The finale of The Voice is here and it provided some shake-ups near the top, some real uncertainty going into the finale, a late-coming surge from the lower-tier, and some of the best (and worst performances yet). We’ve got too much to talk about, so here’s our final power rankings.

Our Final Power Rankings:
1) Javier Colon
2) Vicci Martinez
3) Dia Frampton
4) Beverly McClellan

How did we get here? We tried to combine overall performance on the show with last night’s rounds. Why the jump for Vicci? Well, she dominated both portions—the “debut your first single” section and the duet with their respective coaches—of last night.

Perform Your Own Song:

1) Vicci
“Afraid to Sleep”

We know who these people are at this point: This was a lot of energy with maybe an unnerving tinge of aggression. But, you know what? She almost definitively won the “perform your own” song portion of the contest. And isn’t being a pop star just continually winning the “perform your own song” portion of the contest?

2) Javier Colon
“Stitch by Stitch”

Straightforward pop song, but the guy’s a pop star. He is. That’s it. He emanates it, like a glow around a superhero. After watching all of these performances, you’ll find out that the songs that were written for these artists weren’t actually very good at all, but you’d never really know watching Javier. In fact, we don’t remember “Time After Time” even being listenable, but he made it that, too. I guess that’s why we think he’s going to win the contest.

3) Dia
“Inventing Shadows”

Somebody wrote a terrible song for her. It’s a bad Coldplay clone, which is something the world should be fresh out of at this point. It’s not enough to get past Javier. We were actively rooting for her, too. We would’ve made a blinged-out sign, too, if we weren’t relatively certain this would get us arrested for some law we don’t know about.

They needed to give her an electric guitar with some distortion and let her go. This whole show was leading to a finale where Dia finally let her hair down completely, but it didn’t happen. This just wasn’t enough.

4) Beverly
“Lovesick”

So this was a little horrible. We love her enthusiasm, but this song is such a throwaway, bad karaoke AC/DC song. She shook me all the way to the fast-forward button on my DVR. We just can’t get behind it. It ends in her singing “yuh-yuh-yuh / yuh-yuh-yuh-yuh,” which is the sound babies make when they want to watch “Yo Gabba Gabba” but don’t yet have the words to express it.

Worst of all, it’s so predictable. Beverly almost wins the contest tonight with her duet alongside Christina Aguilera, but this was just so very terrible. We’re going to look back at this in three years and wonder what we were thinking, watching this on television with a straight face.

Duet With Your Coach

1) Vicci and Cee Lo
“Love is a Battlefield”

Cee Lo has a red Mohawk and is dressed like a professional wrestler. Vicci’s got a ton of confidence and is busting out the performance of her life. This looks like West Side Story on psychadelics. It’s the best performance of the night, far and away, and it makes Vicci look like a superstar. It seems a lot like Cee Lo’s doing, but what’s a superstar without somebody who knows how to get the star out of her?

Hold on a second: Does Vicci have a chance? I think she might.

2) Beverly and Christina
“Beautiful”

Woah, this was the first departure for Beverly. It wasn’t another Blues Brothers song. It was relevant and big and orchestral and subtle.

And, based on what song this is about, I don’t think we’re legally allowed to talk about how weird her hand movements were. In that case: A+. I didn’t think it was possible she could win this competition, but if any performance were to give her a chance, it would be this one.

3) Javier and Adam
“Man in the Mirror”

Okay. That’s it. That’s a wrap. Show’s over. Javier has to be your winner tonight.

Before the duet, Javier said, “The only thing is, you can’t do it better than Michael Jackson.” True, but they came close. If this guy doesn’t win, I’ll eat Cee Lo’s entire collection of furry hats. It’s predictable, yes, but this guy’s the best performer—and, yep, the best voice—on The Voice. Hands down.

4) Dia and Blake
“Won’t Back Down”

She sort of looks like a character in an ‘80s movie in a parade. She’s got some wayfarer sunglasses on with a three-piece suit. She ran into an age-old pop problem: You do not cover Tom Petty. Only Tom Petty can pull off Tom Petty. It just looked like too many guitars and voices up there for too few sounds. In turn, Dia sort of looked like Blake’s kid sister, which is not what you want to look like in a finale.

It’s too bad because Dia was really the only person who could contest Javier, but she just didn’t pull it off in the finale. People will have to be voting for past episodes, and I’m not sure that’s going to happen. She was simply the victim of a couple of bad songs tonight. It wasn’t her. We’re still crushing on her hardcore from afar. But this wasn’t enough to take down Javier, who looked like a world-class singer amongst a bunch of very good backups.

“The Guild” is about video games the same way playing in the Super Bowl is about getting exercise.

Sure, very basically—at its very crux—“The Guild” is a bunch of people in a couple of rooms playing some online game together.

But it’s much more “Party Down” than it is “Mario Party;” more “Modern Family” than “Modern Warfare 2.” Video games are just the vehicle to tell some very funny stories that get you attached to these characters.

It’s a lot like what “The Big Bang Theory” would be if it didn’t have to appeal to your grandfather, too. And all four seasons are on Hulu starting today.

This is all Felicia Day’s baby. The former “Buffy” star writes and stars the whole thing. It’s spawned from a little web series to a South-by-Southwest Award-winning nerd juggernaut.

And why is it a nerd juggernaut? Because, as Day explains, mostly non-nerds are watching.

Hulu: I spent a lot of time watching your show yesterday. A lot of the trepidation for me is that it’s marketed as being about online gaming—and I’m not really an online gamer. But saying this show is about online gaming is a little bit like saying “The Office” is about selling paper.

Felicia Day: That’s a good analogy, actually. I think the first couple of episodes have some inside lingo about the gaming world. There are things that appeal mostly to the gaming audience. But what I really wanted the show to do is to get into people’s lives. It’s six pretty dysfunctional people and kind of their personal problems and how they deal with one another. I think hopefully people will get involved with those characters.

When I set out to do this, I really didn’t want to have to spell things out to everyone. You want to make it fifty percent accessible—to be able to target people who play this game. There’s a delicate balance. I try to be aware if I’m leaning toward a niche, and try to reach a balance when I write. You want to reach a happy medium.

Our audience has expanded so much. There are Reddit jokes, jokes about Internet culture—that’s where we started. We wanted to talk to our audience and build our audience. After a while, the focus shifted more toward relationships and things. We weren’t exclusively talking to those communities anymore, and it really carried us for five seasons.

What would be your pitch to someone who isn’t into online gaming to convince them to watch “The Guild?”

It’s a group of dysfunctional online gamers—and we have seasons of content now, which is basically five movies—and they have these interpersonal relationships and crises. I think we found out you can’t make a show about people staring at a computer and talking about games. There’s no way. In one season I give Codex a job because it gives her a story to tell.

Yeah, I was impressed by that: There are a lot of actors staring into a computer screen. But it’s totally believable and it doesn’t get boring. How did you make that work?

It’s very awkward. It’s awkward as an actor. You have to learn all your lines from one season in one day. Then someone is reading other people’s lines off-camera. You have to learn to react listening to other people who are not actually there. It’s funny because when we get scenes with other people in the room—you can tell—we get very excited.

From the outside, I think that’s kind of how I view online gaming. These relationships are great, but they don’t really match up to in-person relationships. But maybe I’m wrong.

Well, I think the underlying message is that these characters are not the same age, race or religion and they’re still able to have this relationship together. We live in a society that, a lot of the time, is based too much on looks. The people playing these games are all different ages, races, income levels. We’re not all a bunch of white people who sit around coffeeshops. In real life, you wouldn’t see a 40-year-old guy, being friends with a 15 year old. I mean, what would you think in your head when you see them?

It’s important to know that you can be friends with anybody who has something in common with you. That one commonality—that’s what’s cool with the Internet. They would never be friends on a normal basis. They’re from different streets, income levels.

There’s not a lot that can happen in five or six minutes that can both push a plot forward and, also, tell an individual story by itself. This show doesn’t really have that problem—it does a sort of masterful job of skirting it—and I want to know how that is.

I share your sentiment with some web video. I find it challenging to construct a show in that many minutes. I have to force myself to think like a viewer. I think we found a better way of doing it throughout the seasons. But there are two fundamental things I think when writing and making this show: Don’t be bored at the beginning and don’t be bored at the end.

Look at Adult Swim. Half-hour episodes are now 21 minutes. We’re definitely shrinking in time about what people want to watch. We’re catering to different screens, different societies. We don’t have to fit in the box. The hope is that eventually web series aren’t as short as they are because of the budget, basically. Once the transition happens, we’ll start seeing more content exclusively for the web.