#tv reaction

[stardxstsleep]

Nelvana shut down after 54 years, this seems like an appropriate response

[callmebrycelee]

9-1-1: REACTION

Last week on the Gay Firefighter Show, the girls were fighting. I’m talking firefighter vs. firefighter, paramedic vs. paramedic, and enough side‑eye to fuel a small power plant. Mud was slung, daggers were thrown, and when the dust settled, there were no winners—because, as the great philosopher Shawn Carter once reminded us, “Nobody wins when the family feuds.” And he was right. Again.

In this edition of 911: Reaction, I’m diving into episode 9x09, “Fighting Back.” The episode first aired January 22, 2026 and comes to us courtesy of writers Kristen Reidel and Lyndsey Beaulieu, with Tessa Blake in the director’s chair.

As always, this reaction is spoiler‑heavy. If you haven’t watched yet, do yourself a favor: bookmark this post, go watch the episode, hydrate, maybe stretch, and then come back for the juicy commentary.

Alright, with that out of the way, lace up your sneakers, roll up your sleeves, and let’s get ready to fight back.

We kick things off with my favorite kind of opening: a montage. Hen, newly diagnosed, sits Denny (Declan Pratt) and Mara (Askyler Bell) down to break the news. Karen and Hen’s mother, Toni (Marsha Warfield), are right there beside her. Hen stays upbeat as she explains that while there’s no cure for dermatomyositis, there are treatments. Karen tells the kids their moms will need their help. Denny immediately declares that he and Mara are “in,” like he’s signing up for a mission. These kids are growing up fast.

Step one: diet changes. Buck shows up with enough produce to open a pop‑up farmers market. “No artificial colors, no high‑fructose corn syrup, no gluten,” he announces. Hen calls it “no fun.” Buck insists avocados and leafy greens can be fun and promises her Omega‑3s will be “off the chart.”

Step two: exercise. Eddie takes over, helping Hen work on flexibility, balance, and range of motion. He transforms Buck’s backyard into a makeshift yoga studio. Christopher (Gavin McHugh), finally making an appearance, informs Hen she won’t be doing yoga at all—she’ll be doing samba.

Step three: muscle control. Hen explains to Maddie that dermatomyositis can affect swallowing and vocal strength. Maddie teaches her how to trill, pulling from her own recovery experience.

Step four: dexterity. Hen tells the kids flare‑ups can weaken her hands, so she needs to stay nimble. Chimney steps in, and the two end up in a thumb war that Hen wins with ease.

Step five: try everything. Ravi introduces Hen to a WBV (Whole‑Body Vibration) machine he found on TikTok, claiming it helps with lymphatic drainage. At this point, the motto is clearly “if it might help, we’re doing it.”

Hen reminds her family this isn’t just her fight—it’s everyone’s.

Step six: have fun. The montage continues: Jenga with Athena, May, and Harry; samba with Eddie; a sardine‑centric meal courtesy of Buck; Ravi wobbling on the WBV machine; knot‑tying with Chimney; trilling with Maddie; planking with Christopher. It’s a full‑team effort.

Hen tells her family that no matter how long it takes, they’re going to “kick this thing’s butt.” Mara tells her she’s “got this,” and the Wilsons gather for a group hug.

Smash cut to two months later. Hen is now in a wheelchair, sitting in her living room, looking completely drained. Toni checks on her and asks if she’s hungry. Hen says no and wheels herself to the couch. She’s so weak it takes everything she has just to move from the chair to the cushions.

And then—we get the title card.

We head over to Cluck N Pluck, a fast‑food chicken joint where the drive‑thru line is wrapped around the building like it’s Black Friday for drumsticks. One customer grows impatient, gets out of her car, and marches up to the first vehicle in line. She assumes the driver is glued to her phone, but the woman insists she’s just waiting for someone—anyone—to take her order.

Our curious customer keeps going, walks up to the drive‑thru window, and peeks inside. That’s when she sees an employee on the floor, twitching like they’re having a seizure. She moves to another window and spots multiple customers inside the restaurant seizing as well. It’s a chilling sight, and she immediately calls 9‑1‑1.

Chimney, Eddie, Buck, and a few unnamed paramedics arrive and are stunned by what they find. Eddie counts twelve customers and employees experiencing seizure‑like symptoms across the dining area and behind the counter. Chimney tells Buck to check for oxygen issues, carbon monoxide, smoke—anything, even spilled cleaning chemicals. Eddie instructs the paramedics to roll the victims onto their sides and warns them not to put their fingers in anyone’s mouth unless they’re willing to part with them. Chimney calls for backup. Buck reports no leaks, no fumes—the building is clear.

Maddie radios in, letting Chimney know the restaurant manager had called earlier to report someone collapsing, but the call cut out mid‑sentence. Chimney quickly pieces it together: one person had a seizure, and everyone else inside mimicked the symptoms. He turns to Eddie and asks if he’s thinking what he’s thinking. Eddie, understandably, is not. It’s a subtle reminder that if Hen were there, Chimney would’ve tossed that question her way—they’re usually in perfect sync.

Chimney explains that the victims are experiencing psychogenic non‑epileptic seizures—a mouthful, yes—which are essentially pseudo‑seizures triggered by witnessing a traumatic event. In other words, one real seizure set off a chain reaction of fear‑induced ones.

Buck suggests they need to find patient zero—the person actually having a true seizure. Chimney agrees: treat that person, and the rest should recover. Buck asks how they’re supposed to identify the real patient in a room full of look‑alikes. Chimney proposes using a FLIR (Forward‑Looking Infrared) device, which detects heat signatures. A real seizure will show up differently than a psychogenic one.

Chimney scans the room and locates the true patient. He tells Buck to check for medical history—a wallet, bracelet, dog tag, anything. Buck finds documentation confirming the person is epileptic. Eddie starts an IV while Buck and the other paramedics tend to the remaining victims. Patient zero is loaded into the ambulance, and the others begin coming out of their pseudo‑seizures.

Buck notices Chimney looking a little down and checks in. Chimney admits Hen would’ve loved this emergency.

Meanwhile, Harry is in his final week at the fire academy, and one of his last hurdles is the Three‑Phase Drill. Phase One: Forced Entry. Harry swings an axe and takes down a door like he’s been waiting his whole life for that moment. Phase Two: Advance. He hauls an inch‑and‑a‑half hose line into the structure. Inside, there’s no vertical ventilation, which brings us to Phase Three: climbing the aerial and breaching the fifth‑floor window.

We also get a familiar face—Captain Thomas (Mark Derwin), who’s been running the academy for years. He’s popped up in “Hen Begins,” “Chimney Begins,” and again in “Kids Today” after Buck recovered from his ladder‑truck injury. Always good to see him back in instructor mode.

Harry’s classmates cheer him on as he climbs the ladder. But instead of waiting for the aerial to get him closer to the fifth‑floor window, he tries to break it open from where he is—and ends up falling onto a small balcony outside the fourth floor.

We head over to the hospital, where Athena and May approach the front desk in the ER to ask about Harry. May spots Chief Simpson (Richard Brooks) coming toward them and tries to get her mother’s attention. The sight of him immediately rattles both of them. Bobby’s death is still painfully fresh, and if Chief Simpson is here, it can only mean one thing in their minds: bad news.

Before their panic can spiral, Chief Simpson quickly reassures them that everything is fine—Harry is fine. He explains what happened at the academy. Right on cue, Harry is wheeled out by a nurse, and Athena and May rush to him. Harry, mortified by their reactions, insists he’s okay. Chief Simpson tells them Harry has a mild concussion. Athena thanks him for coming, and Harry apologizes for messing up. The chief waves it off, reminding him that accidents happen, especially in their line of work.

Athena asks the question hanging over all of them: will Harry still get to be a recruit? Chief Simpson tells her Harry will be taken off duty for 48 hours and needs to rest at home, but he won’t lose his spot at the academy. Athena responds with a flat “Good news,” but there’s no relief behind it. She tells Harry she’s taking him home. When he tries to stand up from the wheelchair, she reminds him of the protocol.

Over at Athena’s, the sergeant confiscates Harry’s phone, reminding him he was told to avoid screens. She also snatches the salami sandwich out of his hands, warning him it can cause brain inflammation. Harry, exasperated, asks what he’s supposed to do. Athena’s answer is simple: rest. She leaves the room—sandwich in tow—and May steps in.

Harry immediately starts venting about Athena hovering over him. He’s convinced she’s secretly pleased he’s stuck at home and away from anything firefighter‑related. May shuts that down quickly. She tells him Athena was terrified when she heard he was in the hospital. Harry admits he knows, and that his mom is nervous about him choosing such a dangerous profession. May points out, gently but firmly, that his accident is proof of exactly that. If things had gone differently, she and Athena could be facing another funeral.

We jump over to the 118, where Chimney is in the middle of scolding Buck for microwaving fish loaf. Buck explains he has a mountain of leftovers because Hen wouldn’t see him when he tried to stop by the day before. Eddie, Ravi, and Chimney all admit they’ve had the same experience. Every time they call or visit, Karen has a new excuse: Hen’s in the shower, Hen’s asleep, Hen has an appointment.

Eddie suggests Hen might just need some time to herself, but Buck disagrees. Isolation doesn’t help anyone heal. Chimney wonders if seeing them is simply too painful for Hen—a reminder of the job she can’t do right now. Buck asks what they’re supposed to do. Eddie says the only option is to keep showing up.

Speaking of showing up, Athena—the human battering ram herself—manages to bulldoze her way into the Wilson house and sit Karen down for a glass of wine. Karen looks mentally, physically, and emotionally wrung out, which makes perfect sense; being a full‑time caretaker while running a household is no small feat. She opens up to Athena about how Hen has shut her out. When Hen got her diagnosis, Karen assumed they’d face the illness together. Instead, nothing is working, and Hen is getting worse.

“Every day, it’s like I can feel her slipping farther away from us,” Karen says. The more she pushes, the more Hen retreats. Athena tells her they need to get Hen “back in the game.” Karen asks if that means pushing harder. Athena shuts that down immediately—“No.” The last thing Karen wants is to become the thing Hen resents. Karen asks what she can do. Athena has a solution: find someone else for Hen to hate.

Our next emergency takes us to the beach, where surfer Dustin (Davis Noir) loads his board into his car and heads out. As he pulls onto the main road, a bloodied man suddenly runs in front of him. Dustin slams on the brakes, and the man collapses, insisting Dustin hit him.

Chimney, Eddie, and Buck arrive and get the rundown from Athena. Dustin swears he didn’t hit anyone, but Chimney reports the guy—who identifies himself as Colt—is in rough shape. Eddie fits him with a C‑collar and checks for movement. Colt can wiggle fingers and toes, but Eddie notes a broken nose, a broken arm, and possibly broken ribs.

Athena and Chimney compare notes. Chimney points out Colt still has his shoes on. Athena notes Dustin’s windshield is pristine. Dustin repeats that he didn’t hit Colt. Athena asks which direction Colt came from, and Dustin points it out.

Athena follows the trail to an alley, where she finds a blood‑smeared skateboard snapped in half and a security camera mounted on a building.

Back at Hen and Karen’s, a physical therapist named Adam (Brennan Elliott) arrives—much to Hen’s surprise. Hen is not amused by the ambush, but Karen plays innocent, insisting Adam comes highly recommended. Hen tries to address the Adam‑shaped elephant in the room, but Karen immediately excuses herself, leaving Hen alone with her new therapist.

Meanwhile, Athena visits Colt (Ty Chen) in the hospital to get his side of the story. Colt sticks to his claim that Dustin hit him. Athena tells him that’s not true. Colt says things are fuzzy, but he remembers being jumped from behind by a “big dude”—maybe two. Very vicious. Athena walks to the window, opens the blinds, and reveals a young woman staring back at him. She asks if this is his attacker. Colt’s heart rate spikes.

We then see the footage from the alley. The young woman—Maggie (Zinnett Hendrix)—is absolutely pummeling Colt after he tried to snatch her purse. Colt immediately asks to call his lawyer.

Out in the hallway, Athena tells Maggie she has a mean left hook. She asks why Maggie didn’t just give up her purse. Maggie explains she’s had a day. We get a montage: her awful boss yelling at her, her even‑worse boyfriend dumping her, two women bumping into her and spilling her coffee. Then Colt tried her. Maggie tells Athena that sometimes you have to fight back. Athena agrees.

Back at the Wilson residence, Adam guides Hen through mobility exercises. She’s struggling, but Adam stays relentlessly encouraging. He asks for one more set; Hen protests. Adam tells her it’s okay if she wants to punch him. Hen insists she doesn’t. “Not even a tiny bit?” he asks. Hen finally admits—yes, she does want to punch him.

Over at Athena’s, a very moody Harry gets ready to return to training while giving his mother the silent treatment. And listen, I have to say it: I really don’t like Harry. Nothing against the actor—this is purely a character issue. I realized my dislike back in season two when he mouthed off to Michael during the earthquake. Then he was thrilled his school got damaged, disappointed the bomb squad’s detonation wasn’t more dramatic, and later mouthed off to Athena right before she slapped him and got abducted by the serial rapist. When the show wrote him off in season six, I was relieved.

I thought maybe I’d soften now that Elijah M. Cooper is playing him, but older Harry is somehow even more insufferable. I genuinely don’t understand why he can’t grasp why Athena might have reservations about him becoming a firefighter—especially when May keeps spelling it out for him.

Anyway, Harry finally speaks to Athena and tells her he’s fine and heading back to training. She gently reminds him he can take another day if he needs it and even offers to get a doctor’s note. He gives her a quick kiss before leaving.

Back at the academy, Captain Thomas selects Harry for the Three‑Point Drill. Harry looks up at the ladder and immediately starts to panic. We see flashes of Bobby’s gravesite—he’s clearly overwhelmed. Captain Thomas checks in, and Harry says he’s dizzy. To my surprise, Captain Thomas is incredibly sympathetic. He dismisses Harry for the day, tells him to rest, and reassures him they’ll try again tomorrow.

Back at Hen’s, Toni drops by. Hen struggles to open a jar of pickles, and Toni steps in to help. Hen is frustrated by how hard simple tasks have become. Toni reminds her that her sessions with Adam are working, even if she doesn’t want to admit it.

Meanwhile, Harry shows up at Buck’s place asking if he can hide out there. Buck immediately shuts that down if the goal is avoiding Athena. Harry says he’s hiding from his shame. He tells Buck about panicking during the drill. Buck explains that’s the whole point of training—it’s better to panic now than in the field. He tells Harry it’s normal to be scared. “What makes it brave is that you show up anyway.”

“Is it brave or is it selfish?” Harry asks.

He wonders what happens to “them”—meaning Athena—if something happens to him. He admits he doesn’t want to be the reason she has to plan another funeral. Buck tells him he can’t think like that. Harry says that’s all he can think about.

Back at the Wilsons’, Hen greets Adam at the door and proudly tells him she’s making progress. Adam is glad to hear it but reminds her progress isn’t always linear. Hen is ready to start her exercises, but Adam suddenly clutches his chest and collapses.

Hen immediately gets out of her wheelchair, turns him onto his back, and begins chest compressions, pushing through her own exhaustion. She calls 9‑1‑1 and tells them she can’t continue CPR.

Paramedics arrive, intubate Adam, shock him, and get his pulse back. As they wheel him out, Paramedic Julie Rosen (Gilli Messer) helps Hen back into her chair. Before leaving, she tells Hen that everyone is pulling for her.

Buck stops by Athena’s work to talk about Harry. He tells her about Harry showing up at his place after being sent home from the academy. Buck doesn’t think anything is physically wrong—he thinks Athena has gotten into Harry’s head. “Not that you did it on purpose,” he clarifies. “I think the accident and your response to it scared him, but not for himself. Scared him for you.” Buck tells her he doesn’t want to see Harry walk away from something he loves and regret it later.

Hen, meanwhile, talks with Toni about Adam. She’s devastated that after fifteen years as a paramedic, she couldn’t give him basic life support. Her body simply wouldn’t let her. Toni reminds her that the paramedics arrived in time and Adam is going to be fine. Hen says she wants to get back to work, back to her life—but what if that part of her life is over?

Toni tells her she’s always been impatient. She grabs Hen’s old diary and reads from it—much to Hen’s horror. The feelings Hen wrote about after being shot as a teenager mirror what she’s feeling now. Toni hands the diary to her so she can read it herself. She tells Hen that the girl who wrote those words was tough, brave, and resilient. Hen insists she had more strength at sixteen than she does now. Toni disagrees. She reminds Hen that her recovery back then took longer than expected and was incredibly hard—but she made it through. She tells Hen she’s still that same fighter. (Toni Wilson remains a treasure.)

The next morning, Athena storms into Harry’s room, throws open the curtains, and tells him to be dressed in fifteen minutes. She drives him to the academy and tells him she wants him to quit—getting older. She wants him to go back to being a kid. She reminds him how, when he was little, he begged her not to go to work, begged her to quit. She’d feel awful leaving him, but once she got to work, she’d push that feeling aside. She tells him that if he’s going to do this job, he has to drown out fear and doubt. Those things cause hesitation, and hesitation can be deadly.

“We don’t put on that uniform so that we make it home. We put it on so that others will. And if we do that well enough, without fear or self‑doubt, then maybe we get to make it home, too.”

Harry admits he didn’t think about how hard this would be—for him or for her. He’s following in the footsteps of a man whose job took him away from her. Athena reminds him that was Bobby’s path, not his. He says he doesn’t want her to worry. Athena tells him she needs to worry about what she needs to worry about. And he can’t carry anyone out of a fire if he’s already carrying her on his back.

Back at home, Hen continues reading her diary. She finds a note she wrote to her future self. In it, teenage Hen acknowledges her pain but refuses to fill the pages with it—she doesn’t want her future self to see only that.

“A terrible thing happened to you, Henrietta Wilson. And that could have been the end of your story, but it wasn’t. It was the start of a new one. The world knocked you down and tried to keep you there, but you refused to stay put. Even on the days you really wanted to. So yes, you’ll always be the girl who got shot. But you’ll always be the girl who lived and can do anything she sets her mind to.”

Harry returns for his final day of training and completes the Three‑Point Drill. His classmates cheer from below. Later, they celebrate around a bonfire

The final scene takes place at Harry’s graduation. Chimney tells Eddie they need to save two seats. Right on cue, the elevator dings and out step Hen—on a walker—and Karen beside her. Chimney, Eddie, Ravi, and Buck light up when they see her. Hen explains she showed up because she wants everyone to see she is making progress and she is getting better.

Chief Simpson launches into another speech—his fourth, if the tally is correct. He spoke at the medal ceremony for Buck, Tommy, Hen, Chimney, and Eddie; he spoke at Bobby’s funeral; he spoke when Chimney became captain. The man stays booked and busy.

Harry accepts his certificate, and Athena pins his badge to his uniform. Afterwards, he checks the board for his station assignment. Chimney says he already knows where Harry is headed. Buck hands Harry a helmet—Station 118. Harry is stunned. Chimney welcomes the new probie.

The end.

This was an incredible episode and a breath of fresh air after last week’s somber tone. I appreciate that the writers are being realistic about Hen’s prognosis. Dermatomyositis isn’t something you bounce back from overnight. There’s no magical cure. Hen will have to take her time, fight for every inch of progress, and accept that she may never return to exactly who she was before. That uncertainty makes her journey compelling, and I hope the writers truly commit to it instead of dropping it the way they did her medical school arc. There’s so much potential here.

I also hope we see more of Adam. It was refreshing to watch Hen interact with someone outside her usual circle—and, let’s be honest, Brennan Elliott looked fantastic in those physical therapy scrubs.

Harry’s storyline wasn’t my favorite, but I’ll admit the scene with Buck and the scene with Athena at the academy were standouts. Athena always tells the truth, even when it’s uncomfortable, and Harry needed that reality check. I’m cautiously curious to see how he handles being a probie, because stubbornness and firefighting don’t always mix.

The emergencies this week were fun and engaging, especially the purse‑snatcher case. That one was a delight.

As for ratings, I’ve been toying with the idea of a scoring system, and I think I’ve landed on it: sirens. One siren means the episode was trash; ten sirens means it was top‑tier television. For this episode, I’m giving it seven and a half alarms. The only real downside was the Harry storyline—and that’s mostly because the character and I just don’t vibe. Everything with Hen was absolute chef’s kiss.

Next week’s episode is called “Handle With Care,” and the description promises Harry on his old shift and Hen and Eddie dealing with legal fallout from a former patient. That sounds juicy, and the new episode is only a few days away. So join me next time for that recap.

Until next time …

[1mnobodywhoareyou]

after just over three years of playing the soundtrack and just over a year of mom in hyperfix with more intensive soundtrack playing, the child (8yo) finally agreed/asked to watch julie and the phantoms

some notable reactions from ep 8 and 9:

unsaid emily: "i just about cried for the whole song" *request for snugs*

after julie and luke try to hold hands: "oh wait, he's air! julie, he's air!" (@60sec400 would be so proud)

after luke gets jolted and hits the pillar in the porch scene: "BONK!" (y'all i cannot understate how hilarious this reaction was in real time)

yelling at willie about how alex doesn't like that nickname

julie in the alley at the orpheum: *crying* "okay the last few episodes are actually really sad"

magic ghost hug: *indecipherable babbling*

"mom can you check to see if there's another season?"

[yourheartbeat]

heartstoper 2.06 reaction

[aangarchy]

A list of my favorite reaction channels on youtube! Not all of them are big channels, and it really is a mix of all kinds of people. Some also don't really do reactions but commentaries (aka they've seen it before and will analyse it or do a singalong, it feels like ur watching a movie with a friend basically. I'll clarify who does what)

OBG reacts (first time reactions)

Nikki and Steven react (first time reactions)

The Normies (first time reactions but sometimes movie commentary)

Blind Wave (first time reaction + in depth discussion)

Trin Lovell (50/50 of first time reactions and commentary)

Brad Evans (first time reactions, and occasionally commentary)

Welchy (first time reactions)

Aaron and Jo (first time reactions, tv show commentary of reality shows)

Rival Reacts (mainly subscribed to him bc he's dutch, like that's a homie, he does first fime reactions)

The Pink Popcast (50/50 mix of both)

Dylan Is In Trouble (is now mostly active on his other channel Ooga Booga, but mostly commentary and occasionally a first time reaction)

ItsAPrimate (first time reaction)

Harry Allen (first time reaction, mostly to lgbt media)

Heroes Reforged (first time reaction)

White Noise Reacts (first time reactions, have a dedicated animation reactions channel)

Natalie Gold (first time reaction)

Nics&Nacs (50/50 mix of both)

Pretty Much It (commentary)

Rebecca Rose (first time reactions)

Ricky Reviews (first time reactions, also mostly to lgbt media)

SebScreen (first time reactions, but with him i sometimes truly do wonder if he really hasn't seen it before. He's funny either way)

Sophia Phan (commentary and sing alongs)

Stephanie Best (commentary and sometimes first time reactions)

The Movie Budz (commentary)

There's others that I check out occasionally but i'm not subscribed to, like Movies In Depth, ItsAng, Thor Reacts and TimotheeReacts. There have also been people that i was subscribed to in the past but unsubscribed to bc they either got boring or said something offensive, but i forgot their names lmao

[divinagpena]

https://youtu.be/qlhu30tK9jk

[callmebrycelee]

9-1-1 REACTION

Dear loyal readers, please forgive me. It just occurred to me that I never actually wrote a reaction to the mid‑season finale—so let’s fix that. We’re only a few weeks away from our favorite firefighter/police drama returning from its holiday hiatus, and despite the lingering complaints from fans still bitter over Bobby’s death last season, I’ve genuinely enjoyed what season nine has offered so far. And listen, I get it—I miss Bobby, and by extension Peter Krause, too. But his departure has opened the door to richer character dynamics and fresh storytelling opportunities.

With that said, let’s finally talk about the episode I neglected to cover when it originally aired. “Family History” debuted on November 13, 2025, on ABC, written by Taylor Wong and directed by Maggie Kiley.

Spoiler alert: If you haven’t watched the episode yet, consider bookmarking this and coming back once you’re fully caught up. Now, let’s dust off the old photo albums and dive into some Family History.

The episode opens with Chimney hunched over a stack of paperwork. Maddie comes home early from her book club and immediately asks what he’s up to. Chimney explains that the Chief wants his input on the three finalists for the new 118 captain. Maddie asks if he has a favorite, but he admits he doesn’t—each candidate is impressive in their own way.

Maddie responds by grabbing a photo of Chimney and teasingly suggesting that he is the best choice for the job. Chimney shuts that down quickly. He insists he can’t be the new captain. Maddie reminds him that the role has already been offered to him, and that he’s essentially been doing the job for months. Chimney reveals that he already told the Chief he wasn’t interested. None of the current candidates feel like they measure up to Bobby, and the idea of officially stepping into that space feels overwhelming.

Maddie gently pushes back. Maybe he should stop thinking about what he wants and consider what the team wants. Chimney hesitates. Being interim captain is one thing—but making it permanent is huge. What if the dynamic shifts? What if the others resent him for even attempting to fill Bobby’s shoes?

Maddie reassures him: no one can replace Bobby. But that doesn’t mean Chimney hasn’t earned a place of his own. When he asks whether she really thinks the others would feel that way, Maddie doesn’t hesitate. Yes. They’re his family.

Speaking of family, we’re next introduced to Libby (Monica Azcarate) and her boyfriend Austin (Brendan Bradley). They arrive at a park where Austin’s entire family has gathered. Libby is determined to make a good impression on the Miller clan—she’s even memorized everyone’s names ahead of time. Austin warns her that his family is very competitive, a fact that becomes immediately obvious during a heated game of tug‑of‑war.

In the middle of the chaos, Libby starts choking, but no one notices because they’re too focused on the game. She manages to perform the Heimlich on herself, and just as she coughs up the obstruction, the rope snaps—sending several family members tumbling and resulting in multiple finger injuries.

The whole sequence has the energy of a horror‑movie cold open. It’s easily one of the most intense and stomach‑turning accidents the show has staged.

Cue the title card.

Libby calls 9‑1‑1, and the 118 are dispatched. When they arrive, Buck asks if anyone has ever been to a family reunion. Eddie says yes—his Uncle Tito once tried to sell him a time‑share. Buck suggests the Buckleys and the Hans should host a joint reunion, but Chimney shuts that down immediately.

At the scene, the extent of the injuries becomes clear. Austin’s dad has lost all ten fingers. Austin himself is missing a few. His cousin has lost her ring—and the finger it was on. Chimney takes command, barking out orders. Eddie mentions he’s seen something similar before. Hen assumes he means Afghanistan. Eddie clarifies: no, the Boy Scout Jamboree.

Buck, naturally, ends up on finger‑retrieval duty. Why is he always the one tasked with collecting stray body parts? Libby eventually finds the cousin’s ring—and the missing ring finger attached to it. With so many injured family members, Hen announces they’ll need to be transported to different hospitals.

Chimney asks Buck if he still wants to organize that family reunion. Buck decides he’s good.

Back at the station, we find Hen examining her hand, convinced she’s developed a rash. Eddie takes a look and says it seems allergic. Hen wonders if they’ve switched glove brands, but Eddie assures her the gloves are the same as always. Buck, ever the wellness enthusiast, suggests beef tallow because it’s “super hydrating.” (Side note: I also caught a hint of Oliver’s British accent slipping through here.)

Hen immediately vetoes the beef tallow and says she’ll just take an antihistamine—right as Chimney walks into the locker room. He announces that he wants to commend the three of them. Hen asks… for what? Chimney proudly declares it’s for an excellent shift and tells them it’s an honor and a gift to lead the team. The whole moment is painfully awkward, and thankfully he exits before it gets even stranger. Buck and Eddie stare after him, baffled. Hen decides that must have been Chimney’s attempt at being inspirational. The three of them scatter before he can try again.

Meanwhile, Harry shows up at Buck’s house with a letter from the LAFD—an invitation to take the entrance exam for the fire academy. Buck asks if the department was recruiting at his high school, and Harry drops the bomb: he dropped out. His mom and sister already know, but this is news to Buck, who’s clearly thrown. He asks when Harry applied. Harry says it was the day after he did the ride‑along with Buck and the 118.

Buck asks if Athena is mad at him. Harry assures him his name has never come up—and also admits Athena doesn’t know about the invitation yet. Buck says he’s starting to feel like an accomplice. Harry insists he isn’t hiding anything; things are just complicated between him and Athena right now.

Harry says he’ll tell his mother if he gets accepted into the academy. Then he explains why he came to Buck in the first place: he wants to do this on his own, but he needs Buck’s help.

Over at dispatch, Maddie takes a call from a frantic mother who reports that her daughter is unconscious and unresponsive, with an empty pill bottle beside her. Athena arrives on scene, announces herself before entering, and finds the woman and her daughter in the girl’s bedroom.

Athena asks the mother—Cynthia (Corbin Reid)—whether she knows what her daughter, Alicia (Amina Alzouma), took. Cynthia doesn’t. Athena instructs her to tilt Alicia’s head back while she administers Narcan. As Athena urges Alicia to come back to her, the moment triggers flashes of her trying to revive May after her suicide attempt, underscoring just how personal this call is for her.

Alicia regains consciousness just as the LAFD arrives. Athena steps aside so the paramedics can take over. Cynthia thanks her, but Athena is visibly shaken.

At the hospital, Alicia explains that she’s been receiving anonymous bullying messages. They started with insults like “you’re stupid” and “you’re ugly,” but escalated into far more harmful language.

Cynthia tells Athena she reported the harassment to the school and Alicia’s guidance counselor, but was told nothing could be done. Athena asks to see the messages. Alicia hands over her phone. The most recent text reads: I don’t know why you even bother to get out of bed. Nobody likes you. Nobody cares about you. It wouldn’t matter if you were gone.

Cynthia speculates that the texts aren’t coming from a stranger—they’re being sent by someone Alicia knows. Athena asks if she has any suspicions. Cynthia admits she does, but nothing she can prove. She explains that Alicia used to be part of a clique of mean girls. Alicia quietly adds that she stopped hanging out with them because she began to distrust them. Now she doesn’t know who she can rely on. Cynthia reassures her that she can always trust her, and that they’ll get through this together.

Athena tells them she’s a mother too, and she’s been in their shoes. She promises she’ll find whoever is behind the bullying.

We then meet Kelsey Landis (Jill Lover) and Dr. Brett (Ben Levin). It’s Kelsey’s 40th birthday, and she’s celebrating by getting a full‑body elective CT scan at Dr. Brett’s medical spa. She’s clearly nervous, but Dr. Brett insists there’s “no greater gift than peace of mind.” He injects a “simple imaging dye” and tells her to lie back and relax. As the scan begins, Kelsey says she feels strange. Dr. Brett assures her the lorazepam will kick in soon.

Kelsey begins having an adverse reaction, but Dr. Brett is distracted by a phone call. When the imaging finishes, he returns to find her face severely swollen and immediately calls 9‑1‑1.

The 118—Chimney, Buck, Hen, and Eddie—arrive to find Dr. Brett performing chest compressions. Buck takes over while Eddie checks her vitals and reports a barely detectable pulse. Chimney asks what Kelsey came in for, and Dr. Brett rattles off a laundry list: labs, EKG, ECG, chest X‑ray, full‑body MRI, CT scan, genetic screening. It’s… a lot. He proudly calls it the “Peace of Mind Package.”

Hen discovers that Kelsey’s airway is closed. Chimney asks whether Dr. Brett administered epinephrine. He says no—he gave her lorazepam. Eddie bluntly tells him he made things worse. Eddie administers epinephrine while Hen works to open the airway. She notices hives, and Chimney explains that Kelsey is having an allergic reaction. Dr. Brett is confused—he told her to fast for six hours. Kelsey flatlines, and Eddie resumes compressions.

Dr. Brett hands Chimney the release form Kelsey signed. Chimney notices the family history section is blank and asks if he used contrast dye. Dr. Brett says yes—it’s standard. Chimney explains that contrast dye allergies occur in about one in a hundred patients. Hen adds that a reaction this severe is closer to one in a million and could be hereditary.

Kelsey goes into asystole. Dr. Brett tells them to shock her. Hen shoots him a look and reminds him that you can’t shock asystole. Eddie gives a second dose of epinephrine while Buck continues compressions. Hen eventually trades places with him, but nothing works. Kelsey is gone. Chimney instructs the team to load her onto a gurney so a hospital physician can officially call the time of death.

As the 118 prepares to leave, Dr. Brett stops Hen and asks if she’s okay—he noticed her hand trembling. Hen stares at him, incredulous, and asks if he’s trying to diagnose her. He insists he’s only trying to help. Hen shuts him down, telling him he’s not a doctor—he’s a salesman. Then she twists the knife: he makes a living scanning people… and their credit cards.

Some time later, Buck and Harry arrive at an LAFD training facility. Buck reminds him that firefighting isn’t just a job—it’s a calling—and Harry’s journey starts right here. Harry is all enthusiasm and immediately asks what they’re doing first. Cue the montage. A training montage. The best kind of montage.

We see Harry sprinting up a hill while Buck follows behind in his truck. Buck blows a whistle, and Harry drops for fifty push‑ups. During sit‑ups, Buck grills him about why he wants to join the LAFD. Harry says he wants to make the world a better place. Buck blows the whistle again and deadpans, “Are you planning to be a firefighter or Miss Universe?” Classic Buck.

Next, the two spar while Buck outlines the application process. There are multiple whistle blasts. (Note to self: Evan Buckley should never be allowed near clipboards or whistles.) More running, more push‑ups, more bench‑pressing.

After a grocery run, Buck brings Harry back to his place for some hands‑on training in the kitchen. He puts Harry to work kneading pizza dough, insisting it’ll help with grip strength. We also see Harry tackling the same obstacle course Buck faced back in season three when he was trying to get recertified after his accident.

More kneading, more hose‑carrying, more rope work. By the end of the montage, Buck tells Harry he thinks he’s ready.

We then head to the LAPD, where Athena is meeting with the clique Alicia used to hang out with. She reads through the awful texts, and each girl denies sending them. Athena—and we—learn the messages started right after summer break, during the first pep rally of senior year. Since then, over 4,000 texts have been sent. One girl mentions that Bailey, Alicia’s former best friend, even wondered if Alicia was sending the messages to herself.

Athena tracks down Bailey Thompson (Kitana Turnbull) and asks to talk about Alicia. Bailey says they’re no longer friends. Athena mentions hearing about a falling‑out over text messages. Bailey bristles at being questioned by a cop but hands over her phone and even gives Athena her password. She insists she’s not the bully and tells Athena to look for herself.

Athena—and we—learn it wasn’t Bailey who ended the friendship. It was Alicia. Bailey’s tough exterior cracks as she asks if Alicia is okay. Athena says she’s having a rough time and suggests Bailey visit her. Bailey agrees.

Over at Hen’s place, our resident paramedic is on the phone grilling her mother about their family medical history. She ends the call, stands up—and collapses. Hours pass before she finally comes to, her phone ringing beside her. She calls Karen back and lies, saying she got stuck at work and won’t be able to meet up with her and the kids.

Athena invites May over for charcuterie—not a home‑cooked dinner, but something low‑key—and some overdue mother‑daughter bonding. When May accidentally spills wine on Alicia’s file, conveniently left out on the coffee table, she notices the log of text messages. Athena explains they were sent to an 18‑year‑old girl who’s been relentlessly cyberbullied, and that the girl recently attempted to end her life.

May assures her mother she’s okay. Athena says she knows. But May points out that they never really talk about her attempt. Athena insists they have. May gently clarifies: she has talked about it, but Athena never has. Not directly. Not in nearly ten years.

May asks if Athena left Alicia’s file out on purpose. Athena admits that whenever she thinks about that time, it breaks her heart. She hates that May was in so much pain and she didn’t see it, even though they were living under the same roof. She apologizes for not noticing.

May tells her that what she remembers most isn’t the pain—it’s waking up in the hospital and seeing her mother’s face. In that moment, she knew she would be okay, because the one person she needed most was right there. Athena promises she will always be with her. But as soon as she says it, she flashes back to Cynthia saying something similar at the hospital. The realization hits her. She looks at May and says she knows who’s been cyberbullying Alicia.

Back at the Hughes residence, Athena returns to speak with Cynthia. Cynthia immediately asks if Bailey is the one sending the messages. Athena says no—she checked Bailey’s phone and found nothing. Cynthia insists Bailey must have deleted the texts. Athena explains she isn’t looking for messages. LAPD subpoenaed Phantom Phone, the anonymous texting app, and obtained the IP address used to send the messages. They traced it to the phone responsible.

Cynthia argues that plenty of people at Alicia’s school could have done it. Athena says she wants to start with her. Cynthia says she’ll get her phone and steps away. Moments later, Athena hears a phone ringing—it’s Cynthia’s. She rushes to find her. Cynthia has locked herself in the bathroom. Athena kicks down the door and finds her on the floor, having taken pills—just like Alicia. Athena kneels beside her and tells her she’s not getting off that easy.

Meanwhile, at the LAFD training facility, Buck waits anxiously for Harry’s results. Harry tells him the interview didn’t go well. Buck is stunned. Harry explains they asked if he had a criminal record.

Back at Buck’s place, Harry elaborates: last year he hit someone in self‑defense and was arrested. Buck tells him he doesn’t need to justify anything—he knows Harry’s a good kid. But he does ask why Harry didn’t warn him. They could’ve prepared. Harry says he didn’t think it mattered because he was a minor at the time. Buck reassures him that a simple assault charge won’t keep him out. Harry says the LAFD wants to speak with his probation officer. Buck sees that as a good sign. Harry doesn’t. The court released him to Athena’s custody.

Harry admits he wanted the next big conversation with his mother to be him telling her he got in—not bringing her another problem. Buck insists Athena won’t see it that way. Harry says he will. He wanted to become a firefighter on his own terms, and since he can’t, he’s dropping out. He tells Buck he’s the only person who needs to know he failed. He thanks him for everything and apologizes for wasting his time.

Athena accompanies Alicia to the hospital where Cynthia Hughes is being treated. As they walk toward Cynthia’s room, Athena gently tells Alicia she doesn’t have to go in—no one would blame her if she never spoke to her mother again. Alicia quietly replies, “But she’s my mother.” Athena reminds her she doesn’t owe Cynthia anything; the courts can take it from here. But Alicia is determined. She needs to understand why her own mother became her tormentor.

Athena warns her that whatever Cynthia says will likely be a lie. Alicia still wants to hear it.

Inside the room, Cynthia brightens at the sight of her daughter. She claims she sent the messages to “protect” her, insisting Alicia needed to understand how scary the world can be. Alicia tells her it isn’t the world she fears—it’s her. Cynthia becomes defensive, listing all she’s done for her daughter. Alicia says she remembers. Cynthia sits up, insisting they’ll get through this together. Alicia tells her no. She’s walking out of the hospital and starting her life over—without her.

Right then, Bailey arrives to support Alicia. The two girls walk away, leaving Cynthia alone.

Meanwhile, Buck and Harry arrive at a very fancy, very expensive restaurant. Harry spots Chief Simpson (Richard Brooks) heading out and immediately panics. Buck tells him all he needs to do is talk to the chief. Harry brings up how Bobby used to get that little neck vein whenever he talked about Buck. Buck ignores the jab and tells Harry he’s going to make his case—because Harry is only eighteen, and he’s already lived through so much loss. Buck says Harry is afraid of losing one more thing, which is why he’d rather walk away. But giving up won’t hurt any less than having something taken from him.

Buck adds that for all the vein‑popping and frustration, Bobby Nash never let him give up on himself.

Chief Simpson finishes with the valet and approaches them. Buck explains that Harry applied to the fire academy. The chief says he knows—he was also told Harry dropped out. He turns to Harry for clarification. Harry admits he was mistaken. He explains the arrest from two years ago, how he acted in self‑defense, and how he’d handle everything differently now.

Chief Simpson asks if he thinks he deserves a second chance. Harry says he doesn’t know—but he wouldn’t waste it. He understands what the uniform stands for, and he won’t dishonor it.

The valet pulls up with the chief’s car. Harry thanks him for listening and wishes him a good night. As Chief Simpson walks away, he tells Harry to show up at the training center Monday morning. Harry is stunned. “You’re giving me a second shot?” The chief replies, “Let’s see what you do with it.”

As he drives off, Buck and Harry hug. Buck asks how he wants to celebrate. Chimney suddenly appears, asking what they’re celebrating. Buck asks what he’s doing there. Chimney casually says he was having dinner with the chief. Buck asks why.

We then flash forward to Howard “Chimney” Han being officially declared the new captain of the 118. Maddie stands proudly beside him, and the entire 118 is there to support him. Athena is present too, with May and Harry—her first time inside the firehouse since last season. It feels like a quiet acknowledgment that life is moving forward.

As Chief Simpson speaks, we spot Anne and John Lee (Freda Foh Shen and Kelvin Han Yee) in the crowd—always showing up for Chimney and his family. Ravi is there too (I wish we’d gotten more of him this episode). Maddie pins Chimney and tells him she loves him before he’s sworn in.

At the reception, we get a warm montage of everyone mingling. Chimney is with Maddie and Jee. Harry hangs out with Buck and Eddie. Karen, May, and Ravi sit together (side note: I fully ship Ravi and May). Chimney hugs the Lees. Then Athena walks over to Bobby’s memorial plaque:

Los Angeles Fire Department Captain Robert W. Nash Memorial Station 118 Gave his life while on duty Proudly serving the citizens of Los Angeles.

May and Harry join her. May asks if Bobby would’ve liked the plaque. Athena says he would’ve been embarrassed—but secretly, he would’ve loved it.

Harry finally tells Athena he got into the fire academy. She says she already knows. He tells her he starts Monday. May congratulates him. Athena does too. Harry is surprised. Athena tells him she’s proud of him.

Chimney rejoins his team, who present him with a gift. It’s a watch. Hen tells him to read the engraving:

The 118 is not just a number. It’s us.

Chimney is deeply moved and promises Hen, Ravi, Buck, and Eddie he won’t let them down.

As Hen heads down the stairs, she trips. Maddie notices and asks if she’s okay. Hen blames sleep deprivation. She asks Maddie if she ever saw Lyme disease cases when she was a nurse, then mentions their patient who died after undergoing multiple scans. Maddie suggests fibromyalgia or mono. She jokes that it’s a shame they can’t put CT scanners on ambulances. Hen’s face shifts—an idea forming.

In the final scene, Hen returns to Dr. Brett’s medical spa. He reminds her he doesn’t take insurance. Hen says she’ll pay cash. He asks if it’s because she doesn’t want anyone to know she’s sick. Hen says she doesn’t need anyone asking questions—including him. She tells him to run the tests, and she’ll handle the rest.

We end the episode with Hen being pulled into an MRI machine.

And that’s it for episode six—and for our winter finale. I still think it’s ridiculous that we only get six episodes in the fall and the rest next year, but that seems to be the trend with most of the shows I watch. That said, this was a strong way to close out the first half (and I’m using that term loosely) of the season, and it definitely gives us something to look forward to when the series returns in January.

There’s a lot to unpack here. Athena anchors the main plot, and as the story with Alicia and Cynthia unfolded, I actually paused the episode and told my mom, “I know who the bully is.” If you’re not chronically online like I am, there was a recent Netflix documentary about a very similar case—a young girl and her boyfriend were being harassed over text, and the culprit turned out to be the girl’s own mother. 9‑1‑1 has always borrowed from real events, but I was surprised they pulled from something so recent.

I appreciated the parallels between Alicia and Cynthia and Athena and May. Having your child attempt suicide has to be one of the most terrifying experiences imaginable. I’m sure Athena has replayed that period of May’s life countless times, wondering what she could’ve done differently. At least May never had to worry about her mother inflicting psychological harm. My heart breaks for Alicia—imagining the person you trust most in the world turning out to be the source of your trauma is devastating. Her choice to walk away feels justified, and I hope she and Bailey can rebuild something healthy out of this mess.

The Buck and Harry B‑plot was also well done. I like the direction the writers are taking with Buck this season. As much as I’d love to see him reconnect with Tommy, I’m equally enjoying him being single and stepping into this big‑brother role with Harry. I’m still unsure how I feel about Harry joining the LAFD, but I’m willing to go on the journey—mostly because I want more scenes between him and Buck.

Chimney becoming captain of the 118 felt a bit dragged out. Once Hen removed herself from the running, I couldn’t imagine anyone else taking the role. I understand Chimney’s hesitation about stepping into Bobby’s shoes, but that emotional conflict would’ve landed even harder if we’d gotten a scene between him and Athena. Those two rarely interact, and this would’ve been the perfect moment for a meaningful conversation. Still—congratulations, Captain Han. I’m excited to see where this goes.

And then there’s Hen. I’m genuinely worried about her. My mom thinks it might be connected to the virus storyline from last season, but honestly, in their line of work, it could be anything. Or it could be hereditary. We just don’t know yet. I guess we’ll find out when 9‑1‑1 returns next week.

So—what did you think of the episode? How do you feel about Chimney becoming captain? What’s your theory about Hen? Share your thoughts in the comments, and I’ll check in with you all when the new episode airs. Happy New Year!

[callmebrycelee]

9-1-1: REACTION

“Pain it the price we pay for joy. And it’s a fair trade, a good deal, because any second, instant, moment of joy is like a diamond in the darkness.” – Athena Grant

We’ve reached the end of our space saga. Did Athena, Hen, and the rest of the Macronauts make it back to Earth? Before I answer that, let me introduce today’s edition of 911 Reactions. I’ll be sharing my thoughts on episode 4, titled “Reentry”—the conclusion to our four-part ninth season opener.

This episode was written by Tim Minear, Molly Green, and James Leffler, and directed by Bradley Buecker. “Reentry” originally aired on October 30, 2025, on ABC.

So, loyal readers, strap in, hold on tight, and brace for impact. As always, this post contains spoilers! If you haven’t seen the episode yet, bookmark this page, watch it, and come back when you’re ready.

Alright—let’s dive into the episode!

We open at Station 118, where the team has just returned from a harrowing call involving malfunctioning medical equipment and an emergency amputation. Buck checks in on Harry, asking when he last ate. Harry admits he hasn’t eaten since the launch and, given the circumstances, doesn’t have much of an appetite. Buck gently asks how he’s holding up. Harry says staying busy helps—he doesn’t have to think about what’s happening in space.

May steps in and puts Buck and Harry to work before heading over to Ravi, who informs her that more volunteers have arrived. Karen and Maddie show up next. Chimney leaves Eddie to treat a patient with a dislocated shoulder and rushes over to greet Maddie. Karen reunites with her kids, who are thrilled to see her. Mara asks about Hen, and Karen assures her that Hen sends her love.

Nearby, Chimney asks Maddie for updates on Hen and Athena. Maddie shares that they’ve made it to the International Space Station, but there’s no way to know their current condition. Despite the uncertainty, Chimney remains hopeful.

We check in on our Macronauts, who—as of last episode—made it safely to the International Space Station. Unfortunately, they’ve arrived just in time to be caught in the path of a debris field. The station is pummeled by fragments from Tripp Hauser’s satellites, and once the chaos settles, Hen checks on the crew. Everyone sounds off: they’re okay. Hen suggests they get out of there.

Naomi Stanton (Layla Alizada), the only actual astronaut aboard, asks, “So what’s the plan?” Athena flips the question back to her. Stanton is stunned to learn Tripp Hauser sent them to the ISS with no further instructions. Tricia (June Diane Raphael) clarifies that Tripp wasn’t behind the decision—Karen was, hoping it would make rescue easier. Stanton quickly shuts that down: communications are down, navigation is fried, and in 44 minutes, they’ll reenter the debris field. If that happens, the station won’t survive another hit.

Parker (Rio Mangini) asks if there’s an escape pod. Stanton confirms there is—the Soyuz—but it only seats four. There are six people aboard. Technically seven, but Sean Joyner (Christopher Allen), our other astronaut, is currently a human popsicle and unlikely to need a ride home.

Major Lewis Kern (Geoff Pierson) offers to strip down the Soyuz and add more seats. Athena asks if that’s even possible. Stanton thinks for a beat and says yes—but there’s a catch. She already tried launching the pod after the second debris hit. It won’t budge. The docking ring was warped during the first impact, and now the pod is stuck.

Athena asks how they can un-stick it. Stanton says she’d normally use the Dextre—a two-ton robotic arm that was undergoing maintenance when the first debris hit. That’s what Joyner was working on back in episode one. Turns out, he never finished.

Major Kern volunteers to complete the task. Other than Stanton—who’s nursing a punctured lung—he’s the only one NASA-trained for a spacewalk. Parker, ever the Gen Z voice, quips, “No offense, but that was when The Brady Bunch was in its original broadcast.” Technically accurate, slightly bratty, and very funny.

Hen reminds Kern that he also agreed to modify the Soyuz. Plus, they’ve got less than an hour to do everything. After some debate, Hen steps up and volunteers to repair the docking ring.

Cue the title card.

We’re back in the liminal white space with Athena, suited up and visibly uneasy. She’s asked: What makes an everyday hero? Athena says she doesn’t know—she doesn’t consider herself a hero, everyday or otherwise. She’s a working mom. She wears a uniform, but so does a waitress or a mail carrier. It’s a job. Nothing more, nothing less. She adds that law enforcement isn’t like the movies—it’s a lot of waiting, watching, and paying attention.

Flashback to 1998. Pepi Sonuga-Rogers returns as young Athena, first seen in season two’s “Athena Begins.” Athena wears the ring her late fiancé Emmett Washington gave her, tucked under her shirt. She’s joined by Officer Brogan McCluskey (Karl Makinen), also from “Athena Begins.” She hands him his donuts and asks the waitress for her check. The waitress (Farah Merani) tells her it’s been covered—by the guy in the corner booth.

Athena turns and sees him. He waves, walks over, and greets her by name. She thanks him for the coffee but says it wasn’t necessary. He replies that he sees her come in most mornings, protecting others—so the least he could do was serve. Smooth line, sir. I approve.

He knows her drink order: black coffee, two sugars, cinnamon chaser. He hands her the cinnamon shaker. She accuses him of stalking. He counters: he’s just an attentive listener.

McCluskey chimes in, saying Athena doesn’t mean any harm—her version of flirting involves reading Miranda rights. The guy notes she’s not wearing a ring. Athena gets up to leave. He suggests maybe she just hasn’t met someone skilled in courtship. He tells her he’s a gentleman and mothers love him. Athena says her mother’s in Florida and reminds McCluskey they’re on the clock. She thanks the guy for the coffee and walks out.

In the car, McCluskey tells Athena he didn’t notice anything off about the guy in the diner. Athena replies that he sure liked to hear himself talk. McCluskey shifts gears and asks when she last went on an actual date. Athena shuts him down—none of his business. She reminds him she’s no Sunday school teacher and insists she does just fine.

McCluskey clarifies: he’s not asking about the last time she “knocked boots.” He wants to know the last time she let herself get serious with someone. He reminds her—and us—that it’s been seven years since Emmett died. Athena corrects him: Emmett didn’t “die.” He was murdered. And it’s coming up on eight years.

McCluskey gently asks if she thinks it’s time to get back out into the world. Athena says she’s out in the world five days a week—with him. He says he’d like to see her with someone nice. Athena asks why he cares. His answer: “Pure self-interest. It’s better to ride with a partner who has a reason to want to make it home at the end of the day.” Athena fires back that McCluskey has two ex-wives and no pets—no one’s waiting for him. He shrugs and says when he was married, he had less incentive to make it home. Oof.

Suddenly, they narrowly avoid a collision. Another vehicle crashes into a car. McCluskey jumps out to investigate while Athena calls it in. He checks the driver and tells Athena he’s dead—not from the crash, but from a gunshot. Athena wonders where the shot came from. McCluskey suggests a drive-by, car-to-car, or maybe a sniper from one of the buildings.

They approach an armored car parked outside a bank. The engine’s running, key still in the ignition, but the driver’s missing. McCluskey opens the back and finds over 2,000 rounds of .450 caliber armor-piercing bullets. The truck isn’t the target—it’s the getaway vehicle. Athena calls in a “possible 211” and climbs into the front seat, shutting off the engine and pocketing the key.

McCluskey suspects the fatal shot came from one of the bank’s windows and heads to investigate. Athena urges him to wait for backup. He tells her she is his backup. Reluctantly, she follows. Through the window, they see a robbery in progress—four suspects, 12 to 15 civilians. Athena calls for backup again and is told help is moments away.

They split up—McCluskey upstairs, Athena downstairs—and wait for the suspects to exit. The robbers reach the armored truck but can’t leave without the key. One returns to the bank to search for it. McCluskey steps out and orders him to drop his weapon. The suspect opens fire. McCluskey runs for cover but is hit.

Backup arrives and a shootout ensues. Athena uses the chaos to reach McCluskey and assess his injuries. He’s been shot. She tells him she’s getting him out of there.

We return to Athena’s interview. She insists she’s no hero—but she’s worked with a few. The real heroes, she says, are the ones who never made it home. A bit reductive, Athena, but we get it.

Back at the space station, Major Kern is modifying the Soyuz. The escape pod is designed to survive reentry, but adding weight increases the risk of failure. For every pound added, Kern strips away another. Parker and Tricia think the pod is barebones, but Kern assures them it has what they need—backup life support and fuel. Tricia notes they always end up relying on the backup. Kern says all they need now is luck.

Meanwhile, Athena stares out the window at Joyner’s lifeless body, tethered to the station. She asks Stanton if he had family. Stanton says Joyner had two kids—Nora and John—and that he and his wife were trying to make things work.

Stanton preps Hen for her spacewalk. She attaches a tether to Hen’s suit and walks her through the Dextre repair instructions. She warns Hen that once outside, everything—including Hen herself—will be moving at twice the speed of sound. If she gets hit by debris, it’s game over.

Athena tells her interviewer that risk comes with the job—you know that when you sign up. But you’re not signing up for the danger. When asked why she joined in the first place, we flash back to her and Emmett. Her answer: she thought she could make a difference.

Back in 1998, the shootout outside the bank escalates. Athena fights to keep McCluskey conscious as he bleeds out. She radios Officer Rick Romero (Anthony Carro), urgently requesting an emergency evac. Rick radios back—they’re outgunned, and S.W.A.T. is still 15 minutes out. McCluskey doesn’t have that long.

Athena scans the chaos. The robbers are distracted, focused on the other officers. She realizes she and McCluskey can make a run for the armored vehicle—she still has the key. She hauls him to his feet, and they run.

Meanwhile, aboard the ISS, Tricia vents to Parker. If they make it back to Earth, she’s breaking up with Tripp. Not only did he launch them into space during a geomagnetic storm, he abandoned them. She used to think he was just an awkward genius—great with numbers, terrible with people. Now? She thinks he’s just a bad person.

We learn that every Valentine’s Day, Tripp gifts Tricia stock. She owns one percent of his company. But he can’t even remember her zodiac sign. Parker, however, does. “You’re a Gemini,” he says, recalling how she mentioned it during training. It’s a small moment, but it lands.

Back in the airlock, Athena suits up to repair the Dextre—even though Hen already volunteered. The two women speak privately. Athena says Joyner has a family waiting for him. So does Hen. But Athena insists that May and Harry are adults. She won’t risk Denny and Mara losing their mother—or Karen losing the love of her life.

Hen pushes back. Athena doesn’t get to decide what risks she’s allowed to take. She reminds Athena that she never wanted to come on this mission—Athena made her. Athena fires back: Hen said yes because there’s nothing left for her on Earth. Oof. What about May? Harry? The 118?

Athena says she’ll have more in Heaven. Hen, voice breaking, tells her space isn’t Heaven—it’s cold and empty. And Bobby isn’t out there. She reminds Athena that she lost Bobby too. Athena says her loss isn’t the same. She’s not doing this out of heroism. She’s doing it because she’s selfish. Because she can’t bear to lose anyone else.

Hen, heartbroken but understanding, tells her not to make her come out there. Athena seals the hatch.

The interviewer asks if it’s all been worth it. Athena says yes. She does the job to bring order to the world—not just for strangers, but for the people she loves. As she speaks, we see her exit the station and begin her slow, deliberate journey toward the Dextre.

She continues: the people she loves are why she does what she does. And they’re also the reason she always finds a way to make it home. We get a clip of Bobby from the season one finale—their first date. (God, I’ve missed Peter Krause. I hope he’s out there thriving. Surviving. Moisturizing.)

Following Stanton’s instructions, Athena reaches the Dextre arm to remove the damaged pin and replace it with the spare—still attached to Joyner. She climbs the arm, reaches Joyner’s body, and retrieves the pin from the left side of his suit.

Suddenly, Hen spots something hurtling toward Athena and shouts a warning. Athena slams into the station wall. Her air supply is compromised—eerily reminiscent of Bobby’s hazmat suit breach last season. She gets tangled and untethers herself.

Back in 1998, Athena and McCluskey make it to the armored truck. She gets him inside. The episode begins to intercut between past and present—Athena’s air thinning as she struggles to complete the repair. Hen calls out to her, but there’s no response.

Then, the twist: the interviewer isn’t real. It’s young Athena. She’s been talking to herself all along. Young Athena asks her older self, “Where are you right now?”

Hen, panicking, uses the Dextre arm to reach for her. She begs Athena to grab on.

Young Athena looks at her older self and says, “You need to let go.”

Back in the armored truck, McCluskey gives Athena his belt to use as a tourniquet—she’s been shot while getting him to safety. She tries to radio Officer Romero, but McCluskey reminds her the truck is steel-plated. Athena climbs into the back and assesses his wound. She apologizes. He does too—she told him to wait for backup, and he didn’t listen.

McCluskey knows he’s not going to make it, but Athena refuses to accept that. He tells her what he wants after he dies: flags, a ten-gun salute, “Danny Boy” on bagpipes—the whole shebang. He wants her to say something nice about him, then never visit his grave again. She has to move forward.

Athena insists he’s not dying. Not today. She applies pressure to the wound. His final advice: get rid of Emmett’s ring. It’s not regulation. As McCluskey fades, Athena begins chest compressions.

In the liminal white space, Young Athena tells her older self it’s time to let go. She’s held on for so long—through pain, through loss. What’s the point of all that suffering? Adult Athena answers: it’s for the moments in between. The ones that shine like stars.

“There’s so much dark between them. Cold. Empty. Forever. But as long as there’s light, there’s hope. They keep us going, those stars, those moments. Like a dance between lovers or a laugh between friends. They pull us along, they warm us, they … blaze … with all that’s good and tell the darkness, ‘Not today.’”

Young Athena cries. So do we. Adult Athena says floating away isn’t the answer—reaching out is. She takes her younger self’s hand.

Athena grabs onto the Dextre arm and is pulled back to the station. “Let’s go home,” she says.

Inside, Major Kern announces the final modifications to the escape pod—and that he won’t be returning to Earth. There are only five seats. (Called it.) Someone has to stay behind to operate the Dextre arm. Athena warns him he might not survive. Kern replies, “There’s a chance I will.”

Stanton promotes him to commanding officer of the ISS. It’s an honor Kern has likely dreamed of his entire life. He shakes Athena’s hand and wishes her a safe journey.

The remaining four Macronauts and Stanton board the escape pod. Kern uses the Dextre arm to release them. The pod begins its descent.

Back on Earth, Tripp Hauser holds a press conference. He confirms the Macronauts are alive—no thanks to him. When asked who suggested sending the Inara II to the ISS, he admits it wasn’t his idea but refuses to credit Karen. He declares the mission a success.

At Station 118, everyone watches the pod’s descent. May reaches for Harry’s hand. Buck looks worried. Eddie looks like … Eddie. Anchorman Dwight Meyerson (Rick Chambers) explains the real test is whether the heat shields can withstand 5,000 degrees.

Inside the pod, Tricia panics. Parker reaches for her hand.

Back in 1998, Athena wakes up in the hospital. Officer Romero is by her side. McCluskey didn’t make it. Athena is being promoted. Romero hands her a bag—with Emmett’s ring inside.

The parachutes deploy. Reentry is a success. The pod slams into the Mojave Desert. Miraculously, everyone survives. Athena unfastens her harness and opens the hatch.

Later that night, Hen, Karen, Denny, and Mara return home. Exhausted. Karen comments on the mess. Hen says it’s never looked better. Karen asks how it feels to be an astronaut. Hen asks how it feels to be a hero. They kiss and head to bed.

The next day, Dwight reports the skies are clear. Rebuilding has begun.

We see Lori (Molly Burnett) and Cal (Guillermo Alonso) at the hospital. Lori seems to be making peace with her amputation.

Back in space, Commanding Officer Kern drafts football plays for his team back on Earth.

Tricia arrives at Tripp’s company dressed like Jessica Rabbit meets “Material Girl” Madonna. She hands back her engagement ring, tells him he might need to pawn it, and walks off with Parker.

Dwight announces that Parker will now run the company—thanks to Tricia tipping the vote with her one percent stake.

At Athena’s new place, Harry makes lattes for his mom and sister. He brings them over. Athena tells him she still wants him to go to college—even if he makes great lattes. Harry apologizes for how things went before she left. Athena apologizes for not being present. May reminds her she’s been grieving. Athena agrees—they all have.

She tells Harry it’s time to make a plan. He already has one: he’s applied to the Los Angeles Fire Department. Athena is stunned.

Back in 1998, Athena pulls over the guy from the diner at the construction site where he’s working. She walks up to his window and asks for his license and registration, telling him he was speeding the other morning. He replies that he was—until she slammed on the brakes. She points out he’s been parked too long in the spot he’s in and cheekily asks what her mother would think of her dating a criminal. The banter between them is adorable. She hands him her number and says, “Good evening, Mr. Grant.” He smiles and tells her his name is Michael. And just like that, we witness how Athena met Michael.

Roll credits.

Speaking of credits, the episode ends with a touching tribute to Tim Minear’s father, Charles Minear Sr., who recently passed away.

And that’s a wrap on 2025: A Space Odyssey. What did you think? Which episode stood out to you? Which emergency had you on the edge of your seat? Did the writers stick the landing? Drop your thoughts in the comments—I’d love to hear them.

As for me? I thought the episode was well done and full of surprises. Did I think they’d make it back to Earth? Absolutely. There’s no way they were going to kill off Athena or Hen. I was worried about Major Kern, though. I suspect someone will eventually go back to space to bring him home… or maybe he’s perfectly content staying up there for the rest of his life.

I didn’t expect a flashback this episode, and it ended up being the highlight. The scenes with Athena in the past were beautifully done. This show continues to impress me with its commitment to continuity. In “Athena Begins,” we first met Young Athena as she joined the LAPD and got paired with McCluskey. Their dynamic was rocky—understandably, given the early ’90s and the less-than-enlightened attitudes toward women in law enforcement.

Seeing how their partnership evolved over eight years was deeply satisfying. They weren’t best friends, but they had each other’s backs—and that’s all you can ask for in a relationship like theirs. I was genuinely sad when McCluskey was killed. It’s another tragedy Athena has to endure. First Tanya Kingston. Then Emmett Washington. Then Brogan McCluskey. She lost her first husband Michael Grant—not to death, but to circumstances beyond her control. Then she met Bobby… and lost him too.

These losses have shaped Athena, and she’s been carrying them for decades. But I think we’re about to see a new Athena. She finally let go of the weight she’s been dragging behind her. I’m excited to see what’s next for her. I don’t want her to date right now, but I do want to see her grow closer to her kids and her friends.

The only thing that could’ve made this episode better? A callback to Tripp kayaking in the same spot from episode one. I wanted that whale to leap out of the ocean and swallow him whole again—only this time, the 118 doesn’t make it in time to save him. What a vile human being. I love the show’s commentary on how genius is never an excuse to be a terrible person.

Overall, I really enjoyed the episode. It was a satisfying conclusion to our four-part arc. My only lingering question: what happened to the woman from episode one who was rotting away in her apartment? I was hoping for a full-circle moment—maybe a relative coming to visit. That storyline still feels unresolved, but with next week’s Dia de los Muertos episode, there’s hope we’ll get closure.

Anyway, this reaction has gone on long enough, so it’s time to bring it in for a landing. Join me next week when I react to the new episode of 9-1-1. Until next time…