguments saying that Maze is being “annoying” with her behavior here, but that’s such a surface level reading of what she’s doing and why. Before Linda (and Trixie, who was actually Maze’s first human friend), Maze’s only friend was Lucifer—and we know their relationship wasn’t exactly the stuff typical best friendships are made of. But despite how inhuman their friendship is, Maze at least got to pummel Lucifer to work through her issues with him, and they’ve become better for it. She can’t exactly do the same with Linda, but based on how hurt she is emotionally, she’s clearly realized there are other ways to pummel Linda. The problem is, Linda’s not fighting back and it’s becoming less and less clear what Maze is exactly fighting for. Meanwhile, we have Maze, who has just given up completely when it comes to fighting. And it all begins with his amazingly awful (at least, vocally) rendition of “Dust In The Wind” that he decides to perform in his office. During the day. When everyone at the precinct can hear him. While Pierce had his dryly humorous moments when he was “just” the precinct’s new lieutenant, the Cain reveal and everything that’s come after has been great for both the character and Tom Welling (as well as his talent and time on this show). That greatness continues at Lux, whether it’s in his reaction to Dan’s attempt to bro out—which he basically just accepts as an immovable nuisance—or Amenadiel showing up as Dan’s friend. (They don’t destroy Lux this time, which is progress.) While the Pierce and Maze/Linda stories are easily the strongest of the episode and bump it up a notch, the same can’t be said for the much weaker A-story. That A-story unfortunately brings the episode down, despite even more understandable (to a point) character moments and beats. Lucifer has a good idea at therapy with Linda to stop “poking the bear” known as his father, but when he then decides to change his plan and focus his attention on everyone else besides Chloe, everything quickly falls apart. It’s like he’s all of a sudden forgotten who said father is. (It’s also a dick move, if he really assumes God will just go after anyone he considers special. In that case he’s actively putting others in danger. He’s actively putting Ella in danger!) Lucifer acknowledges in this very episode that his father is all-powerful, yet he still decides to go with the “la la la, I can’t hear you” (“and hopefully you can only hear me sometimes”) approach to things. There’s no way God is going to buy any of Lucifer’s new “relationships,” even if Bob (not Rob) the bodyguard and Pauline the temp do. Lucifer’s tunnel vision often unfairly gets called “dumb,” but in this case, it’s pretty much that. Thankfully, the rest of the episode picks up the slack. Also, because of Lucifer’s course of action, this is another episode that puts Chloe on the sidelines. But at least she quickly calls out why she’s on the sidelines—that he’s pushing her away after realizing just how dangerous the job is—even if it isn’t completely accurate. When all is said and done, Lucifer takes a knife to the chest to save Chloe, so all’s well that ends well. Except that it ends with Pierce asking Chloe out on a date. Kind of. It’s another example of the show stretching its comedic Tom Welling muscle, as he somehow asks himself out as Chloe’s date to the Axara concert. As for the case-of-the-week, it’s surprising it’s taken three seasons for Lucifer to go through the pop star diva episode. Especially since it vaguely introduced such a concept with AnnaLynne McCord in the pilot—and it’s still amazing to realize she was just pilot fodder—and Dollhouse did this concept in its third episode . Really, it’s the conclusion of the case that makes for the most interesting part of this plot. Because while it’s not surprising that the killer is Axara’s assistant CeCe ( Awkward alum Jillian Rose Reed), what is surprising is how affecting her confession scene is. Even more than Axara’s lesson to Lucifer about not letting anyone get in the way of your passion, as true as that is. At its simplest—and the way it connects so deeply to Lucifer— CeCe’s confession is the story of a friend who loved their other friend so much that they’d do anything to prevent them from getting hurt. Even if that friend refuses to protect themself, as Axara chooses music superstardom the same way Chloe chooses to save others (to the point she covers Axara when she’s being shot at). (You can debate if CeCe’s love is more than just on a best friend level, of course.) It’s also technically how Maze felt with Linda/Amenadiel, only her answer was to expose them for the liars they were and then completely cut ties… which proves here to actually be the worse choice. Jillian Rose Reed puts more heart into her confession scene than just “crazy,” making for the best part of an otherwise basic case-of-the-week. And like Lucifer, she’s “tired of sharing” the one she considers to be her partner in this crazy world. Of course, she ends up killing a couple of people and going to prison because of this love. Lucifer doesn’t go that far. Also, we get Lucifer engaging in a reluctant diva duet of “I Will Survive.” I suppose that’s another highlight of this case. Grade: B- Stray observations. After witnessing the “Dust In The Wind” fiasco, how much do you want to bet Pierce has some very obnoxious karaoke go-tos? I frequented a karaoke bar in my early 20s where one guy would always sing Temple of the Dog’s “Hunger Strike.” Pierce is that guy. Ella takes a compliment box around the precinct to make Pierce feel better, and all anyone can say is that he has “nice arms.” I mean, it’s true. There are drag queens in this episode, and they’re really just a footnote. That pretty much says it all. While Lucifer is very fake interested in people this episode, I’ve got to say, he picks the perfect shirt (not just in phrasing but in style) for Ella. Also, in delightful bit of acting from Tom Ellis, when Ella blows Lucifer a kiss and he catches it, hethen secures it properly inside his jacket pocket. Lucifer (opening a door for himself and Chloe): “After me.” It’s definitely the highlight of his attempt to ignore Chloe. Dan: “Lay it on me. I’m here for you, bro.” Pierce: “It’s just life, you know? It’s like this eternal wasteland of meaningless existence. A dark void, staring down at you, like a beaten dog scrounging on the side of the road. Just waiting to get mowed down by the next tsunami of crap.” Dan: “. Wow. Hmm. Maybe we all are just dust in the wind.” Also, maybe Pierce should start seeing Dr. Linda. Maze: “I’ve done a lot of things wrong. Like, a lot. But at least I don’t claim to be the good one. Pretend to stand on some moral high ground. . You forgot the one rule that matters: Hoes before bros.” Linda: “Well, it’s pretty tricky to follow that rule when you seem to have slept with, oh, half of Los Angeles.” Maze: “. Go. To. Hell.” The Axara songs in this episode are Skye Townsend originals, and you know what? The episode-closing “Noreg” is quite the earworm. To the point where there are already a few Lucifer/Chloe fan videos set to it. “The Last Heartbreak” The most important thing to realize about “The Last Heartbreak” is that it all begins the day after the end of “Let Pinhead Sing!” Not just because Lucifer gives up the sling charade (as he’s, no doubt, already healed) rather quickly, but because it means both Pierce and Maze work pretty fast when it comes to their current situations. That’s scarily impressive, when you think about it. Also important is that the episode takes the case-of- the-week and doesn’t just make it metaphorically connect to Lucifer; here, it literally connects to Pierce. Part of the whole immortal cop deal, I suppose, and it gives us a little taste of what Pierce was like during his brief time in Los Angeles in the 1950s. Unsurprisingly, he was like a more personable version of Angel in “Are You Now Or Have You Ever Been.” Tom Welling has always had a “classic” look to him, which is a major reason why he was cast as Clark Kent/Superman in the first place. So it’s only natural for Lucifer to give him some flashbacks to highlight that, especially with his character’s backstory. And like Lucifer with Candy , Pierce has an instant chemistry with Kay (Fiona Gubelmann) in the ‘50s. Pierce and Lucifer mirror each other in a lot of ways, after all. Which is pretty much key for the way Pierce functions, whether it’s having Lucifer relate to him or having Chloe fall for him. Speaking of, those ‘50s flashbacks really work well to set up the eventual twist about Pierce’s true intentions for Chloe, especially in making one accept what they might have already assumed to be a ploy on his part. (I’ll admit, I immediately called him playing Chloe at the end of last week’s episode, only to soften on that because of these flashbacks.) Because as we see in 1958, Pierce had a clear opening to be happy with Kay, which he gave up on because of his “walls” and constant desire to run. But now in 2018, we’ve seen him stay and seemingly lower his walls for Chloe. The flashbacks are supposed to show us how he’s now learned from his mistakes, right? Wrong. Instead, they’re a bait and switch, lowering the audience’s guard about Pierce—even making the audience think an “actual” love triangle is in the works. The same goes for the way he opens up to Chloe on their “second date,” which also reminds us Pierce has had more than enough time to practice how to be genuine. But since the Cain reveal, this season has made it abundantly clear that Pierce has a one track mind, and nothing is going to derail his desire to die. That includes Chloe, whether he actually has feelings for her or not. And assuming “not,” this is a good narrative choice. Because while Chloe Decker is a good character and quite a catch, for another immortal to be so infatuated with her and her “specialness”? So much so that he completely gives up his one mission in life? That would kind of destroy her character. Nothing is good about that one character who is irresistible to everyone they meet (when it’s played straight), and luckily, Chloe is not that. So while Amenadiel’s speech to Pierce about faith in the previous episode is a good one that ends up having a good point (thanks to Lucifer risking his life to save Chloe), there was only going to be one way for Pierce to interpret it. That’s to find a new angle. And boy is Pierce smooth; he even finds out Chloe’s favorite dish from Ella. If it were any other woman Pierce were pursuing, Lucifer would probably even find this all impressive. As for Lucifer, his own myopic behavior in this episode actually works in service of his relationship with Chloe, instead of railing against it. That leads to a lot of “The Detective is mine” behavior, unwilling to “share” Chloe or allow the dynamic between the two of them to shift. But as “The Last Heartbreak” reminds us, the Lucifer/Chloe dynamic isn’t romantic—not right now, as Lucifer still struggles with the concept of God putting Chloe in his path—which requires Lucifer to accept that Chloe’s allowed to pursue that romance with Pierce. On a weaker note though, Lucifer spends the majority of the episode acting like the issue is completely Pierce trying to take his partner… but we already had Chloe worrying about Pierce doing the same thing (trying to take Lucifer) in “Infernal Guinea Pig.” The pushing and pulling of the Lucifer/Chloe partnership has been a big thing this season, and really, it’ll be nice to see it finally stabilize. Meanwhile, Maze has spiraled so far out of control that there’s no way to stabilize her or what she plans to do next. She’s acting out, she’s shutting Linda out, and Dan—who is always in-over-his-head when it comes to Maze—has to be the one to try to rein her in. The guy who is now 0-2 in dealing with issues so far out of his wheelhouse (first with Pierce, now with Maze). But he’s also the only one not directly involved—or brought into the fray, like Charlotte—who even notices something’s wrong with Maze in the first place. This version of Maze is vindictive—this time, bringing up the time she and Dan had a man killed is low—and even more reckless than ever. She’s self-destructive in a way where it’s like she got stuck on the “anger” stage of grief and has no idea how to move past it. But the official point of no return is when she insults Trixie… which Trixie (the only friend she really had left) overhears. It’s pretty stressful to not get a follow-up on Trixie’s reaction to Maze’s harsh words, as is the fact that Chloe has absolutely no idea why (and isn’t even around to understand why) Maze moved out. “The Last Heartbreak” throws a lot at the audience to process, and this plot quickly goes from “fun,” old school Maze to something much more bitter to take. As I noted in my review of “Infernal Guinea Pig,” things with Charlotte have progressed to the point where she needs to know the truth. There are just too many open possibilities for confusion and misunderstandings that the reveal has truly been more a matter of when, not if. (The story has prevented anyone from discussing the “Lucifer and Amenadiel’s step-mom” elephant in the room, but it’s always been a matter of time before it has to come up.) However, Linda does make a very valid argument in this episode, when she points out that she (a well-adjusted human being) “nearly broke” as a result of learning the truth. “Well-adjusted” unfortunately can’t be used to describe Charlotte. But unlike Amenadiel, Linda doesn’t see the way Charlotte reacts to him accidentally info-dumping at her. While it may not be Linda’s secret to tell, it certainly is Amenadiel’s; especially if Lucifer isn’t going to take care of the woman he promised to help in the first place. Again, this episode leaves us wondering what will happen next, after Amenadiel decides to go through with it. Also, there needs to be a celestial-demonic group text message (including in-the-know Linda) for matters such as Charlotte Richards being alive (and not Mom) or Pierce being Cain. You know, for situations like this. Obviously, Tom Welling gets a showcase, but Lauren German plays Chloe’s internal struggle with Pierce’s hot-and-cold status well, and Tom Ellis plays the jealous (but not even appropriately so, considering Pierce’s obvious attachment to the case) Lucifer much better than last episode’s more frantic, ridiculous Lucifer. (Again, Chloe shuts his Lucifer-ness down pretty simply, as she reminds him they’re dealing with a serial killer .) We also get the first post-Amenadiel/Linda break-up scene between the two, which goes from comedy to an intense moral dilemma pretty damn quick. To which DB Woodside and Rachael Harris clearly say, “No big deal.” Also, usually when Maze and Dan have scenes together, they tend to lean toward the fun side of things. But while their exchanges this episode start off that same way, Lesley-Ann Brandt and Kevin Alejandro pull off the more serious beats once Maze gets truly antagonistic and Dan tries to figure out just what the hell is going on for her. Throw in Scarlett Estevez’s Trixie either pointing out strange men in her bed or having her heart broken by her favorite non-parental person in the world, and you’ve got yourself an emotional stew going. Aimee Garcia gets the least to do this week, but Ella still gets to throw out the idea that Pierce/Chloe “boned,” so it works out. And at this point, what can I say about Tricia Helfer’s performance that I haven’t said already in previous reviews? This is such a good episode for everyone, and that extends to the great guest cast (Andrew Leeds, Joshua Gomez, and Fiona Gubelmann). Review: ‘Archer’ Season 6 Episode 2, ‘Three to Tango,’ Brings Some Old Friends to the Dance. Review: 'Archer' Season 6 Episode 2, 'Three to Tango,' Brings Some Old Friends to the Dance. Jan 15, 2015 10:30 pm. Share This Article Reddit LinkedIn WhatsApp Email Print Talk. “I swear to God I had something for this.” (Episode Summary) CIA Agent Slater reappears with a new mission for the ex-ISIS organization, asking them to extract a freelancer in Buenos Aires — but not just any freelancer. Conway Stern, a double agent who’s been a thorn in the agency’s side before (way back in Season 1, Episode 3 – “Diversity Hire”). He again proves himself more trouble than he’s worth, first telling Lana and Archer he needs to obtain precious intel about Central and South American CIA agents before leaving, and then shooting Archer in the back to sell the disk to the highest bidder. Luckily, Lana’s giant man hands come in handy (phrasing!), in slicing the cyborg’s human hand off in a window. Meanwhile, Mallory is convinced she’ll be the adopted parent to baby AJ should anything happen to Lana and Archer, but loses her credibility for the role when she loses the baby. A hunt ensues, with accusations being tossed at most of the office workers, and the gang eventually discovers Kreiger holding onto her. (He claims to have her in order to do market research for some sort of children’s toy he’s calling Cyber Neddly Teddly.) “Bloody Mary, full of vodka, pray for me now…” (Best Drinking Reference) “Oh, good, you’re making me tea. I could use some with honey, lemon, and bourbon. But actually without the honey and lemon… and the tea.” There’s something admirable (as a man) and terrifying (as an adult human) about Archer’s desire for alcohol even under the most dire circumstances. After nearly having his windpipe crushed by Conway, he makes the above plea to Lana, purposefully denying himself anything that would actually help him heal. Well, that’s not entirely true. Bourbon has wonderful restorative powers. “Danger Zone” (Most Action-y Action Scene) Remember when we told you last week to just wait for what’s to come, action-wise? Tonight’s episode is only part of what we’re talking about. Conway and Archer’s first hand-to-hand fight was our favorite, in part due to the bloody brutality that left us more than a bit scared for Archer’s life in the final showdown (we know he can’ die, but damn that was a lot of blood). The energy of the two combatants was played off by Lana’s casual stroll to the kitchen, a shot that paid off visually — since she was the main focus and the brawlers only an afterthought — as well as comedically, given Archer’s above line. Though brief, the slightly shaky cam paired with the musical overture helped make the fight one of the more creative yet — in every way. Plus, we got to hear Archer scream, “Revenge rampage!” (Best) “Phrasing” “I want to know why you don’t want it to be mother.” – Archer *CUT* “Because how do you lose a baby?” – Cyril. “Tactleneck” (Archer Innovation) It’s tempting to credit Kreiger and his dancing teddy bear of terror, but I’ve got to give credit to Archer making himself into a verb during the below exchange between our favorite spy and his baby mama (/the best actual spy): “What are you doing?” “I’m Archer-izing this plan.” “What? No. No. Uh-uh. You cannot make yourself a verb. I will not allow it.” “I’m a verb now, Lana. Deal with it!” This seems like it should have happened long ago, right? It was so natural to the proceedings, I question even writing the previous sentence for fear of a better “Archer” fan discovering an obscure instance from the past where this already happened. I don’t know of it, so for now, we honor this. “That’s like killing a unicorn!” (Best Quote) “It doesn’t strike you as Brazilian minstrel show meets ‘Trading Places’?” – Lana, “Can’t or won’t?” (Analysis) If anything could bring us back from being a little let down that we’re not in Miami anymore, it was a classic episode with all the trimmings. This one was packed to the gills with memorable quotes — as noted by an abundance of them in almost every category above — as well as some genuine plot development regarding baby AJ. Two recurring characters, er, recurred with Conway and Slater, and Mallory showed what kind of vengeful grandmother she’ll be in an otherwise pointless hunt for a lost baby (still funny, though). “Three to Tango” didn’t have the same level of ingenious pizzazz from “Vice,” but it carried its worn weight well.