Grey's Anatomy: "Elevator Love Letter"

These days, I'm watching Grey's Anatomy out of dedicated habit. This season has been so unbelievably uneven (downright bad at times) that it's been difficult to maintain a true investment. Yet here I am, still watching. Often, I feel dirty about that, but "Elevator Love Letter" gave me hope.

Grey's has been on an upswing since the Private Practice/Addison crossover, and while I was initially waiting for the other shoe to drop, I'm now thinking that they may be holding steady. I'm not in the mood to get into every storyline (look for the quickdraw bullets below), but I did want to discuss the singularly consistent story of the season: Owen Hunt's unmitigated disaster of a life and the severe lack of control he has over his own mind and body. The dude needs help. Like, yesterday.

The image of Owen falling asleep to the lull of the fan worked nicely in lulling the audience right along side him. Cut to Christina's wide, pleading eyes and gasps for air, and we realize that Owen is choking the life out of her in his sleep. Horrifically violent and disturbing, the expectation was that Christina -- strong-willed, opinionated, solitary Christina -- would get out of his grasp and proceed to throw him out of her life. Instead, she hugged him.

For a while, I was worried that Christina had lost her mind too, making excuses and sweeping under the rug Owen's behavior. While I firmly believe that Owen would rather die than hurt Christina in any way, he clearly needs professional help and without it, both of them will pay the price. Christina might lose her life at Owen's hands and Owen would most certainly never recover from that. But seeing Christina ignore all of the psychological signs (just as Alex had ignored Izzie's medical signs) and continue on with the relationship was unnerving. And then finally in the end -- after they made tender and tentative love -- Christina had her epiphany:

"I'm lying here in your arms and I'm afraid to fall asleep."

The chemistry between Sandra Oh and Kevin McKidd is astounding and Christina and Owen do work very well as a couple, but before they can really give it a go, he needs to get his act together. Christina has always built walls around her heart and the only way she'll ever break those down is if she feels safe. Owen has the power to make her feel safe, but he doesn't currently have the ability. Let's hope that she inspires him.

Randoms...

• Any day when Callie dances like a dork is a good day. When she and Arizona were dancing early on in her apartment, I flashed back to Callie's near-naked dancing in the bowels of Seattle Grace. Hee. And seeing Callie carefree and happy was icing on the cake. Arizona is good for her.
• I appreciated that they acknowledged Callie's complicated history with Izzie. Callie berating herself over wishing Izzie dead and then using that to light a fire under George was inspired. "George, you were my husband and you slept with her. You are the reason I wished her dead -- you owe me this."
  
• Alex's massive guilt over not reading Izzie's signs and kicking himself because he's "a doctor" was heart-breaking. He's willing to spooge in a cup for her (because he actually wants a family with her, aww!), but he can't bring himself to go into her room. He's beating himself up one way and down the other, but all Izzie wants is him by her side. Luckily, he pulled it together in the end and the image of them laying together on her PACU bed was just lovely.
• Bailey keeping Izzie's skills up as an excuse just to keep her company was typical Bailey -- strong, stoic, inspiring, and mother to them all. "Tomorrow, do better." Anything you say, Nazi.
• Poor Izzie, left all alone at the time when she needs her friends the most. Many of those characters can be such d-bags sometimes, you know?
• The family in the tertiary story was surprisingly affecting when they finally lost their aunt. "Actually, could we stay a little while longer?" Goes to show that you should never judge a book by its cover.
• I am, by no means, a Derek/Meredith fan, but I enjoyed seeing the history of their relationship punctuated by meaningful surgeries. Dorky and fitting. And they're finally engaged. Egads, does this mean that the endless melodrama will finally stop? Eh, probably not.
• Was it any surprise that Derek succeeded in the OR? If he hadn't -- if Izzie had died on his table -- he would have turned in his medical license then and there. So that drama didn't feel foreboding enough. Seattle Grace wouldn't be Seattle Grace without Derek Sheppard.
  
• Could someone please explain to me when and how Meredith -- of all people -- became the intelligent voice of reason? I think a pig just flew past my window.

Thoughts?

Follow the yellow brick road...

In the Motherhood

Wow. Don't bother.

It makes me so sad to see such talent (genius Megan Mullally, brilliant Cheryl Hines, entertaining Horatio Sanz) wasted on this really unfunny show. This cast of actors deserves far better than the material this show offers them and the audience deserves a show that actually delivers on its promise of "a comedy".

The only funny moments in "It Takes a Village Idiot" came from the children. Shattering the dreams of a child in one fell swoop -- such as with telling them that Santa, the Tooth Fairy, the Easter Bunny, etc. are all fabrications -- is embarrassingly hilarious and the fact that the children passed on the knowledge and created a mass riot was a kick.

The only kick. Damn.

Thoughts?

Follow the yellow brick road...

American Idol: Top 10 Results Show

For frak's sake, why was Matt Giraud in the Bottom Three?

America often confounds me, and tonight was no different. While Michael Sarver and Scott MacIntyre (with Michael rightfully sent packing) rounded out the Bottom Three correctly, Matt's addition just made no sense. But alas... 'Tis the beauty of American Idol.

Tonight's Results Show included a couple of hilarious moments: the judges taking so long in deciding on their save (Michael may have been "singing for his life", but it was still bad) and the blatant use of a pre-recorder for the Idols' Medley (they sounded good, but many of their mouths just didn't keep up). Heh.

Randoms...

• Ruben, aka The Velvet Teddy Bear, sounded better than he has in years. He's lost a little weight too. Now, if someone would just quit running him through the sprinkler before his performances...
  
• Smokey Robinson and Joss Stone sounded kind of hot together. It worked.
• Stevie Wonder is still the Master. As Michael said, "And I have to sing after Stevie -- oh, crap!" Truer words never spoken.

Michael, you seemed like a genuinely nice and good guy, but sayonara.

Thoughts?

Follow the yellow brick road...

Lost: "He's Our You"

Daniel Faraday's closed-loop theory of time-travel might have just been blown to smithereens. Or not. Who the frak knows -- this is Lost, after all.

The final moments of "He's Our You" offered the literal bang of Sayid shooting and apparently killing Child!Ben as a matter of fulfilling his "purpose" in returning to the Island. The way I see it, there are a couple of possible storyline paths from here on out:

Sayid did, in fact, kill Child!Ben and all future events are now up for grabs. Faraday's time-travel theories and explanations have felt pretty solid thus far -- for as much sense as can be made out of time-travel. When not in the present, no one is supposed to do anything to significantly alter what is to become the future. Therefore, if Child!Ben is indeed dead, then what does that do to the Island in the future? Will Ben's unconscious body -- laying where Sun left him -- simply disappear? Will the feud with Charles Widmore cease to exist? Furthermore, will Charles Widmore appear on the Island shortly and take over? It was Richard who recruited Juliet, but it was Ben who kept her there, so will she now disappear too (having simply left the island and gone home when she wanted)? I could go on and on, but you get the point. Ben's death as a young boy changes the very fabric of the Island and the life that the Lostaways have built.

Sayid only thought he killed Child!Ben and instead, inadvertently created the villain that Ben was to become. Faraday says that the characters aren't supposed to change anything in the past, but he also heavily implies that the characters are unable to do anything to alter what is to become the future. If no one actually has the power to change the world to come, then the Island is, ironically, static. Although, it may not be the characters with the power (or without), it may simply be the Island. It appears that the Island can not only heal (Locke, Rose), but it can also raise the dead (Locke, Christian). Child!Ben may be legitimately deceased for a moment or two, but then the Island can resurrect him and send him on his way, now horribly pissed and confused over the assassination attempt made by the man he was only trying to help. Ben had dealt with abuse by his father his entire life, yet somehow he still seemed unscathed. This actually may have been the defining turning point in Ben's life.

I think Sayid's intention was born out of both loyalty and revenge. Loyalty in wanting to save his friends from the impending Dharma Initiative massacre and sparing them the future machinations of a seemingly omnipresent and omnipotent Ben. And revenge against Ben over the clear and cavernous rift between them (I'm guessing there's more to that story given that Sayid's newfound hatred runs so, so deep).

Sayid is a killer, like Ben says, but one who operates out of necessity not enjoyment. Sayid detests killing people (even those that seemingly deserve it) and he detests being able to kill people. But he understands that sometimes people have to do what needs to be done. So with great burden, he accepts his fate as a "killer". And it has brought him to this point.

It was interesting to see Oldham -- Dharma's version of Sayid -- directly juxtaposed with Sayid. They are both considered "the torturer", but where Sayid operates with precision, Oldham plays more of a crapshoot. ("Maybe I should use half a dropper. Ooops.") Oldham is older, unkempt, somewhat frail, and most importantly, he takes pleasure in the work that he does. He has a sinister quality of which Sayid could never dream.

So, circling back to the possibilities, my choice of storyline is the first scenario. It would serve to blow the canvas wide open and new storylines could potentially be limitless. Scenario #2, however, is more interesting on a philosophical level. So I guess the question is: are the producers aiming for a mythology and an endgame that is tangible or intangible?

Randoms...

• When Sawyer told Juliet, "I got this under control", I believed him. Whole-heartedly. And that just made me so proud of Sawyer once again. This was just furthered by seeing Jack trusting Sawyer too. My, how far we've come...
  
• Speaking of Sawyer, I like how the trust of the Initiative and the life that he's built seems to mean a great deal to him. I like seeing Sawyer settled, in charge, in control, and operating with a sense of peace. He's earned that.
• Sawyer tased Sayid in the junk. That was cold. And harsh. Damn.
  
• Juliet and Kate's exchange regarding Sawyer was well done. Awkward, tense, slightly leery, yet gentle and not spiteful. These are two strong, confident women who deeply care about this wonderful man, and as the dynamic has changed, they're just trying to find their footing. Perfect.
• I'm impressed by the Initiative's adherence to a democratic-run society. The members of the elite felt like the BSG Quorum, only in jumpsuits. Although, we know how the Quorum fared in the end. I fear that the Initiative will suffer the same fate -- gunned down in genocide.

Thoughts?

Follow the yellow brick road...

American Idol: Top 10 Performance Night

Week 3 of the American Idol finals proved that Motown is a gift -- to music lovers and singing competition contestants. Last week, I expected that "Country" would weed out the contestants more thoroughly, but as it turns out, that was "Motown's" job. The stand-outs really stood-out and those that flopped should be doing a lot of praying tonight. And then there was Lil...

1) Matt Giraud, "Let's Get It On": The opening of the song was really sexy and stripped down. The verses had power. The riffs worked. He made an iconic song his own while still honoring Marvin Gaye. Matt is the contestant who I feel is really challenging himself every week. He's opening himself up more and more every week. And it's working. Matt isn't a dark horse for the title, he's a clear contender.

2) Kris Allen, "How Sweet It Is": Kris gave a perfect mixture of Marvin Gaye, James Taylor, and Kris Allen. There were good runs, and it was sexy and original. Kris has a lot of talent, so why am I still so 'meh' about him?

3) Scott MacIntyre, "You Can't Hurry Love": When he ramped up the performance and the power, it kind of worked. When he didn't, it was bland. It was a poor song choice, and slightly on par with previous weeks. I've seen no variety, and at this point, I'm not sure that he's capable. I used to like Scott, but I'm over him now.

4) Megan Joy, "For Once In My Life": Allow me a moment to pull a Paula here. Megan looked gorgeous -- she is gorgeous. Now that that's out of the way, I can talk about how her performance was a disaster. She was too low in places and way too high in others. Her voice just can't support the power verses. And for the first time ever, she didn't feel current... at all. Smokey Robinson said that she was "part jazz, part cabaret". A good description, but this performance was much too heavy on the cabaret when jazz would have been the smarter move.

5) Anoop Desai, "Ooh Baby, Baby": Beautiful, tender, passionate, and sultry. Anoop took his voice higher than I thought was possible and it was genius. An incredibly difficult song to sing, he did it total justice while still adding a little personal flavor to the verses. Once again, Anoop proved that he has every right to be in this competition. Now, to get some of that crazy energy back...

6) Michael Sarver, "Ain't Too Proud to Beg": Michael was all over the place -- flat notes, off-key, too many runs. And any grit and passion that he tried to instill in his performance were effectively negated by the incessant smiling. You're pleading for her to stay, Michael -- smiling is not an option!

7) Lil Rounds, "Heatwave": Oh, Lil, how you disappoint me. Kimberley Locke suffered the same fate in Season 2 with this song. "Heatwave" is a fun song, but it is not the showcase song for a singer with infinite ability, great texture, and range. I know that Lil was being authentic and trying to honor those that paved the way, but she would have fared far better with Thelma Houston or Gladys Knight. Those woman know how to showcase their pipes. The end of the song was a strong point, though.

8) Adam Lambert, "Tracks of My Tears": Was that Elvis I saw? The Adam that performed tonight was not the Adam that we've come to know and love, and yet somehow his performance was so very him. He was flat-out incredible. Pure, moving, mesmerizing, and original, I'd call "Tracks of My Tears" one of the Top 10 Idol performances ever. Up there with Bo Bice's "In A Dream" and Fantasia's "Summertime".

9) Danny Gokey, "Get Ready": Fun, good, consistent... but uninspired. (Although, his nerdy dancing with the background singers was highly enjoyable.) Danny has a great voice and a lot of potential as an artist, but he seems to be in a rut. His performances are starting to run together for me, much as I love him, and he's going to need to do something so far out of left field, so surprising that I can't help but take immediate notice. I think he has that in him.

10) Allison Iraheta, "Papa was a Rolling Stone": So the rocker chick finally found her soul. Allison once again showed the raw power of her vocals, but this time she did so with a grit and a passion reserved solely for soul artists. A bit of a variation while staying true to herself. Nicely done.

*The Journey Continues: Adam, Matt, and Anoop are unequivocally safe. They can start planning their next display of brilliance.

*Pack Your Bags: Michael, Megan, and Scott should be very worried. All of them fumbled in a big way, and any one could go home. But, my money's on... Michael.

Thoughts?

Follow the yellow brick road...

Big Love: "Sacrament"

"Is it wrong to wish your parents dead?" -- Alby Grant
"Not ours." -- Nicki Grant

In a hilarious exchange, Nicki and Alby tossed around ideas about ways of killing Roman and Adaleen. Nicki was kidding. Alby was not. And seeing as his letter bomb plan to kill Adaleen failed miserably, Alby will have to be extremely grateful to Joey for getting the job done. Oh, what a tangled web...

Joey Henrickson has always been one of my favorite characters. His simplicity, sincerity, big heart, and gentle soul have always been nice counterpoints to the many vipers slithering in the mix. But now he's damaged. The moment Roman took Kathy from him and Wanda, Joey's descent began. I worry that Joey -- despite believing in the need for retribution -- will never recover from committing murder. When he took Roman's life, he killed a piece of himself too.

The juxtaposition between Roman's murder and Bill's "claiming the keys" and declaring a new church born of "necessity" was unsettling. Bill has fought against Roman and all that he stands for his whole life, but the moment that Bill pulled the proverbial rug out from under his brother-in-law regarding the casino -- a move that I didn't think Bill was smart enough to achieve, honestly -- Bill became Roman. Roman gave Bill the Kiss of Death, and sealed his fate. Bill believes that his church and his motives are pure, but Bill has now done what Roman always had -- declared himself the God-chosen prophet. Bill didn't sell his soul to the devil. He took over for him. And those whom he loves stand to perish.

Randoms...

• Before Nicki ever said it out loud, I knew that Cara Lynn was her daughter. It helps to explain Nicki's petulance and childishness throughout the years.H er childhood has never had the chance to heal. Against her will, she was sealed to an older man and forced to bear him a child. To truly escape, she had to sacrifice her own flesh and blood. But now, she has the ability and the desire to claim Cara Lynn, and maybe... just maybe, Nicki can finally begin to heal those decades-old wounds.
• Cara Lynn furthers the monstrosity that is traditional polygamist compounds. She's still playing with frogs in the yard, but yet it's apparently time for her to be sealed? Horrifying.
• So the all-important, way-of-life changing letter is a fake? And it's not even remotely the first con that the Grants have run in an effort to gain wealth? I've never trusted the majority of the Grants, but I didn't see that one coming.
• I enjoy seeing Margie coming into her own, taking a stand, and claiming a life... even if she was a total dork while doing it. I suppose that's just one more endearing quality of hers.
  
• I'm worried for Barb. Her "rent-a-womb" plan for a new baby seemed riddled with desperation. Barb is very close to the edge after all of the unfortunate events that have befallen her -- Mother of the Year in the tank, being denied by her mother and sister, Sarah's pregnancy and miscarriage, excommunication -- and I worry that her grasp on her sanity is slipping.
• Bill's blithe acceptance of Sarah's engagement pissed me off. Do I think that Scott and Sarah genuinely love each other? Yes. Do I think that they could do well as a married couple? Yes. But Sarah is only 18 years old and she is Bill's first-born daughter. I would expect more outrage and protectiveness from him. Not to mention his obliviousness of Barb's legitimate concerns and worry over Sarah's decision. It was clear that Bill's mind was elsewhere, but that's no excuse. The immediate family comes first. Piss off, Bill.

Season 3 of Big Love has quite possibly been its most consistently strong so far, and I can't wait for the even more tangled web that's sure to be Season 4. Here's to hoping that we don't have to wait another 16 months.

Thoughts?

Follow the yellow brick road...

Kings: "Goliath" and "Prosperity"

So I've finally gotten around to reviewing the first three hours of Kings in all its majestic glory. It's ambitious and visceral and awe-inspiring. And it has a lot of promise. I just hope that the viewers give it the opportunity to tell its story.

"Hope lies in bravery. And we need hope." -- King Silas Benjamin

It's clear after watching "Goliath" and "Prosperity" that Kings is a puppet show. No one character seems to be in charge of their own destiny. They are all dependent on those pulling the strings. Theoretically, King Silas (the commanding and entrancing Ian McShane) should be the puppet master, but he's not. Not by a long shot. Gilboa and all it entails (Shiloh, Unity Plaza, Port Prosperity) appears to be a manufactured dynasty, one born out of necessity and a desire to please and unite the people. Only Gath, in its poverty and grit and true patriotism, appears to be the real deal.

Silas is a mere pawn on the chessboard and I would have said that the "king" seems to be William (a surprisingly frightening Dylan Baker), but Queen Rose (the luminous and perfectly icy Susanna Thompson) can wield control over her brother like no one else can. Rose is the master of illusion -- as evidenced by her "army" of servants -- and so much of Gilboa feels like an illusion that I wouldn't be surprised to see that she's the one truly in charge, not that she'd ever let anyone realize it. She's the butterfly in everyone's ear.

As for David, he's appropriately conflicted and earnest. He wants to do right by everyone, but he has yet to learn that you can't please all of the people all of the time. He is also oblivious to the fact that he's being used. Chris Egan has done a nice job thus far of conveying David's inner turmoil over his act of pseudo-bravery and his desire to make his family proud. His scenes with Ian McShane, though, are falling a little short. McShane is so engaging and so mesmerizing that he has a tendency to suck all of the oxygen out of the room leaving Egan to gasp and grasp for any shred of the scene. Hopefully in time -- if ratings improve -- Egan can power up David and imbue him with some of the gravitas needed to go toe-to-toe with McShane and Silas.

"Goliath" randoms...

• New York, as the Kingdom of Gilboa, has never looked so gorgeous. The sparkle and the sheen of the city is intoxicating, and it's no wonder that Shiloh is apparently the crown jewel.
• The imagery of the butterflies forming a crown was magnificent CGI. A breath-taking sight. Silas viewed the butterflies as a symbol of being crowned King directly at the hand of God, but has Silas' time passed? Is God now crowning a new king in David, or is David there to serve his king?
  
• Prince Jack is gay and Silas doesn't seem to care on a personal level -- only on a political one. I get the sense that if the Benjamins were a regular family, Silas wouldn't take any issue with Jack's sexuality and that's a refreshing change of pace when dealing with such a macho, intensely male figure.
• David's grand act of bravery turning out to be an imagined falsehood provided a stronger base for the character. In a world built on illusion, the people saw what they wanted to see in David and he let them. Now he feels as though he needs to earn the respect that he's so willingly been given. It gives the character a grander ideal to strive for and thus a broader arc for the series.
• Reverend Samuels (the perfectly theatrical and inspiring Eamonn Walker) appears to be molding David. But in whose image is he being molded?
• Politics and religion have always had a tenuous and conflicting relationship and it's interesting to see the dichotomy made flesh in Silas and Samuels.
• The battle scenes left me a little bit underwhelmed, but the idea that the war is virtually in their own backyard is intriguing. For whatever reason, war always seems so far away, so to know that the front lines are a mere few hours away is almost unsettling.
• Silas has two families -- one living in the spotlight and one living in shadow. But his second family almost feels more real. Pretense can change the entire image.
• Silas may not be the puppet master, but he does wield some incredible power. Purely by accident did a member of his cabinet stand up before the king did, and with one look, the audience knew that that politician was not long for this world. Yikes.

"Prosperity" randoms...

• The mirroring visions between Silas and David beg a more metaphysical connection between the two. Given that this is based on the Bible, I'm inclined to think that God is guiding the two men in some way. But are they being brought together or torn apart?
• "He has a destiny in him. People with destinies -- things don't go so well for them." Mrs. Sheppard is letting Princess Michelle and the audience know that before David ever has a shot at the crown, he'll lose most anything that would make it meaningful. Is it worth it?
• To what was it that the Princess asked the King to bear witness? Has she taken a vow of chastity or is she promised to another? Either way, David's love life doesn't look promising.
• Even though it still feels like Gilboa is fabricated, the monarchy has a long history. And a history rooted in violence to boot. Silas only achieved the crown through a coup, and instead of killing Abaddon -- of which we know Silas to be very capable -- he kept him imprisoned and told the kingdom that Abaddon was dead. Why? Because "I'm the only one who tells you the truth." Interesting, and I'm thinking that Abaddon and Silas are related in some way.
• Who was in the picture that Silas was lording over Abaddon? It clearly touched a nerve.
• Once again, we see imagery involving flying creatures. This time out those winged beings were birds. Pigeons, no less -- the most unattractive birds ever created. Pigeons are the bastard step-children of the Aves class, much like Gath is sort of the bastard step-child of Gilboa. And the birds saved David's life as the Premier of Gath spared his life. All of this seems to hold deep meaning, so why is it that the bird crap was a sign of luck?

Kings has a lot of potential. And the world that it creates is so, so interesting. I have always thoroughly enjoyed television series that present ideas that are so very modern while existing in a very fantastical setting. Mix in politics and religion, sex and romance, and an overwhelming sense of foreboding and you've achieved my ideal show. Now let's hope that Kings can reign.

Thoughts?

Follow the yellow brick road...

Dollhouse: "Man on the Street"

Various sources (Joss Whedon, Eliza Dushku, Tahmoh Penikett, et al.) have reported that "Man on the Street" was the episode where Dollhouse would finally find its voice and its vision would become clear. Did it deliver? Absolutely! Is the show now perfect? Not by a long shot. But there's definitely a marked improvement.

Until now, Dollhouse was struggling. It felt like simply an episodic mission show (imprint active, send them on mission, be successful despite issues arising, wipe active) set in an environment that was creepy all. the. time. And there was one lone FBI agent obsessing about bringing it down and saving one girl. But thanks to "Man on the Street" and the great visionary that is Joss Whedon, there is now a grander scope in place -- "Fantasy is their business, but it is not their purpose." Previous limitations were broken and we know much more than we had previously (more than twenty dollhouses exist all over the world, Mellie is a sleeper active and seemingly the first long-term one, and Echo/Caroline has been a doll for at least seven years.)

The dollhouse, which has always felt wrong and disturbing, now appears to be flat-out evil, untouchable, and far-reaching. The theories behind the operation have always made me uncomfortable, but what was being done felt glossed over and it always left me with a disconnect to the series. How could I watch, and more importantly enjoy, a show that seemed to show no remorse for robbing possibly innocent people of their lives and their personalities? How could I engage and invest in a show that glibly robbed people of the elements that make them inherently human? I can now do all of the above because I know that I'm supposed to feel distressed about the dollhouse and supposed to root for its downfall.

Which brings me to Adelle DeWitt -- easily the most complex and intriguing character of the series. If Echo/Caroline has been a doll for roughly seven years, why does DeWitt's focused interest in Echo feel so fresh? Is there more to the story -- a more personal connection? What is being done to these people, and especially to these women, seems as though it should disgust any strong and intelligent female who has pride in herself and her gender. DeWitt, for the position that she's achieved and the power that she wields, should very firmly be a feminist, but how can she be when she's so willing to rob women of their choices in life and their potential? What is she truly capable of? Who is she, and what brought her to the dollhouse?

"I played a very bad hand very well. There's a distinction." -- Adelle DeWitt

Randoms...

• We've known for a while that the dolls are broken (original personalities breaking through, awareness) but why? The technology is so advanced and Topher seems to be a genius, so why can't he fix it? Is he secretly the mole and therefore doesn't want to fix it? That would be a nice surprise seeing as Topher seems to delight in his work which is unnerving given that his position in the dollhouse might be the most reprehensible of all. He's the conduit.
• Boyd's police training came in handy as he "did the work" and exposed Hearn's flagrant unremitting abuse of Sierra. Boyd genuinely cares about Echo (and the other dolls) and feels like a protector of sorts beyond his role as handler, so why is he there? Ostensibly, the dollhouse should turn his stomach as he appears to be an upstanding guy. The dollhouse thrives on illusion. Appearances can be deceiving, but I don't know that I like the idea that Boyd may not be as good as he seems. The dolls need at least one internal ally if they are to survive.
• Patton Oswalt was touching as a grieving widower who's only desire was to share in the "perfect moment" with his "wife" that she was never able to experience. Mynor's motives appeared to be altruistic, but his human nature prevented the "mission" from being entirely noble. Fantasy drives us and illusion is tempting. Must we deny our most base instincts to be truly virtuous?
• The various fight scenes were made of awesome -- magnificently constructed, choreographed, and filmed. But... wouldn't Tahmoh Penikett be able to crush someone Eliza Dushku's size with his pinky?
• "PORN!" Heh. Trademark Joss Whedon humor.
  
• Mellie proves that the dolls are Cylons. They are effectively machines wired to do the job. Personalities and consciousness are downloaded into them, but they feel and fall in love. And as time passes, they grow into their own. Free will, or a flaw in the plan?

As Mynor told Ballard, fantasy is necessary for survival. To reference Lost, we need a "constant" to maintain our sanity. If we as human beings do not have a greater focus, imagined or otherwise, then we can potentially lose ourselves. Will technology be our downfall or will it be monotony?

"If that technology exists, it'll be used. It'll be abused. It'll be global. And we will be over. As a species, we will cease to matter. I don't know. Maybe we should." -- Professor in the "Documentary"

Thoughts?

Follow the yellow brick road...

ER: "Shifting Equilibrium"

Last Thursday night on the latest ER, we said goodbye to Dr. Neela Rasgotra. Six years ago, Neela walked into County General a fresh-faced medical student who looked more like a little girl than a doctor. Over time, we saw her through her ups (finding a home in Surgery, her deep friendship with Abby, falling in love with and marrying Gallant) and her downs (Gallant's tragic premature death, Ray's accident, her unfortunate career choice in the Jumbo Mart) and in the end, little Neela became a grown woman, full of promise, self-awareness and confidence. County will miss you, Dr. Rasgotra.

If this was not ER's final season, I can honestly say that I don't know that I'd be taking the time to review it. Is it as good as it was ten or twelve years ago? Not necessarily. However, it is still quality television, and it's a benchmark and an icon in the TV landscape. And as the hours dwindle down, each episode feels like a landmark of sorts. But in the sea of all of the former faces from ER's heyday, Neela's goodbye had the potential to get lost in the shuffle. Thanks in no small part to Parminder Nagra's quietly beautiful and touching performance, though, "Shifting Equilibrium" proved to be Must-See TV.

Randoms...

• Here I thought that Brenner & Neela were supposed to be a real couple, developing over the course of the season. Ultimately, they were meant to help each other see the error of their ways. Brenner facing his past and working towards a better future, and Neela facing her self-imposed limitations and admitting her flaws. It was nice to finally see her recognize that she can be rather self-righteous, and then proceed to apologize for it. Seeing the true purpose of their relationship come to fruition was unexpected, yet touching. They were necessary to each other's lives and they know that. Awareness is a beautiful thing.
• Neela and Dubenko's goodbye was highly emotional. And it was also fitting. He challenged her until her very last moment and she's the better for it. The student had become the master, and that made Dubenko proud. Because above all else, he loved her. She was his pupil, his friend, his family.
• Nice touch having Neela stop just shy of 2500 surgeries. She's a gifted surgeon, but she's never been there simply to cut. She's a compassionate and caring doctor more than anything.
• Frank coming up with every possible ethnic stereotype as a way of saying goodbye to and making amends with Neela? Hilarious! And so Frank. The fact that he was oblivious to it until Sam pointed out his errors in judgment was just icing on the cake.
  
• I loved the simplicity of the Abby scenes. A nice reference to multiple times past, Abby was there to be Neela's friend -- to guide her and encourage her toward what Neela needed to do. Neela knew that the path she was taking was the correct one, but she wanted Abby's calm influence and support one final time. And Abby was happy to give that to Neela.
  
• It was also lovely to see Abby in her daily grind -- cooking and play dates. Abby is so very settled and content, but she's still Abby ("I hate Thursdays."), and that's a nice confirmation. She left on a happy note, and she's still happy. She's earned that much.
• Seeing the nameplate wall again was tear-jerking. A reminder of times come and gone, some people off to better things and some simply taken away. I did so hope, though, that Neela would place her nameplate next to Gallant's. Alas, no such luck. I guess she finally has moved on.
  

Neela's fear was a driving force within her personality -- fear of change, fear of commitment, fear of failure, fear of disappointment, fear of taking a leap of faith. By the end of her tenure at County, she managed to not only face her fears, but overcome them (many all in this one hour). Neela grew up, and when she did manage to take that all-important leap of faith, it brought her back to the one person who has been there all along: Ray. Finally.

Ray "finally" got the girl. About time.

Thoughts?

Follow the yellow brick road...