Episode 2: TAKKONG'S BIG COUNTERATTACK (TAKKONGU DAI-GYAKUSHU) ***
While going through the various MAT training courses, Hideki Goh aces them all garnering perfect scores every time. When the monster Takkong surfaces again sinking a tanker vessel, Goh and other MAT members plan to eradicate the beast with torpedoes. During the undersea attack, Goh gets trigger happy and nearly gets him and Minami killed. With Minami unconscious, Goh tries to change to Ultraman, but fails to do so. The monster retreats and Goh is released from MAT duty. He returns to his friend Sakata so as to build his specialized race car, Ryuusei #2; but he doesn't want to work with him, either. Meanwhile, Takkong attacks an oil refinery trapping Minami below ground leaving Captain Kato and his crew helpless to get to him and workers trapped below.
This follow-up to episode one carries over the sole surviving kaiju from the debut show. Almost as soon as he signs up with MAT, Goh is already in trouble with his superiors. After having whipped his colleagues in Kendo, Karate, and on the shooting range, Goh is fired from MAT after botching a crucial mission. It's all an attempt to establish some viewer identification with the character even though we know he won't remain out of work long. At the same time, Goh (at far right in insert pic) is shown to be an unusually emotional man. He's just as heroic as his two predecessors, Hayata and Moroboshi, but Goh is far more impulsive. This is seen more as the series progresses.
This second show provides a bit more exposition than the first one did, but still manages to focus a lot of attention on action. The opening and finale is where the bulk of it lies, while the middle is reserved for building more on the title character's human host. Goh's friend Sakata gets some screentime, as well as his sister Aki, whom we sense has affection for Goh. The little boy Jiro Sakata is also on hand. These three will play an important part of a major story arc later in the series.
The SPX are what you'd expect, but they're noticeably better than the two previous Ultra shows. The attack on the refinery is well staged, and includes some nice composite work. The battle between Ultraman and Takkong is relatively brief, though. The creature appears to have no special powers save for a moment where it spits some sort of liquid into Ultraman's face. It's a bizarre design that looks like a cross between a blow fish and a sqeaky dog toy. During the final battle, one of Takkong's arms is torn off, but not in graphic fashion -- unlike so many dead kaiju torn asunder in ULTRASEVEN (1967).
The MAT submarines make their introductions here. They're smaller than the S Subs of ULTRAMAN (1966) and the Hydranger's of ULTRASEVEN (1967). However, they're much wider and look like a cross between a car and a hydroplane. We saw a glimpse of the MAT underwater facility in episode one; and since a portion of this episode takes place under the sea, the narrator briefly tells us about its functions here.
It's just two programs in and THE RETURN OF ULTRAMAN maintains its position as a strong action show -- light on plot, but high on creatures and explosions. Episode 2 rolls out with a nice balance of characterization and giant monster fights that will surely please Tokusatsu fans.
MONSTERS: Takkong
WEAPONS: MAT Submarine #1, #2, Arrow-1, MAT Gyro
To be continued in Episode 3: EVIL MONSTER REALM OF TERROR!!!
Episode 1: ALL MONSTERS ATTACK (KAIJU SOH-SHINGEKI) ***1/2
"I am Ultraman... my mission is to defeat every enemy who threatens human freedom and happiness."
Two giant monsters rise from the sea destroying several city blocks in Tokyo. MAT (Monster Attack Team) is called into action to quell the kaiju assault. During the attack, race car driver Hedeki Goh rescues a young boy and a dog, but dies from injuries after a building collapses on him. Not long after, he's revived by Ultraman -- forming a bond with the Nebula M-78 superhero to fight outer and inner threats to the Earth. For his heroism, Captain Kato offers him a job as a member of the MAT force. Initially unaware of the powers he possesses, a third monster appears at Asagiri Volcano. The MAT Force engage this new creature. As Goh rescues an old man, he's compelled to transform into Ultraman to battle the fire-breathing beast. Once the reptilian threat is vanquished, Goh finally realizes what he has become and his mission as the new member of the Monster Attack Team.
This is the third ULTRA series from Tsuburaya Productions. Not counting 1965s ULTRA Q (which had no giant superhero), it follows ULTRAMAN (1966) and ULTRASEVEN (1967). Famed SPX artist Eiji Tsuburaya was the brains behind ULTRA Q and the Ultraman series (and its follow-up, U7). His sons carried on the Tokusatsu tradition after his death in 1970 with this new Ultra show. Whereas the previous series (ULTRASEVEN) often leaned towards plot heavy storylines, THE RETURN OF ULTRAMAN went with a far heavier accent on action. This first episode does an excellent job of establishing that.
Directed by Ishiro Honda, the revered GODZILLA (1954) director was asked to helm this first program out of respect for his deceased colleague. Reportedly, Honda didn't like working on television, but he brought an undeniable level of seriousness to THE RETURN OF ULTRAMAN's debut program. He may not of enjoyed the small screen medium, but this
25 minute program was a vast improvement over Honda's 1970 big screen train wreck,
YOG, MONSTER FROM SPACE.
Some of the contrivances introduced here include an unusual amount of attention paid to citizens in peril during the handful of monster attacks -- more so than what you got in many Japanese giant monster movies of this time period.
This version of Ultraman is also tinkered with beyond suit alterations and additions to his superpower repertoire. He isn't solely resigned to being a MAT member (more on this organization below). In his off time, Hideki Goh resumes his duties working on racing cars with his friend Ken Sakata (Mori Kishida). Furthermore, New Ultraman has no Beta Capsule, or Ultra Eye with which to transform. Here, Hideki Goh merely wills himself to transform. He raises his arms into the air as if he's taking flight -- only then to change into the space warrior from the Land of Light in Nebula M-78.
Some striking photographic shots are also on display (a recurring attribute in future episodes) that add extra production value to this third series. THE RETURN OF ULTRAMAN is regarded by a contingent of fans as the best of the Ultra shows.
Like its predecessors, a new arm of the Earth Defense Force is introduced. This time it's MAT -- Monster Attack Team. The various mechs showcased here are similar to those of the previous Ultra shows, but have a sleeker look to them; and they look less cumbersome, with more maneuverability. The MAT Arrow-1 and Arrow-2, and the MAT Gyro make their first appearances here.
The monsters of RETURN OF ULTRAMAN's (later christened ULTRAMAN JACK) first episode are a wild trifecta of varied designs. The two monsters that battle it out in and around Tokyo Bay at the beginning are definitely creative, if diametrically different from one another. Takkong resembles a gigantic blowfish with arms and legs. His opponent is Zazan, another ocean dwelling monster that looks like a giant blob of seaweed.
The third creature is of a more traditional reptilian lineage. This fire-breathing beast, Earthtron, does battle with Ultraman during the night-time finale. It's a good fight, too. This New Ultraman enjoys utilizing throws and suplexes in his fight set. Unlike U7, New Ultraman retains the Color Timer (warning light) of his 1966 antecedent. After a few minutes of battle, Ultraman's energy is rapidly depleted from the exposure to Earth's atmosphere.
Moreover, Shin Ultraman (New Ultraman), looks almost identical to the 1966 original; the only differences being alterations made to the red and silver designs on the suit. New Ultraman has the same classic arsenal as his '66 predecessor, but abilities exclusive to this incarnation surface in later episodes.
The actor who takes up the Ultra mantle this third go round, Jiro Dan, doesn't initially give off the same aura of either Susumu Korobe (Hayata in the 1966 version), or Koji Moritsugu (Dan Moroboshi in 1967s ULTRASEVEN). At least in this first episode, Jiro Dan acts with indifference in the role of Hideki Goh that doesn't appear to change much for the next several shows.
Fans of Toho's two 'Dracula' movies -- 1971s LAKE OF DRACULA and 1974s EVIL OF DRACULA will recognize Mori Kishida (Shin Kishida) as Goh's race car/mechanic partner. His distinctive visage contributed to the fun of Jun Fukuda's snazzy, jazzy and fun monster movie, GODZILLA VS. MECHAGODZILLA (1974). The late Kishida was at one time married to Japanese comedienne-actress, Kiki Kirin.
An action packed start, the plot of episode one (such as it is) carries over into episode two. It's not technically a two-parter, but this debut overlaps into the next one; and the destruction doesn't let up there, either. 'All Monsters Attack' is an impressive intro to this third Ultra series; and it's helmed by a master of monsters in the hands of the late, great Ishiro Honda.
MONSTERS: Takkong, Zazan, Earthtron
WEAPONS: MAT Arrow-1, MAT Arrow-2, MAT Gyro
To be continued in Episode 2: TAKKONG'S BIG COUNTERATTACK!!!
Episode Nineteen: PROJECT BLUE **1/2
Dubbed title: WANE, LORD OF THE UNIVERSE
"...There were no living creatures in your galaxy except on Pluto. However, we annihilated them because no other beings besides us should be in this galaxy!"
Dr. Miyabe is working on Project Blue, a plan to develop a defense barrier around the Earth to protect from alien threats. Late one night after returning home to be with his wife, the doctor sees a monster in his room. The next day, he discovers an underground laboratory beneath his kitchen! Descending the labyrinthine stairs, he's captured by an alien being known as Bado. After an informative discussion, Bado demands Miyabe hand over his plans for Project Blue (or as he says, 'Project-o Brue') so Bado's alien brethren may enter the Earth's atmosphere to destroy the planet. It's up to the Ultra Guard and Seven to rescue him.
'Project Blue' presents some fascinating ideas as well as some surrealistic shots amidst some choice, if highly improbable situations. Among these are quite a few SPX shots. One of note is a mirror that acts as a doorway into Bado's underground lab/spacecraft (When Seven touches it, the mirror turns into a watery, liquid substance). It's never revealed just how the alien managed to situate his vast facility below Dr. Miyabe's house without any detection. This is science fiction, after all.
Regarding Dr. Miyabe, he is a likable, and uniformly formidable character for the series. It's a shame this character doesn't turn up again.
The Seijin Bado is a nicely eerie creation in some of the earlier shots. Seen in daylight, he's rather laughable; but this adds to the shows enjoyment. The creature has this scaly body, curly-toed boots and a head that, in some shots, looks like a big butt. The bulbous head is a typical alien design, yet resembles a deformed human bearing vampiric fangs. Bado's voice is also a hoot. One area where Bado differs from other U7 kaiju is that there's a bit of a backstory revealed about him. The creature states he had visited Earth once before when it was but a ball of fire; and also claims Pluto was once inhabited by lifeforms before he wiped them all out!
The end fight between Seven and Bado appears to be intentionally ridiculous -- backed by that typically playful U7 music. Both beings use brawling style tactics (headlocks and haymakers) for their battle -- whacking wildly at one another. The finish is sort of bloody, though. Bado incorporates a lot of acrobatics, too. The rocky terrain acts as a wrestling ring. U7 bashes Bado's big head into some mountains at one point.
The end of the episode reveals one final Bondian strand of Miyabe's genius that was a creative, if unlikely bit of scientific ingenuity.
This episode is at least unique in that it mostly takes place at a single location -- both in and under Dr. Miyabe's house. It's a quirky show, tinged with a bit of horror (such as the scene where Miyabe spots a cloaked figure walking in the fog towards his house) and capped off with an immensely goofy, but fun giant monster battle. The last scene is the sort of comedic coda that dominated cartoons and situation comedies for decades. It's one of the more childish episodes, but fans should be pleased with this breezy, effects-filled Tokusatsu programmer.
MONSTERS: Bado (Budd)
To be continued in Episode Twenty: DESTROY EARTHQUAKE EPICENTER X!!!
Episode Eighteen: ESCAPE SPACE X ***
Dubbed title: THE BELLS ARE RINGING
"Have you ever heard this saying? -- Knowledge without God creates devils."
On a skydiving exercise, Amagi and Soga disappear, landing in a fog enshrouded forest in what seems like some alternate dimension. Separated from Soga, Amagi is immediately attacked by small blood-draining leech creatures; and a giant spider that emits noxious gas. Finding Soga and finally regaining contact with the Ultra Guard, the two Garrison members find themselves trapped within a monster-filled "Virtual Space" created by a race of Seijin known as Bells, insect-like creatures with the power to cause ear-piercing sonic attacks on their enemies.
This is another action episode with a decent story to boot. Why they chose to call the Seijin (aliens) seen here Bells is anyone's guess; but they do produce a loud, disruptive sound that's anything but music to the ear. The single Bell alien we see looks like a giant humanoid beetle.
The 18th show contains numerous kaiju perils such as this spider monster that spits poisonous gas from three nodules above its mouth. There are also small, leech-like monsters that appear twice, and also some enormous killer vines.
Not much is explained about the race of Bell aliens, nor the purpose behind the Virtual Space. Commander Morabe mentions it in passing that he had experienced it before. The action rarely lets up, so the storyline suffers. Still, it's an enjoyable 25 minutes that flies by. We can just assume an insidious plan of world domination is lurking around in there somewhere.
This show is also of interest in that we see Ultraseven transform in a different fashion than the norm. Dan isn't seen using the Ultra Eye. He lies on the ground and disappears, only to reappear in giant form as Ultraseven. Up to this point, we've not seen him transform in this manner. His return to human form is also seen differently -- first seen in episode nine. Seven shrinks to human size, boards the Ultra Hawk #1, then transforms back to Dan.
The last battle between Seven and the Bell beast is a creative one -- going from an otherworldly swamp setting, to the sky, and back to the ground again. Wrestling fans will enjoy Seven's grappling skills displayed here. Minimalist, but elaborately effects heavy episodes like these are a treat and posit a nice balance for the occasional cerebral shows that sneak in once in a while.
MONSTERS: Blood Drainer, Bell alien, Gumonga, Sunflan II
WEAPONS: Ultra Hawk #1 and #3
To be continued in Episode nineteen: PROJECT BLUE!!!
This compilation is literally what the title means -- the wildest episodes from seasons 1-4 of this immensely creative and innovative television series. It's not a 'Best Of', although some episodes seen throughout this quartet could be deemed among the best. Season One was quite dark and sinister at times with some of its subject matter. It's arguably the most adult of the entire run, containing some truly creepy episodes with a unique horror element to some of them. Granted, all but a few of the season one programs had some sort of James Bond gadget or wacky scripting device; these listed here were frequently pushing the envelope for anachronistic and phantasmagorical spectacle (the series would get really crazy in season 2). 11 of the 28 season one episodes are on this list. An article about the entire series can be found HERE.
THE NIGHT THE WIZARD SHOOK THE EARTH
6th episode shot; aired October 1st, 1965
James West is assigned to foil an attempt by Dr. Loveless in obtaining a formula for a special type of explosive from a former colleague named Professor Nielsen. West fails, and the professor is killed by a pea-sized bomb. Loveless then plans to kill 5,000 Californians unless the formula is handed over to him.
This was the world's introduction to the crazed, super intelligent villain, Dr. Miguelito Quixote Loveless. Played by Michael Dunn, the adorable midget madman became hugely popular with viewers. There are four Loveless episodes in season one, four in season two, and one a piece between seasons three and four. Sadly, declining health resulted in Dunn's dwindling participation in succeeding seasons. All the Loveless shows are wild, but this one, outside of being one of the best shows, is notable for being the first to display his kooky genius. You'll also see him tossing big burly men around during a wrestling session!
Gadgets include a weapons-laden carriage (Hal Needham is the guy jettisoned out of the coach) Artemus builds for West. Richard Kiel plays Loveless's thuggish henchman, Voltaire (he played the role three times). He also participated in the horror themed season three show, 'The Night of the Simian Terror'. The duplicitous Miss Piecemeal (Sigrid Valdis aka Patricia Crane; Bob Crane's wife) returned later in season one for 'The Night of the Torture Chamber' episode.
THE NIGHT OF THE GLOWING CORPSE
9th episode shot; aired October 29th, 1965
During a scientific conference at the French Embassy, a consignment of Franconium -- a radioactive substance that causes anything exposed to it to glow -- is stolen by an "old woman" and a giant man. With the enemies of France having their sights on the substance, Jim and Arty must try to retrieve it before it's smuggled out of the country.
Irving J. Moore's first WWW episode has a great carnival sequence (one of numerous other carney/circus style plot contrivances throughout the series) that features a cameo by the Metaluna Mutant (the head, anyways) from THIS ISLAND EARTH (1955). There's a plethora of traps and weird devices such as Artemus's early version of an artificial lung that will hold up to five minutes worth of oxygen. Of course, this apparatus comes in handy when Jim is trapped inside an enclosed metal box with lethal gas pumped in. The series occasionally had a lumbering, imposing thug for Jim and Arty to contend with; in this case, it's a mute giant with Iron legs and feet.
THE NIGHT THE TERROR STALKED THE TOWN
11th episode shot; aired November 19th, 1965
Dr. Loveless's second appearance sees him kidnapping Jim West to his underground laboratory. He plans to turn his deformed assistant Janus into an exact double of the secret services most trusted agent in an effort to get back his atomic formula for making devastating explosives. Of course, once this plan is enacted, the real West will no longer be useful.
This is a fun episode featuring little in the way of gadgets, but with Loveless onscreen, there's never a dull moment. Dunn is in Mad Doctor mode for this one; a role he undertook a few times in an effort to realize his diabolical plans. This time his Frankensteinian skills are put to use as a plastic surgeon; turning a deformed subordinate into a doppelganger of James West. Voltaire (Richard Kiel) also returns as his brutish assistant. Both Wests' end up battling each other and only a woman's kiss can determine who the real one is. A similar contrivance befell Mr. Spock in the season three ST episode, 'Whom Gods Destroy' only there was no kissing involved.
THE NIGHT OF THE TORTURE CHAMBER
14th episode shot; aired December 10th, 1965
This episode is a ton of fun, and its major reason for being on this list is in the hilarious plan of the main villain, Professor Horatio Bolt (Alfred Ryder). He intends to absorb millions from the State Treasury to finance the most expensive, and extensive art collection in the world! Insane, I know, but Ryder is hilarious as Bolt. The governor is kidnapped and replaced with a lookalike. When Jim and Arty are sent to investigate, Bolt plans to kill them using various traps set in his house.
Highlights include Artemus (Ross Martin) donning one of his best disguises as a French art critic who informs Bolt that his entire collection is made up of forgeries! Another has our heroes trapped inside a wine press. This was one of a handful of episodes that would seem to have influenced Italian westerns. Stunts and fights are plentiful and exciting as usual. This was Fred Frieberger's last producer credit on WWW. The series went through a slew of producers and they lost a good one in Frieberger who later went on to produce episodes of STAR TREK -- a series that occasionally borrowed, or resembled WWW.
THE NIGHT OF THE STEEL ASSASSIN
16th episode shot; aired January 1st, 1966
Having rebuilt his body with metal limbs and pieces, Torres seeks revenge against seven former members of his Civil War regiment that he believes are responsible for the bodily destruction he suffered during an explosion. One of the men is Ulysses S. Grant, now the President of the United States.
This was the very first WWW episode I remember seeing as a kid. The sight of a skulking man with metal plates built into his body -- some of which are exposed on the outside -- made an impression on me. It's a basic revenge episode with hypnotism and a presidential assassination plot thrown in for good measure. There's a definite air of horror about it. There's some choice stunts and action, too -- a staple of the series. These include Jim shooting the villain in the head peeling his skin away revealing the metal underneath; and the assassination attempt on the president -- one rocket is set to fire at president Grant and another targeted at a bound Jim West.
There's one plot hole here -- after Jim and Arty manage to escape from Torres's clutches, they end up at a dead end and are gassed into unconsciousness. In the next scene, Jim is captured again, yet Arty is free and next seen disguised as the president. It's presumed Artemus has gotten away, yet it's not mentioned, nor does Torres show any concern that Artemus has escaped.
THE NIGHT OF THE GRAND EMIR
19th episode shot; aired January 28th, 1966
For this episode, Jim and Arty are assigned to protect a Middle Eastern ruler targeted for assassination. The agents discover a plot by an upper class club of assassins that want the Emir's life. Noting Jim's amazing skills in action, the club tries to make him an honorary member, or kill him trying.
This is a fast paced episode with lots of action, intrigue, and a lot of characters engaging in near constant subterfuge. Yvonne Craig (Batgirl on the 60s BATMAN show) plays the gorgeous hit girl who ends up as Jim's love interest. Richard Jaeckel has a supporting role as another member of the killers club. This episode is a bit more violent than normal -- there's a glass container death device rigged with poisons; an early version of The Flying Guillotine via a head lopping tambourine; and a great stunt-filled, upstairs-downstairs fight between Jim and around ten assassins.
THE NIGHT OF THE WHIRRING DEATH
20th episode shot; aired February 18th, 1966
Jim West and Artemus Gordon must collect $5,000,000 from three of the wealthiest men in California to help keep the state from falling into bankruptcy. However, Dr. Loveless intervenes by delivering explosive toys to the three unlucky, rich recipients.The tiny madman's scheme this time is to steal each of the 5 million in donations, plunge the state into chaos, and take it over as sole ruler of California.
The first segment of this show has a bit of A CHRISTMAS CAROL feel about it. The use of innocent toys as a means for destruction is a novel, if brutal idea. Loveless even secretly runs a toy shop where he builds his elaborate, and deadly toy soldiers and train sets. This was Dr. Loveless's third television appearance, and Voltaire's last appearance. Interestingly, Voltaire is showcased with a more child-like persona and also gets more dialog than his previous two episodes.
THE NIGHT OF THE PUPPETEER
21st episode shot; aired February 25th, 1966
Zachariah Skull (Lloyd Bochner), thought to be dead after jumping from a prison train, seeks revenge on the Supreme Court Justices who sentenced him to death by using lethal marionette's as his instruments of retribution. Jim is captured by Skull, who resides deep beneath the Earth inside a dark, cavernous facility.
To call this episode bizarre is an understatement. It's arguably the most macabre season one show what with its creepy, deformed puppets and PHANTOM OF THE OPERAish finale. The story and setting is beyond wild, not to mention about as outlandish a concept as you can get. The photography is exceptional. Not only one of series favorite Irving J. Moore's best, but one of the best shows of the entire run. Fans will recognize Lloyd Bochner as the man attempting to decipher what 'To Serve Man' truly means from that classic TZ episode.
THE NIGHT OF THE DRUID'S BLOOD
24th episode shot; aired March 25th, 1966
Jim West's former professor, Dr. Robey, dies in a gruesome fashion by Spontaneous Combustion. After attempts to remove him from the case, Jim discovers a string of violent deaths of prominent scientists all linked to a creepy satanist named Asmodeus (played by Don Rickles!) and the beautiful, young wife of Senator Waterford.
This episode is in the running for wackiest season one show and easily on par with the above 'Puppeteers' show. Put up against season two, it'd have some serious competition. 'Druid's Blood' is possibly the craziest season one WEST, period. There's some cool stunts and traps (including a pit of poisonous snakes) and the finale revealing the true main villain, an evil scientist who uses the disembodied brains of the dead scientists for his experiments!
THE NIGHT OF THE BURNING DIAMOND
26th episode shot; aired April 8th, 1966
Serbia's irreplaceable Kara Diamond is inexplicably stolen by an invisible force while in federal custody. Jim gets blamed for involvement in the theft and ultimately discovers who the true thief is -- a young scientist who has created a serum that enables a person to move faster than the eye can see!
Ken Kolb wrote this sci-fi west tale about a diamond elixir capable of allowing those who drink it to move so fast, everyone around them appears motionless. Jim and Arty are either suspects, or on the run throughout this episode, and features one of many scenes during the course of the series where Jim leaps through a window. If you're a STAR TREK fan, this plot device will sound familiar to you. It was a feature of the season three episode, 'Wink of an Eye'.
THE NIGHT OF THE MURDEROUS SPRING
27th episode shot; aired April 15th, 1966
The subject of drugs are the main focus in this ghastly, if darkly humorous episode. Dr. Loveless is at it again, this time determined to both torture, and take out his nemesis, James West. Loveless sneaks a powerful powder into his shaving water which, upon contact with the skin, results in Jim hallucinating. The evil midget's plan this time is to destroy humanity with this drug transferring it around the world via a flock of geese.
This was the fourth Dr. Loveless episode; and the most violent and downbeat of the ten featuring the diminutive madman over the course of the series. Loveless was always evil, but here, he's especially diabolical. There a few blackly humorous moments with Loveless and the hefty Kitten Twitty in between Jim's Twilight Zone style hallucinations (where he kills Artemus, for instance). However, the highlight of the show is a very disturbing sequence where the mad Doctor proves his potions potency by using it to turn his entire staff into raving maniacs! While 20 people scream and pound the walls killing each other in another room, both Loveless and his frequent companion, Antoinette sing 'Lullaby and Goodnight'.
Phoebe Dorin was the real life singing partner to Michael Dunn. She played Antoinette in a total of six episodes spanning the first two seasons. This was Richard Donner's second of three WEST programs -- the others being season one's 'The Night of the Bars of Hell' and season two's 'The Night of the Returning Dead'.
This season by season list of the Wildest WILD, WILD WEST episodes continues with SEASON TWO...
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