One of the least believable episodes in the series. That's one major issue. Another is Lee Purcell playing Maggie Todd, the wronged Tory tavern proprietor whose presence, at best, is annoying. On the plus side, the tit-for-tat and wild goose-chasing that plays out between Jeremy and Maggie, and then the British Sergeant and just about everyone in the episode (minus the scene where he slaps Elizabeth around), is interesting to watch play out. But overall, definitely a lesser episode in the series. ONE SENTENCE RE-REVIEW: I feel like if this show ever got popular the amount of "Ben Todd" references would make a great drinking game.

A darker episode which features our band of rebels on a mission to Valley Forge to General Washington with important documents. The only problem is, any one of the travelers they have picked up along the way could be on a mission of their own - as part of a special trained squad to murder the General. This is not like Clue adventure-style, though, and we pretty much figure out soon enough who is going to kill and who is just along for the ride. Special mention to Steve Inhat in a great character role as a wizened-looking, frontier-smart American Army sergeant. Another thumbs up. ONE SENTENCE RE-REVIEW: Should have just stopped at "Steve Inhat" because he becomes the deserved focal point of this episode.

An overwrought, poorly acted, and edited introduction to the series which likely turned a lot of people off at time of release. The intent was to parallel the upheaval in America in the 1960's and 70's with the fighting in the American Revolution, but it falls flat among a litany of Hollywood cliches. Not even the grandfatherly presence of Will Geer can save the episode. The show does get better from here. ONE SENTENCE RE-REVIEW: The debut episode is by far the most heavy-handed of the lot but still a good bit of retro-grade/adventure fun.

Perfect douchebag drivel soundtrack for the fuzzy boot-scootin', White Claw guzzling suburbanite housewife set trying to recapture sorority glories. Or is that tryin' y'all?

By this time Traffic had become the art rock band fans apparently loved but critics detested. I'm not a huge fan, specifically because more than ever it's a record that sacrifices Winwood's strengths in favor of the overall band vision…and it's hard to make out what that vision could be. The gruff title track comes closest, with added emphasis from Rebop's congas, but after that it takes a downturn, scraping smooth jazz territory (Chris Wood's "Tragic Magic"). Then again, there's no big sea change from the previous record to this one, either, which means in reality it's just a touch worse.