3.20.2009

30 Rock: "The Bubble"

"Sorry it took me so long to answer. I was just thinking about how weird it is that we eat birds." -- Tracy Jordan
It's amazing how self-contained bubbles can be, be them thought bubbles or life bubbles. And suddenly, the word "bubble" no longer seems like a word. Huh.

What I found most interesting "The Bubble" was Liz's ability to so clearly see past the bubble despite her personal aesthetic insecurities. She sees right past Drew's bubble in a way that no one ever has, and why is that? Is it just that she's smarter than everyone else? Or is she just less self-involved? The bursting of Drew's sweet little bubble gave Jon Hamm some funny stuff, but I most enjoyed that in the end, he chose the bubble. The world (and he) is prettier in it than outside of it.

Jack's bubble, on the other hand, still follows him. It took Dot Com's very insightful and intelligent (hee!) assessment of Tracy for Jack to realize that Tracy lives in a bubble all his own. And making Kenneth the keymaster was a stroke of genius. Not only did it give Jack McBrayer great material (what the hell is his accent?), but it showed how selfless and compassionate Tracy can be. He loves Kenneth, and that humanizes Tracy and makes him less of a total farce.

Jenna, though, is a farce, and probably always will be. Sigh. Thank gods for Dr. Spaceman.

Randoms...
  • Frank's hat said "DRAPES". A nice nod to Don Draper, perhaps?
  • "What the what?!" I so wish that we had gotten to see the picture of Bubble!Jack. I was desperately longing to catch a glimpse of his "superman chest".
  • Jenna donating her hair to "Merkins of Hope" was the crassest thing I've heard in a long time. And funny as hell. Bwah!
Over all, one of the funniest episodes of 30 Rock this season. Now, let's all go and perfect our "excellent French"...
"Ffffghgg csdlkfj gekjl." -- Jack Donaghy & Dr. Drew Baird

Thoughts?

Follow the yellow brick road...

Lost: "Namaste"

I missed my opportunity to write about last week's episode, "LaFleur", but if I had, I would have spoken about how much I love this incarnation of Sawyer. He's strong. He's capable. He's in control. He's settled. And it's amazing!

This week in "Namaste", Sawyer is still that man, only times ten. I wasn't sure what would become of "James LaFleur" when suddenly face-to-face with Jack, but not only did Sawyer stand his ground, he furthered his growth process.

"It's how I like to run things, I think. I'm sure that doesn't mean that much to you, because back when you were calling the shots, you pretty much just reacted. See, you didn't think, Jack, and as I recall, a lot of people ended up dead." -- Sawyer
Damned if he's not right on the money. Jack is a leader of reaction while Sawyer is a leader of pro-action, and it's pretty evident which method works better. In three years time, Sawyer has inspired a lot of loyalty and support, and no one seems to question him when he speaks. Jack, on the other had, was always being questioned -- by his friends and by himself. I think that Jack feels comfortable in the role of leader, but only because he's accustomed to it. He is a surgeon, after all. Somewhere in the back of Jack's mind, though, is a bit of relief at relinquishing the reins. Not that he'll ever admit it.

Sawyer's speech could have easily come off as a defensive diatribe, but instead, it sounded more like a man who is confident in his position and in his abilities. And why shouldn't he be? He's come a long way. He can still crack wise at the drop of a hat, but he does so now with precision versus as a defense mechanism. He's no longer the sidekick or the reluctant hero, but the man with the plan. Juliet has tempered him and offered him unconditional love and support -- something he's never known yet secretly searched for, I think. My hope is that they prevail, but my fear is more prevalent. The little nods and sideways glances scream "quadrangle", but I worry that the show will lose something if they delve too deeply into the romantic entanglements. Lost thrives on the broad spectrum and the big picture of the mythology, and romance is too external of a story. It has the potential to separate the characters from the over-all arc, and that would be disappointing. But let's not get ahead of ourselves...

Randoms...
  • I've always felt that Kate/Sawyer is far more interesting than Kate/Jack, and I often rooted for Kate & Sawyer to find each other... until Juliet. Juliet is so good for Sawyer and she makes him strive to be his best possible person. He needs her, and I hope that he doesn't lose sight of that. When Sawyer greeted Kate as "Kate" and not as "Freckles", my hope thrived a little. Maybe, like he told Horace, three years is enough time to let someone go...
  • Jack and Kate were brought down a peg, and the sneaky ways that Sawyer and Juliet made that happen were a hoot to watch -- Jack's "aptitude test" resulting in his qualifications as a janitor and Kate squirming and scrambling a little when her name wasn't on the original list. Sawyer and Juliet have no reason to truly punish Jack and Kate, but they do have that inherent human desire to not only survive, but to come out on top. They have all the power right now, and their little personal allowances showed us that they're not all goodness and propriety. Hee.
  • In reference to the above, I was thoroughly disappointed in myself for doubting Juliet, even for a moment. When Kate's name wasn't on the list, I was ready to crucify Juliet instead of believing in her and giving her the opportunity to indulge in a little bit of necessary pettiness. Seeing as I adore Juliet -- far more than I do Kate -- my readiness to distrust her speaks to the tenuousness of the situation. Nicely done.
  • Juliet cooing over the baby was sweet until... Amy revealed that he is (or more accurately, will grow up to be) creepy Ethan. Juliet couldn't get rid of that child fast enough. Eeek.
  • So Ben grew up with the Dharma Initiative? How, then, will he and Ethan come to be members of the Others/Hostiles? Will they stage a crafty defection years down the line, or will it simply be a matter of self-preservation?
  • It was a nice turn of events seeing Ben as the captor and Sayid as the captive.
  • Why, oh why, is Sun stuck in present-day? I get that Sun & Jin can't race into each others' arms just yet, but godsdamnit, I'm selfish. And impatient. And thirty years is long time to travel! Is her separation from the rest of the group a result of the entire Oceanic Six not being present? Someone go get Aaron. NOW!
  • Clearly, the island not only heals, but it brings people back from the dead. Christian was in a casket on Oceanic 815 and John was in one on Ajira 316, and now they're both walking around. Impressive. And creepy.
  • Where is Dan Faraday? Has he cracked beyond repair? Or has he left the island with Baby!Charlotte and her family? What was Sawyer's "not anymore" comment all about?
Stand-out lines...
"I lied." -- Sun Kwon -- This incarnation of Sun is badass! And pretty fearless. Awesome!
"Dude, your English is awesome!" -- Hurley -- Heh. Leave it to Hurley to say what everyone is thinking. And I bet Daniel Dae Kim agrees. I'm sure he's thrilled to be able to speak somewhat normally now. It's about time.

Thoughts?

Follow the yellow brick road...

Better Off Ted: "Pilot"

Better Off Ted is zany, off-the-wall, ridiculous, and over-the-top. And yet, highly intelligent. It's pretty clear that the series-arcing theme is in the sly allowance of acerbic commentary on how conglomerations and Goliath corporations are taking over the world and, in the process, creating "drones" to do all of the work.

All that appreciated, it's also damn funny too.

I laughed out loud a number of times (Phil's post-freezing penchant for indiscriminate screaming, Veronica's sheer inability to recognize how tightly wound she is, killer pumpkins) and found myself eager to see what sort of ludicrous shenanigans the employees of Veridian Dynamics would get themselves into next. Also, the Veridian Dynamics "promos" are as laughable as they are frightening.

The cast of characters are also a delight. Jay Harrington brings levity as Ted and his consternation at some of VD's (heh) exploits gives the audience a viewpoint. The relationship with his daughter, Rose, also stands as an emotional anchor of the show. Even as Ted might get sucked into the politics of the corporation, Rose keeps him grounded as she reminds him that he is the one who has taught her the beauty of ethics and morality. Also, she might very well be the cutest, most intelligent, most precocious little girl ever.

Andrea Anders as Linda provides the rebellion -- the good employee who has no desire to be too good and does little things like stealing creamer to enhance her point. And she has just enough edge to transcend the boundaries of the typical "love interest". Jonathan Slavin and Malcolm Barrett, as Phil and Lem respectively, give the show just the right doses of nerdiness and eagerness. And what about Portia de Rossi as Veronica? De Rossi excels at icy, uptight characters who are so wrapped up in their own bubble that they don't even realize that they are in a bubble, and Veronica is no exception. She's the ultimate drone who has no idea that she is a drone, and her self-awareness that, no doubt, will come in time stands to be a hilarious and squirm-inducing exercise in self-control.

Will this show last? Hopefully. Will it be high-camp fun while it does? Undoubtedly.

Thoughts?

Follow the yellow brick road...

3.19.2009

American Idol: Top 11 Results Show

Well, that was unexpected. And so sad.

Alexis Grace had been one of my early favorites, and one of the elite few contestants whom I thought actually might have a shot at the title beyond Danny or Adam. Now, not only will she not win the damn thing, but she won't even get to go on tour. Frak.

As it turns out, I have no knack whatsoever for predicting the Bottom Three. As soon as Allison was announced as member of the unfortunate trio, I knew that things were going to get dicey. And Alexis was just another wrench in the theory. Michael was the only contestant that I called correctly, and now that he's still around and Alexis is gone, I find that I might begin resenting him a bit. Unfortunate, because I used to be a champion of the oil rig roughneck.

The "Judge's Save" was set up to be a bombshell of sorts for this competition and we all know that the judges wouldn't use their Free Spin this early -- especially with Danny and Adam still very much in contention -- but damn it if I didn't want them to use it and save Alexis. I think that she's worth saving, and this competition will be a little less "dirty" without her.

On a small, positive note: Carrie Underwood was in top form tonight, and she and Randy Travis sounded quite beautiful together.

Thoughts?

Follow the yellow brick road...

Law & Order: Special Victims Unit: "Ballerina"

"We all do what we have to do." -- Birdie Sulloway
Carol Burnett is a television legend and certainly not in the position of needing to do any episodic TV work. But, damn, am I ever glad that she did.

Law & Order: Special Victims Unit has a long history of casting their big-name guest stars against type (Robin Williams, Leslie Caron, Marcia Gay Harden, and Cynthia Nixon, to name a few), and Carol Burnett was no exception. In "Ballerina", Burnett played Bridget "Birdie" Sulloway, a former Rockette and society matron who ultimately proved to be not at all what she seemed. As a black widow -- or more accurately, a marital vigilante -- Burnett was a revelation. Frightening, haunting, formidable, commanding... And all of those attibutes could be applied to her character before the big reveal. After the audience learned that she married and offed five men over the course of forty years simply because they were bad men and the world was a better place because they were gone, Birdie became utterly chilling. And Burnett owned every moment.

And somehow -- somehow -- Burnett inspired sympathy in the audience when Birdie received her terminal cancer diagnosis. Birdie Sulloway was a pathological criminal, a murderer, who harbored no remorse for the things that she had done, and yet... I felt bad for her. That's a testament to the great talent that Burnett possesses, and SVU was an unexpected showcase for her that won't soon be forgotten. I smell an Emmy.

On a smaller note, Matthew Lillard was impressive in his own right. Chet appeared to be a child trapped in a man's body and his delusions about his "aunt" felt natural and earned. Chet believed that in doing right by Birdie, he was doing right by the world, and his sincerity was unmatched. His downfall -- thrown under the metaphorical bus by Birdie simply for unintentially crossing her -- was surprisingly tragic, and Lillard was simplistically affecting.

Thoughts?

Follow the yellow brick road...

3.18.2009

Natasha Richardson, Rest In Peace

Natasha Richardson, the graceful and elegant Tony-Award winning actress best known for movies such as Nell, The Parent Trap, and The White Countess, has died.

Richardson, wife of Liam Neeson and daughter of Vanessa Redgrave, tragically succumbed to a brain injury following a freak skiing accident in Montreal. Initially thought to be fine, Richardson was later rushed to a hospital in Montreal (and subsequently jetted back to New York) after complaining of a headache. All initial reports were conflicting and facts of the accident were difficult to come by, and it seems only time will tell what caused the beautiful and talented Richardson to be taken from this world and her family far too soon. She was 45 years old.

Natasha Richardson and her wealth of talent will be sorely missed, and at this time, I can only wish her family peace.

Rest in peace, Natasha.


Edited to add:


The more I sit here and think about this tragedy, the more the senselessness of it is overwhelming. A few years back, I had the privilege of sitting not more than ten feet from Liam Neeson for two hours following a screening of his film, Kinsey. As I listened to him speak about the movie, acting, his career, and his family, I found myself falling for him. Not only was he charismatic and engaging, but it was completely evident that he was surrounded by love and worshiped his family for it. To think that he is now without his beautiful wife, his children without their loving mother... well, that's just devastating.

Follow the yellow brick road...

American Idol: Top 11 Performance Night

Week 2 of the the American Idol finals is now half over, and with a theme like "Country", one would expect at least a few contestants to fall from grace. But once again, there were no clear weak links -- just a few people who were probably forgotten about come the end of the show. There were, however, a couple of stand-outs and they were not the ones that we might have expected. That was a pleasant surprise. Here's the breakdown:

1) Michael Sarver, "Ain't Goin' Down 'Til the Sun Comes Up": It was a fun performance, and Sarver has better lung capacity than I expected. He's definitely a country boy, and in that vein, I expected him to shine. And he didn't. By the end of the show, he was the furthest thing from my mind. Which is a little sad and ironic given that he is the country artist.

2) Allison Iraheta, "Blame It on Your Heart": Alison is not a country artist, but I thought that she adapted well. She picked a good song for her abilities, and it afforded her a nice showcase for her voice. I want her to challenge herself, though. I think that she has a wealth of talent, but I'm longing to see her as more than just the "rocker chick". Yes, that's the record she'll ultimately make, but until she gets to the professional arena, I want a little variety.

3) Kris Allen, "To Make You Feel My Love": Kris stripped down the song and the performance and went for a purely honest take. And it worked. The result was simple and beautiful, and I think that his fanbase fell a little bit more in love with him.

4) Lil Rounds, "Independence Day": I appreciate that she wanted to honor the weekly theme, but in doing so, she removed a little too much of herself from the performance. A theme can be honored while still bending the song to the artist's flavor. That said, I thought that her vocal was quite good -- a little dicey at the beginning, but ultimately controlled, powerful, and strong.

5) Adam Lambert, "Ring of Fire": That was... kind of awesome. Weird, scary, bewildering, but somehow sexy. Adam is incredibly authentic and he knows exactly who he is, and he applies that every week, thank gods. This performance was no doubt totally polarizing, but it evoked thoughts of The Doors for me. And that's cool.

6) Scott MacIntyre, "Wild Angels": Scott's home is very clearly at the piano, but I got what Paula was saying. His performances of the last two weeks are rather interchangeable to me, which is not a good thing. The piano is a crutch for him and as long as he leans on it, his range is going to seem rather limited. I think he has talent, but I want to see him challenge himself and do something completely unexpected. I do think that he has it in him.

7) Alexis Grace, "Jolene": The judges commented that she wasn't "dirty enough", but in my opinion, that was a good thing. Her performance was spare, vulnerable, and very passionate. She lost a bit of control at the end, but it kind of worked for the story of the song. I thought she was good, and I hope that she's around for long while.

8) Danny Gokey, "Jesus Take the Wheel": This was not the first time that Danny applied a gender-bending approach to his song selection (Cher, Mariah Carey), and I suspect that it won't be the last. And that's fine -- it works for him. It allows him to add texture to a song that might not have otherwise had it. I just wish that he had chosen a better song. Sigh.

9) Anoop Desai, "You're Always on My Mind": Unequivocally, my favorite of the night. Anoop brought tears to my eyes and showed America what spectacular pipes he has. And he somehow managed to add his own personal flavor to a very iconic song. I just hope that his metaphorical beatings in recent weeks and his overwhelming response to this performance don't scare the "fun" out of him. If he can blend the amazing vocals and the energetic personality, I think he has a shot at becoming a dark horse in this competition.

10) Megan Joy, "Walkin' After Midnight": Megan definitely hit some bad notes, probably thanks in no small part to her terrible flu, but her rendition was actually pretty cool. I knew that Patsy Cline would suit her voice and I wasn't disappointed. Because of her unique vocals, I think she evoked elements of Shirley Bassey and Billie Holiday. And wow, is she gorgeous!

11) Matt Giraud, "So Small": The second Carrie Underwood song of the night, and in my opinion, the better one. Not only do I prefer this song, but I preferred these vocals. Matt was original and soulful, and his somewhat ambitious choice definitely paid off. His voice clearly has the ability to run the spectrum, and I look forward to him every week. He's quickly becoming a favorite of mine.


*The Journey Continues:
Anoop, Matt, and Kris, based on their performances, are guaranteed another week.

*Pack Your Bags: Michael, Scott, and either Adam or Megan should mentally prepare to face the Bottom Three, with Michael going home.

Thoughts?

Follow the yellow brick road...

3.17.2009

Battlestar Galactica: The Last Frakkin' Special

Much of the material used for "The Last Frakkin' Special" had previously seen the light of day, so there isn't too much to say about the special as a whole, and I will certainly not be discussing the little bits of spoiler-y info that clearly came from the series finale, but I will mention the Final Five... minutes.

All of the little snippets from the entire cast and the creative team were a gift. It is blatantly evident that each and every person associated with this show has genuine love and affection for Battlestar Galactica. Truly sincere depths of emotion like this for a television show or acting job are oh-so-rare in Hollywood (and maybe even Vancouver too), and to hear every person offer nothing but praise and gratitude only serves to enhance the overall effect of the series.

In the end, though, it was Ron Moore's tears at facing the final culmination of his vision that was thoroughly touching and reminds us all the more just how special this show has been. It has transformed the sci-fi genre and shifted some harsh opinions along the way as well. Battlestar Galactica has made an immense contribution to the television landscape, and its influence and power won't soon be forgotten. So to the entire creative team, I say thank you. Thank you for this generous gift. So say we all.

Thoughts?

Follow the yellow brick road...

Castle: "Nanny McDead"

There's not much to say about the plot of "Nanny McDead" -- it was (good) standard-fare procedural drama with the requisite amounts of twists and turns -- but there's quite a bit to say about the characters. And through the characters, Castle feels like it's finding it's groove. Or at least, has a good idea as to what it's groove should be.

For all of the flaws that comprise Richard Castle -- the ego, the narcissism, the smartassiness (yeah, that's totally not a word - sue me), the sheer inability to follow direction -- he's thankfully not a character built solely on flaws. Much to his surprise, I think, he genuinely feels for the real-life victims and their families, and he even has a bit of sympathy for the perpetrators. Much to our surprise, he's a pretty fantastic father in spite of the aforementioned peccadilloes. His daughter sincerely loves him and is proud of him, and when he's with her, it's easy to see why. This element gives the character a good deal of depth and reminds the audience that he's not just a fast and furious one-liner spouting blowhard.

Richard Castle also has talent. He's clearly a good writer and watching him "narrate" the possibilities of the case early on was a delight. It gave the audience an interesting angle of insight into the case, and it allowed Castle to have some purpose beyond shadowing (and annoying) Detective Beckett. That's an element that needs to remain for this show to continue to work.

And speaking of Detective Beckett, she showed a little more depth herself. Clearly, she's been damaged by love, but she still appears to be a romantic which is surprisingly sweet. And somewhat unexpected. Thankfully, too, the writers appear to have lightened up her personality ever so slightly. She's not as humorless as she was in the pilot, and by allowing her a few opportunities to actually indulge in her amusement of Castle, it not only opens up their relationship but allows the audience to see Castle as less of a nuisance. Her modest acceptance of him is a gateway.

On a smaller note, I was thrilled to see Jayne Brook. She's one of my favorite television go-to actors, especially since her astounding turn on Boston Legal as Rachel Lewiston, Paul's recovering addict daughter. I even loved her as Meg on Private Practice, and was desperately hoping she'd stick around. And that's saying a lot because she was paired with Pete and generally, Pete pisses me off. My only wish was that Castle had been a better showcase for her. Next time...

Thoughts?

Follow the yellow brick road...

3.15.2009

Battlestar Galactica: "Daybreak---Part 1"

The blinding sunlight that poured through every window and doorway in Caprica City provided a stark contrast to the endless blackness that has surrounded the Battlestar Galactica for so long. Much like the lives of our beloved characters before the fall runs in stark contrast to the people that we know now.

Baltar is still as selfish as ever, but he has mellowed and is more aware... not that he's willing to put that awareness into action just yet. Caprica is no longer the supreme manipulator who wields her sexual prowess with perfect precision, but a strong and scared fully-formed woman who has compassion to spare. Lee is not the drunk hot-shot pilot living his life always in competition with his brother, Zak, and always in the shadow of his father, but a capable, intelligent politician who has finally found a calling all his own and a life that depends solely on his own choices. Anders is still floating in a bath after injury, but he's no longer searching for the "perfection of creation". He is the perfection of creation. And he holds all of those answers within him. And Laura? She's been through hell and back, before and after the fall, and while she's no longer the effervescently vital woman she once was, she is the person who has the power to show everyone what needs to be done when the end draws near.

And what about Bill? I got the distinct sense that he was doing his damnedest to validate his resume. Was retirement being forced upon him? Thanks to a comment made by Gaeta during the mutiny, we're presently aware that Bill has been commanding the Galactica for just over seven years. Meaning that his Caprica City meeting had to take place roughly three to three and a half years before the fall. We know that the Galactica was a formidable warrior in its day, but was its planned decommissioning just a formality? Was the Galactica a museum well before it was called upon to protect the remaining survivors of humanity? Was Bill being forced to command a ship that had not a chance in hell of seeing battle ever again before the Galactica and Bill were sent into retirement? If all of this is true, then the fall of the Colonies was the best thing that ever happened for someone like Bill, the ultimate soldier. And he was always going to go down with that ship... one way or another. Looks like both the Old Man and the Old Girl will be going out on a high note.

Much of "Daybreak---Part 1" can be only truly understood in context. Once "Part 1" is paired with "Parts 2 & 3", I think most everything will fall into place. The puzzle will become whole. And the questions will be answered. Though most of mine already have been, I did have one question that has plagued me endlessly. Throughout this entire season, I've been waffling as to who the true "dying leader" is -- is it Laura Roslin or is it Galactica? I think this episode answered my question definitively. While Laura's and Galactica's health has mirrored each other every step of the way (fueling Bill's desolation, of course), in the end, Galactica is their protector, but Laura is their leader. And she made that crystal clear when she stood in the spotlight on that red line. She made her choice -- despite barely being able to stand, walk, or talk -- and in doing so, she set an example for the entire fleet. What I loved most, though, was seeing her on the line. Laura has been on both sides throughout this journey -- the self-sacrificing side willing do anything and everything for the greater good and the self-preservation side wanting to live a little for only herself (and Bill) before death. Laura went starboard in theory only because she no longer has the physical strength to aid in the fight, but she does have the mental wherewithal and will of iron to show the fleet what true leadership is. And in that moment, she finally became their president again. And she was still the woman with whom Bill fell hopelessly in love. Beautiful.

Admiral Adama ended up with a lot of starboard support -- many people who have a personal investment in the safe rescue of Hera -- but much of the fleet, nonetheless, went port-side. And that was a little sad to see. Understandable given that this suicide mission is to rescue one little girl, but still sad. Although, why are there so many people willing to embark on this "one-way trip"? Yes, Hera may be the prophetic "shape of things to come" and she may be a vital member of the ever-dwindling family, but she is only one girl. And the reasons behind this mission are supremely esoteric in nature. Is it that so many people now believe in the blending of the races? Is it that so many people are walking around with the overwhelming sense that the end is coming, so why not? Is it that so many people believe in this family that they have formed and the loss of even one more member would be the devastating straw that broke the camel's back? Whatever their reasons, it's clear that many of these characters have come to the hard-won realization that home is in the people that we surround ourselves with and not in the walls we put up around ourselves. Home is in the people, not in the environment. And Hera -- ignorant of any destiny she may provide or fulfill -- is a young, helpless key component of that home. She must be protected, and she must be saved. And the course of destiny must be altered.

"Galactica has been more than our guardian. She's literally a vessel into which we've poured all of our hopes and dreams. And when she's gone, when we can no longer derive the security from looking out her window and seeing her massive bulk floating by, then this life will be over. And a new life will have begun. A new life that requires a new way of thinking." -- Gaius Baltar

Randoms...
  • The image of a shattered and completely alone Laura wading into the fountain seemingly possessed by a force bigger than herself evoked memories of Fellini's "La Dolce Vita" and Sally Field in "Sybil". It was devastating and bewitching all at the same time. And it only made her more impressive to me. In the miniseries, we saw Laura Roslin step up immediately and do what needed to be done, leading the people when there was no other. She was facing a terminal illness and ensconced in the most catastrophic event that humanity had ever seen, and yet she seemed stronger and more in control than any person had the right to be. We now know that it was because she had already lived through her most personal hell. And she came out on the other side, defenses up and prepared for anything life may continue to throw at her. She had already lost everything that mattered -- the fall of the Colonies was just another event in a long line of losses.
  • I kicked myself when I saw what Alan Sepinwall noted in his review because I realized that I didn't think of it first (Oy!), because this is it -- it's exactly it:
    "...I began to wonder if maybe the grand plan for these characters isn't quite as grand as some of us want to believe. Maybe the reason that these are the people who have survived everything the Cylons have had to throw at them -- beyond luck, of course -- isn't a matter of destiny, or the work of the Cylon God, or any other metaphysical force. Maybe these are just the people who are gods-damned tough enough to take everything the last four years has thrown at them and keep on going."
  • Caprica saw Gaius -- who's apparently Irish we now finally learn, heh -- at his worst possible moment, battering and screaming at his father because his father refuses to play Gaius' game and live the pretense, denying his roots. She then proceeded to infiltrate his life, much in the way that she infiltrated the defense systems. She was blatant in her approach, but she blinded him with humanity, ironically enough. On a second viewing, however, I had the thought that maybe she did no such thing. Gaius' date seemed to notice Caprica but didn't much seem to care let alone address her. What if that's because Caprica wasn't really Caprica at all, but Head Six? What if Gaius put his father in the most magical home ever conceived, not Caprica? Gaius may have already achieved his one altruistic moment, and he might not even realize it. Hmmm...
  • The scene between Adama and Hot Dog was touching in that it was the first time in the history of this series that father and son, Eddie & Bodie Olmos, shared a one-on-one scene. Battlestar Galactica truly is all about family at its core.
  • Adama told Starbuck, "I know what you are -- you're my daughter. Don't forget it." In that simple yet affecting statement, Adama showed us just how far he's come. His world view is no longer black and white -- human versus Cylon -- and the people that he knows and loves will always be the people he knows and loves regardless of their genetic or mechanical make-up. They are his home.
  • "I have to ask him a question. Do you know how to plug him in?" It's all in the delivery and Edward James Olmos owns. That was just funny.
For much of this weekend, I found that the chosen words, "Caprica City Before The Fall", struck me and I couldn't figure out why, and then it finally hit me. Throughout the run of this series, the downfall of the Colonies has always been referred to as "the attack" or "the genocide", but never as "the fall". In our history, we have seen through the ages that dynasties rise and fall on the heels of war. Often, war is inevitable and sometimes necessary, but humanity can never seem to truly learn from it. Humanity is and will always be the most intrinsic victim to war. We perish in the gunfire and the flames and those left standing come out scarred. But we never learn.

Is this final battle really necessary, and if it is, will this be the end of the line? Will those left standing finally learn from their mistakes and apply that knowledge to a future society free from the destruction of war? Will those left standing not only give in to the blending of the races, but embrace it, thereby breaking the cycle? It is only through our knowledge and our practice of that knowledge that we become a worthy species. After this final battle, will this rag-tag fleet finally be worthy of survival? Will this rag-tag fleet finally be worthy of true living? In less than a week, we shall know the answers to these most fundamental questions. So say we all.

Thoughts?

Follow the yellow brick road...

3.13.2009

ER: "Old Times"

ER was Old-Home Week -- nostalgia heaven. And it was wonderful. "Old Times" was truly "800cc's of liquid gold", as Peter Benton might say.

The most beautiful thing about seeing all of the original characters lied within the construct of the story. Everyone had their own little bubble of the universe and were nicely oblivious to anything and everything going on outside of it. Doug & Carol -- happier and more content than ever, it would seem -- saved Carter's life, yet they went on, completely unaware of their connection.

"And the kidney too -- went to some doctor. Not bad for a day's work, huh?" -- Carol Hathaway

If the stories had overlapped and Carol knew that the kidney was going to Carter or Carter knew that Doug was the doctor of the kidney donor, the entire episode would have fallen flat. The stories would have felt unbelievably contrived, both on a character level and on a medical level. But in staying true to how the world of medicine operates, the entire episode gelled together and felt natural, from beginning to end.

Speaking of natural, the chemistry between Eriq La Salle and Noah Wyle hasn't diminished in the slightest. The rhythms and abiding affection are still there, as is the utter joy that comes from seeing Benton lightly rib Carter. And how wonderful was it to see the original renegade surgeon himself carefully run through a pre-surgery checklist (that ultimately saved Carter's life)? Fifteen years ago, Dr. Benton would have balked at the idea of a checklist, but he's clearly grown up and his priorities have shifted. He's always been a great doctor, but I'd hazard a guess and say he's now one of the best.

Seeing Carter call Kem after his surgery -- at Benton's incessant urging (See? Priorities.) -- was also a nice throwback. Hearing him ask her if he woke her up reminded me of all of the other times when they spanned different continents and would be calling each other at all hours of the day and night. Neither Carter nor Kem minded then, and I'm sure they don't mind now, despite the rift in their relationship.

One of the episode's highlights came in the realization that George Clooney was unequivocally Dr. Doug Ross and not George Clooney. I feared that his mega-status might pull me out of his moments onscreen, but instead, I forgot about his mega-status. He was simply Doug. George might now be a bona fide movie star -- charisma, power, larger-than-life persona -- but first and foremost, he's damn talented. And I think that once he put on those scrubs, he transformed back into Doug. And it was beautiful. (As beautiful as the electricity was between he and Julianna Margulies.)

My favorite moment, though, was the conversation between Doug, Neela, and Sam, and the ultimate awareness that they are all only connected by a building now and not by people. It made sense that Doug wouldn't ask about Carter because Doug would be under the impression that Carter was still in Africa. And it makes sense that neither Neela nor Sam would mention him because he's not working beside them at the moment, but is instead at Northwestern awaiting a kidney. Neela and Sam wouldn't mention him because they're medical professionals and his privacy is foremost. Doug asked who was still around, and even though they all know Susan Lewis, they wouldn't bond over her because she's not on any of their radars. While Greene may be the heart of County, and Ross and/or Gates may be the pulse, Kerry Weaver is the connective tissue. They all know her because as it stands with the end of this series in sight, Laura Innes will go down in history as ER's longest running consecutive cast member. Noah Wyle may have appeared in more episodes, but Innes threaded through all of the various cast of characters and she links them, and it was only appropriate that she was the first person that Doug asked about. In the end, though, it's the skeleton that holds a body together, and as many will go off to bright futures, County General will stand firm. County has housed them all, and it will go on to house many more.

Randoms...
  • While it jarrs me to see Susan Sarandon now playing the grandmother roles, I must say that in her limited screentime, she was quietly devastating and my heart broke for her. I envision this show adding at least one more Emmy nomination to their historical cache.
  • Ernest Borgnine seemed wasted, but I believe that his story continues through the series finale, so hopefully we'll see him get the material worthy of his considerable talents.
  • One bone of contention: Carter's needing a kidney is a complication of his stabbing all those years ago. Another complication of his stabbing was his ensuing drug addiction. His recovery was very important to him and something that became etched into the fabric of his character. So... fentanyl? I understand that transplant surgery is unbelievably painful, but fentanyl is a narcotic and Carter is a drug addict. And a doctor. You'd think that he would have actively searched out another alternative. And having Benton be the one to hand it to him was somewhat of a slap in the face given that it was Benton who ultimately convinced Carter to go to rehab. Meh.
Thoughts?

Follow the yellow brick road...

3.12.2009

American Idol: Top 13 Performance Night/ Results Show

I am not going to review the American Idol contestants one-by-one in this recap (I will in the future, but I'm late this time around), but I will discuss the stand-outs and the ones bringing up the rear.

And, of course, I have to discuss the new little change to the format... eight seasons in!

First off, the "Judge's Save". It's not as bad of an idea as I was expecting, but it could have its drawbacks. No matter what, this new addition does override America's vote no matter what Simon says, but thankfully, it only does it once... the entire season. It's like a collective Free Spin that has the potential to extend one person's quest for the title if America theoretically "gets it wrong". It has the potential to galvanize fans. But it also has the potential to galvanize fans to the point of sending another "wrong person" home the following week. Or... the judges might believe that their save could allow this person to take the crown when in fact that very same person might simply go home one week later. It does override America, but only to a point. And that's okay. Because America sometimes does "get it wrong".

One bone of contention, though... They used Chris Daughtry and Tamyra Gray to illustrate their points of "contestants who went home too soon", but given that the "Judge's Save" is only valid until the Top 5, the likes of Daughtry and Gray would have been ineligible for the reprieve. Just sayin'...

All I have to say about the contestants at this point is that I think it's abundantly clear that Adam Lambert and Danny Gokey are the ones to watch. They are very different performers, but they do have a few things in common. They are both unpredictable. They both own the stage. And they are both talented as hell. Lil, Alison, Matt, & Alexis are all very strong contenders, but they're not in the same league. Not by a mile. This might very well be a fun ride.

Thoughts?

Follow the yellow brick road...

Castle: "Flowers for Your Grave"

Castle is a show with potential. It has the entertaining premise, the quippiness ("Oooh, bondage! My safe word is apples." -- Rick Castle), the tight pacing, the two very pretty leads, and at least a couple of quirky secondary characters (Oh, Susan Sullivan, how we've missed you!).

It's just not quite there yet.

Homicide cases are homicide cases, and on a procedural show, the inevitable outcome is the resolution to the murder mystery. That's standard. And if their pacing and editing keep up, it will be tense as well. But the set-up -- a reluctant no-nonsense detective forced to be shadowed by a charming know-it-all crime author -- should allow for some intriguing friction and animosity between Castle (the charismatic Nathan Fillion) and Detective Kate Beckett (Stana Katic). And there will certainly be a fair share of sexual tension too.

For most of the episode, I was unsure of the chemistry between Fillion and Katic. I thought it was fairly lacking for two-thirds of the episode. And then she whispered in his ear. Suddenly, the TV screen went electric and I saw lasting promise.

The potential is there. Now they just need to capitalize on it. I'm not going to hold my breath, but happily, I do have hope.

Thoughts?

Follow the yellow brick road...

3.11.2009

The L Word: "Last Word"

"Yeah, I think her heart's in the right place. I think she's just misplaced her meds." -- Bette Porter

In The L Word series finale, Bette was referring to Jenny Schecter with that statement. Subconsciously, though, she was thinking about Ilene Chaiken, the series creator/killer, when she said it.

Seriously... what the frak was that?

From the opening scene in the premiere, this final season was set up to be the "Who killed Jenny?" show, despite the fact that in six seasons, this has never been a show about mystery. The L Word has never been Desperate Housewives. Yet, I gave them the benefit of the doubt, hoping that it could be a fun ride nonetheless and certainly willing to enjoy the mind-boggling depths of crazy of which Jenny is capable. And the season definitely had its moments -- Bette & Tina's once-and-for-all total commitment to one another and their so-very-hot dance, Kit finally getting a man worthy of her awesomeness, the girls' hilarious reactions to Jenny & Shane dating, Helena & Dylan getting back together in the most painfully and simplistically beautiful fashion, etc. And then the curtain call arrived and... nothing. Jenny's dead, and? Nothing. There was no closure to the season-long story arc. There was no big reveal for the whodunit. Jenny was just dead.

WTF?

Memo to Ilene Chaiken: It's one thing to leave a story open-ended, giving the audience the sense that "life goes on". It's another thing entirely to leave a story -- A SERIES! -- hanging. There was very little resolution across the board, and zero closure to the over-arcing season-long storyline, and instead of letting these wonderful women go on with their lives, we left them in the interrogation room. In the middle of the interrogation! If this had been a season finale, it could have worked, and worked well. But this was the supposed celebration of the run of a ground-breaking series and the only feeling that it instilled in its audience in its final moments was disappointment. And perhaps anger. Maybe confusion too. That's how we are supposed to remember this series and these women? That's crap.

What is also crap is the bits of character assassination that needed to occur to get all of the various characters to the point of having motive enough to want to off Jenny. Niki is now solely a completely vapid, classless whore who wants nothing more than to party and to get in Shane's pants? That's not the sweet, sincere albeit confused Niki that we saw fall so deeply in love with Jenny last year. Dylan, despite betraying Helena in Season 3 and being so profoundly, wretchedly anguished about it, is now willing to lie to her about being aware of the test instead of coming clean right off the bat? That's not the Dylan we know who so desperately wanted to start fresh, begin anew with a clean slate with Helena, the love of her life. There's no point, nothing to gain in Dylan lying to Helena from the moment she realizes that she's being tested. Dylan is far too intelligent to risk Helena finding out about yet another lie that Dylan told. So why would she? That's right. Because she needed to fit into the little box that was designed for her to suit the story. Ugh.

All of the little threads that were left dangling in the wind -- are Alice & Tasha back together or is Tasha simply Alice's friend there in a time of need? Beats me. Is Max keeping his baby or just finally accepting that his body has a few changes to go through before he can move on with his life? Who knows! -- just remind us of how uneven this show often was. But the true fans didn't care because they finally saw themselves represented in primetime TV. All that was asked for was a fitting tribute to the beloved series that helped change the face of television. Instead, we got a three-hour long documentary tribute that included some asinine entries (Jodi? Thanking Bette & Tina and wishing them well? Really?).

The only fans that could walk away with any semblance of peace and joy were the fans of Bette & Tina. They finally got their happily ever after. They were content, settled, wholly committed, and crazy in love. And they were set to begin the new chapter of their lives together. In New York. As an engaged couple! Bette & Tina received their closure, but they're the only ones.

The few
nods to history were lovely -- the salute to the pilot episode with Bette & Tina on the porch saying good morning to Shane who's just heading home, the familiar faces (Tim! Peggy Peabody! Carmen! Ivan! MARINA!) -- but they weren't enough. This show, this "framily" of friends deserved better. And amazingly... so did Jenny Schecter.

Oh, yeah. And Lucy Lawless? Seriously, she stayed behind on Earth for that? A handful of lines and barely any screentime over the span of two episodes? What was she thinking?

Talk about going out with a whimper...

Thoughts?

Follow the yellow brick road...

Battlestar Galactica: "Islanded in a Stream of Stars"

Grief has five stages. In the Battlestar Galactica universe, we have seen all five stages play out through these various and varied characters as this transcendent series has drawn ever-closer to its inevitable end. And for many of these characters, the final stage has come: acceptance.

Now, if only I could say the same thing about myself...

The love story of Laura Roslin and Bill Adama has been captivating. We have seen them through their initial wariness, to their animosity, to their reluctant alliance, to their dependence, to their friendship, to their unbreakable bond, to their love that cannot be contained by ship nor space.

"I don't think I've ever felt truly at home until these last few months here with you." -- Laura

Battlestar has always been about the philosophical and the mythical and nothing can encompass those ideas more inherently than the term "soulmate". Soulmates are intangible and impossible to define, and yet I can say with absolute certainty that Bill and Laura are soulmates. No matter where the end of this magnificent series takes Bill and Laura, we know that they will always be connected. Forever.

Laura knows this too. And she's accepted her fate. I think she accepted it a long time ago. Does she want to leave Bill? Not at all. But does she know it's unavoidable? Absolutely. And she knows that it's now her duty -- a term Bill knows all too well -- to get Bill to that all-important place of acceptance also. But he's not going quietly. Or easily. Laura presented him with only one option: "Bill, if you don't get us off this ship, you may lose both of us at the same time. Why don't you give us a chance?" Bill needs to accept Laura's mortality, but unfortunately, I think that he's now of the mind that if he gives up Galactica, he can keep Laura. But as we all know, the universe is not that kind. It is interesting to note, however, that Laura states (without a hint of judgment or bitterness, no less) that Bill probably loves Galactica more than he loves her. And yet, when he accepts that he has to make a choice, he chooses Laura. And that acceptance? Effortless.

Soulmates.

Randoms...
  • Laura & Bill getting baked in sickbay and discussing her (their?) cabin by the lake. The episode's writer, Michael Taylor, gave us a beautiful nod to one of the best episodes in this show's history, "Unfinished Business". Also, we were treated to another lovely moment of Bill reading to Laura. A nice touch, considering that their mutual love of books was one of their first bonding elements.
  • The idea of -- soon enough -- no longer having the pleasure of watching Mary McDonnell and Edward James Olmos gracefully playing off of and with each other, all the while being individually mesmerizing, is just devastating. The television landscape will be ever so slightly dimmer for this.
  • Speaking of devastation, Helo and Athena were just heart-breaking! The fact that she couldn't look at him and the fact that he was coming apart at the seams while imploring Adama for a raptor made for a jarring audience experience. Helo and Athena's love and Helo's stoicism have been staples for so long now that it seemed damn near impossible to witness anything but. Tahmoh Penikett and Grace Park knocked it out of the... well, park.
  • I keep waiting for Boomer to make the right choice, but she just can't seem to break free of Cavil's evil little clutches. Her anguish by episode's end, though, seemed to be a step in the right direction. Maybe we are going to see her make the ultimate choice, the ultimate sacrifice by series' end and finally prove her true allegiance? No matter, all of the scenes between Grace Park and the little girl who plays Hera were electric. That little girl has got some chops!
  • Hera seemed to project very easily. I got the sense with Tyrol in "Someone to Watch Over Me" that projection was a learned ability and something that took a lot of energy and focus. But Hera seemed to not only do it effortlessly, but without any concentration at all. Kind of like Starbuck in "Someone to Watch Over Me"? Perhaps that's a hybrid gift? Although, you'd think that the Final Five could project better than anyone, but I guess not.
  • Speaking of the Final Five, Ellen and Tigh also knocked it out of the park. Ellen has finally settled since returning to the fleet, and I think that the Ellen of this episode is the one, true Ellen -- a beautiful combination of the regal, insightful, all-knowing mother of "No Exit" and the emotional, petty trollop of "Deadlock" and "Tigh Me Up, Tigh Me Down". The amalgam is delicious. Almost as delicious as Michael Hogan and his Amazing Acting Eye. "I had a child. He died." "You're wrong, Saul. You had millions." Shivers, I tell you.
  • Kara on the toilet while talking to Baltar was an interesting and humorous touch. She bared her secret to him -- more than likely knowing that he would make her revelation known to all -- and seemingly so much more. Heh.
  • If Kara is an angel, then we're all screwed. I'm more inclined to think that she's a hybrid who resurrected (is that resurrection ship still within Earth's orbit?) and then returned to the fleet. I don't believe she's an angel. Or a demon. Or anything of the like that's just as abstract. Kara is and will always be flesh and bone. She just may have a few electrical circuits to boot.
  • Kara finally made a choice -- finally! -- and she chose Anders. Kara's upbringing never allowed her to implement much trust in her personal life, and she was therefore doomed to waffle and waver and self-destruct for eternity. That is, until she accepted herself and her surroundings and the people in them. And in turn, she was rewarded with clarity: she loves Anders and always has.
  • Lee and Kara finally accepted what they are to each other... whatever that is. They're not friends. They're not lovers. They're so much more than that. They are family. And their bond in its truest form is a beautiful thing.
  • Apparently, Sam's truest form is that of a hybrid? I think we possibly learned just how the hybrids came to be. Skinjobs who were injured in some capacity and placed in a goo bath and plugged in with the idea and intention of jump-starting them (like a car!), only to discover that they tapped into the energy and electricity of that to which they were connected to the point that they could no longer be disconnected for fear of death or contamination? Or something like that. Wow.
  • The funeral, with all of the various factions mourning in their individuals ways, was spectacular. Initially, I thought that the different groups were separated, but ultimately we saw that they were all saying their goodbyes together. The blending has already begun, indeed.
Just as the characters were saying their final farewells, so was the audience. "Islanded in a Stream of Stars" was an elegy... to the characters, to the Galactica, and to the series. And I think it served as an anguished set-up for our final good-bye. It will not be easy for us to let go, but our acceptance has begun.

That's right. I'm accepting my ass off... over here in the corner... in the fetal position... sob...

Thoughts?

Follow the yellow brick road...

3.08.2009

Terminator: "Ourselves Alone"

Terminator: The Sarah Connor Chronicles might be getting it's groove back. Just ask Stella. If "Ourselves Alone" was any indication, the show might finally be on the right track.

Now, if only the writers could figure out Sarah...

I love Lena Headey. I think that she's wonderfully talented and sexy as all get out, but Sarah is flat. This is not the Sarah of "Terminator 2". This Sarah has the same purpose -- to protect her son -- but that seems to be all she has. Sarah has no dimension, no imagined life of her own. She seems about as hollow inside as Cameron actually is. And that? Is sad. Sarah Connor is an iconic character, and has been since about 1991. Unfortunately for Headey, Linda Hamilton made Sarah Connor so indelible that unless the writers step it up and flesh her out, Sarah is the weak link of the show. And here I thought that the weak link would be John...

Randoms...

  • Is Jesse a villain? I've been wondering for a while now whether or not she was playing some angle and it now seems as though she is. I've also found it really intriguing that Derek's never introduced her to the family. Seems now that she's wanted it that way all along.
  • Even before we learned that Riley was brought back from the future, I knew that she wasn't long for this world. John has more pressing things to do -- like save the world from the apocalypse -- than find true love. But I never imagined that Riley would die at the hands of Jesse. Cameron, maybe. But not Jesse. Jesse appeared to be her protector. Like a big sister, or maybe even a lover. Riley did love Jesse, as we now know.
  • The Jesse/Riley showdown was pretty kick-ass. Although, Riley's moves seemed to be limited to strangulation. Didn't anyone ever teach her that you have to keep your opponent guessing if you want to win? Oy.
  • So Cameron's breaking down? Is she truly beyond repair? The moment when she gave John the detonator and gently told him that he would, without a doubt, have to use it one day was unexpectedly sweet. Cameron may not be able to feel, in the emotional sense of the word, but I think that she knows on an intellectual level what those feelings would feel like and those would-be feelings are present in her harddrive. Particularly when it pertains to John.
  • Judging by John's reaction in that moment, I'm not so sure that he would unilaterally side with Riley should anything have happened to her at Cameron's hands. I think Jesse's plan for Riley was doomed from the start. Because in spite of himself, John cares about Cameron. Deeply.
Thoughts?

Follow the yellow brick road...

30 Rock: "Goodbye, My Friend"

Never would I have guessed that Harry and The Hendersons would be such an invaluable source of life lessons. But alas... 30 Rock proved me wrong on that.

"Fine, Lithgow! I'll do the right thing! GOD!" -- Liz Lemon

"Goodbye, My Friend" was funny... enough. There were certainly a number of laugh-out-loud moments (as referenced above), but something was missing. I guess I just thought that it could have been... bigger? More ridiculous? Something...

I enjoyed the Jack/Frank dynamic -- I especially enjoyed Patti "Francis Rossitano canNOT become a lawyer!" LuPone! -- but after the glorious Jack/Tracy/"Dyn-o-mite!" spectacle that was "Rosemary's Baby", I just feel that for any attempted male relationship of Jack's to succeed, it has to be SO far gone, SO off-the-wall, that the audience has no choice but to pee their pants. I just... wanted more.

And for the Liz/Becca storyline to truly succeed, Liz would have had to become a full-blown crazy before finding her redemption via John Lithgow. Unfortunately, we all know that Liz ultimately has a heart of gold. So, while she may go cocoa for cuckoo poops at times, she's not a complete monster... and she really never could be. The storyline worked. It was entertaining. But it was also predictable.

I was, however, thoroughly amused that Becca called Liz "cool". Heh. Poor girl. If she only knew...

My one area of certainty in this episode was Jenna. I realized that I don't much like her. Especially when she featured so heavily. She's only tolerable in little bursts, because she's a cardboard cut-out of who she has the potential to be. And until she grows some dimensions and reaches that potential, she's grating and obnoxious. All of this is very unfortunate, too, because Jane Krakowski is so much better than Jenna gives her the freedom to be. Meh. At least the Jenna/Tracy/Kenneth maniacal laughing bit was funny.

Thoughts?

Follow the yellow brick road...

3.06.2009

American Idol: Top 13?

So, American Idol has a first ever Top 13, huh?

As much as I love Anoop and am thrilled that he's in, 13 just says to me that it'll be one more person NOT getting the coveted title. On the other hand...

Actually, I think that there's a lot of talent this year, and a number of people who could give each other a run for their money -- Lil, Danny, Alison, Alexis, Adam, and Matt (after last night's performance!). For the first time in a long time, I think that the playing field is pretty wide open. Generally, by this stage of the game, I already have my favorites, but as of right now, I don't even have the ability to choose between those I've already mentioned. It's surprising... and exciting. I think this competition is finally exactly that -- a legitimate competition with many equal participants.

Wow. Let the games (songs?) begin!

Thoughts?

Follow the yellow brick road...

ER: "What We Do"

Last night's ER was a good one -- surprising (Claudia!), touching (Carter), funny (Frank & Jerry, OMG!) -- but I walked away with only one overriding thought...

I love Archie Morris.

There was a time when I never would have thought I would say that. For years, Morris was entitled, obnoxious, annoying, and frankly, a doctor to whom I wouldn't even send my worst enemy. But in the last two years -- and especially since Pratt's death -- Morris has slowly been coming into his own. Now, not only has he become an impressive doctor, but he has become an admirable person. He is, at once, strong, settled, confident, and exceptionally compassionate. Morris finally believes in himself, and thus the audience can believe in him too. And it touches my heart and makes me giddy to see Morris finding true love. Much to my surprise, I want Morris to be happy and I want him to succeed.

That's right. You heard me. I love Archie Morris.

Randoms...

  • It was nice to see Gates & Sam getting back to the playfulness that brought them together. They're good for each other, and I hope they work it out. Also, I thought it was a nice touch having Gates reassure Sam's mother. And it was nice that she needed reassurance. I guess she's not such a monster after all.
  • Amy Madigan should work more. She's pretty fantastic.
  • Carter's being very weird about Kem, and it's making me really curious. When Carter left, I would have thought that he & Kem would be in it for the long haul, but apparently not?
  • Neela & Simon work. They fit. But is it just me or does Neela throw in the towel really easily? It seems as though the only relationship she put any effort into was her marriage to Michael. Perhaps his death hit her deeper than we ever realized and all of her subsequent relationships have suffered as a result?
  • I missed Angela Bassett this week. I think Banfield is finally meshing with the canvas, and so it was disappointing not having her around.
  • It was probably lucky that Banfield was MIA because otherwise Frank & Jerry -- gods love 'em! -- would be SO fired. Heh.
Thoughts?

Follow the yellow brick road...

Welcome!

Welcome to Gay for Jamie!

Y'all can call me Nugget, and I'll be your host. Seeing as this is my inaugural post, I'm going to explain just how things might go around here and I'm going to give y'all a few tips for following this blog. Sound good?

Here at Gay for Jamie, we are all about entertainment. It's not enough just to watch it, but we must absorb it, revel in it, regurgitate it, and of course... analyze it to death. I want participation. I want to be engaged. If you have intelligent thoughts to offer, please feel free to jump in. Hell, even stupid comments are acceptable. Whatever floats your boat. However, I would like some law & order around here and instead of spelling out the rules point-by-point, I'll just direct y'all to one of my favorite blogs, What's Alan Watching? Alan's rules (minus the comment moderation... for now) are simple, clear, precise, and effective. I could write my own rules, but why should I mess with perfection?

Now that that's out of the way, let's have fun, shall we? Here, we shall discuss, dissect, and geek out over all things television (and maybe a few movies too). I should warn you though... If you are someone who prefers that your critics are dispassionate and objective, this is not the place for you. Because I looooooove television. And I respond to it from a place of love. I have my favorite characters, and you'll never have to question whom they might be. If I loathe a story direction, you'll know about it. Quite loudly too, probably. If a show I cherish is ending, you'll most likely be able see and feel my tears -- quite a trick given that this is the internet, huh? What I am trying to establish is that I am subjective viewer and my reviews will probably come across as such, but I'll do my damnedest to be as judicial as possible. Fair enough? So... If you like what you see here, please join the conversation, tell me so, and pass along Gay for Jamie to EVERYONE. YOU. KNOW. If you don't like what you see here, please join the conversation, tell me to suck it, and pass along Gay for Jamie to EVERYONE. YOU. KNOW. Are you beginning to see what I'm getting at here?

Now that my long-winded introduction is out of the way, let's get started, shall we?

Oh, one last thing... To those of you very keen, very smart people out there who have excellent taste, the answer is yes. The title of this blog is shamelessly ganked from the genius mind of Tina Fey who has given us the glorious 30 Rock. If you don't watch it, pinch yourself. Hard.

That is all.

Follow the yellow brick road...

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