I frighten extremely easily (a guy I know used to love jumping out at me from around corners because I would scream every time), but this episode freaked me the hell out. I have had trouble sleeping lately, and the idea that some dude with an otherworldly drug habit could get into my dreams does not increase my prospects of getting some decent shut-eye. Well, maybe I could curl up with Dean instead. Sorry, got distracted for a moment.
I couldn’t be happier that they filled in Bobby’s back-story. It makes sense that he would have a strong attachment to John, since they share loosing wives to evil. Bobby’s calm acceptance that all hunters get into the business for a reason demonstrates that there is hope for Sam and Dean to be somewhat emotionally well adjusted. They can take Booby as a model and not become megalomaniacs like daddy. (Not implying that anyone can replace their father.)
Or they might just be freaks. What was with Sam’s sex dream about Bella? I am in no, mark me no, mood to deal with some kind of brother battle over Bella. I find Bella a less annoying character than most of the women who pop in on this show; I don’t want her storyline to be botched. (This statement should in no way be construed as a complaint that Supernatural is sexist. I did not wake up as Katherine Heigl.) The way things are playing currently Dean’s anger at her doesn’t appear to be anger masking sexual tension, rather a genuine dislike of her opportunism and solipsism. So, unless something changes, I have not great fear of any fratricide due to Bella. But where did Sam’s dream come from? It just feels out of place. Not to mention that she is a harlot and Sam deserves better.
But do we ever get what we deserve? Isn’t that the question underlying Dean’s horrifying self-revelation? Often on TV when a character has their moment of self-consciousness (either forced upon them by another, or through confrontation with the self) that moment doesn’t provide anything new to the audience. The moment of self-consciousness is different from the moment of revelation. But as Dean battled with himself we learned about Dean. In two and a half seasons Dean has never said a word against his father, but now we know that there is a part of him that is hurt and angry about the way his father treated him. To believe yourself to be nothing but a blunt instrument has to be the epitome of despair. He did deserve better from his father, and I don’t know why no one seems to comprehend that. How a parent could foster such feelings of worthlessness in a child is unfathomable to me. Dean is presented as a (somewhat) limited character: loves Sam, kills evil, drinks, has sex. Sam is presented as the complicated character, and the contrast does a great deal for the show. But in accord with the way the show treats the creatures and demons the boys encounter, we are getting more glimpses about the subtleties and difficulties of these two characters.
I want Dean to live, so as traumatizing as it is experiencing his discovery of that desire in himself, I know that if Dean wants it he will achieve it. If nothing else, the Winchesters are determined.
The TV Girl
Making the world a better place, one show at a time.
- The TV Girl
- Washington, DC, United States
- I guess you would like to know a little bit about the person making all these proclamations upon good taste and horrid characters. I'm Andrea and when I was 15 I fell in love. An hour after meeting "Buffy the Vampire Slayer" I was forever altered in the way only love can, and I never questioned for one minute afterwards that television offered me an amazing chance to experience lives and moments that I could never imagine. So now, when I'm not getting distracted by my real life, I write about TV. I also read, am finishing a Master's degree in English Literature, travel, am attempting to learn vegan cooking, am the 5th of 6 children, and drive my roommate nuts by constantly cleaning our already clean apartment. Now that we're old friends, time for you to take my opinions as the be all and end all.
Friday, February 8, 2008
Thursday, February 7, 2008
One Tree Hill (5): I Can Never Figure Out What Day It Is On This Show
My confusion is an editing problem. There seem to be things that take place midway through the episode that should be taking place in the morning, or the characters wear the same clothing for what appear to be multiple days. It distracts me and those in charge should fix it. This has been a problem since the beginning of One Tree Hill, so I should be used to it by now.
Brooke’s mom may be a witch, but what an awesome witch. Brooke should have known better than to try to connect with a woman who seems barely able to restrain herself from saying “you were an accident.” As ill advised as her overture may have been, it worked well to remind us that Brooke and Co. are still very young. At 21 you are still trying to figure out your relationship with your parents, and Brooke’s success can only make the situation more complicated. The parent/child relationships were kind of the foundation of this show; Lucas and Nathan hated each other because they share a father who picked one over the other, Lucas’ relationship with his mom Karen (the missed Moira Kelly) contrasted with Nathan’s relationship with his mom Deb (the not-so missed Barbra Alyn Woods), Brooke and Peyton both had absent parents, and Peyton’s grief over her mother’s death (and then her second mother’s death) is a fundamental of her character. I understand allowing these storylines to grow, to show the transformation of children into parents, but without Brooke’s mom as a reminder of where we started it would feel too much like a completely different show.
While I’m on the topic of parenting (or lack thereof), oh crazy nanny. I don’t think Lindsay is going to keep her mouth shut about Nanny Carrie’s little passive-aggressive revelation. Nathan defiantly stayed out on that balcony too long, but I don’t think Nathan is so stupid that he doesn’t see what this girl is all about. The long and short is that Nathan will not cheat. Nathan and Haley are obviously distant (I think that kiss at the end of last week’s episode was their first physical contact since his accident), but no matter what happens, he won’t cheat. I predict his rejection is what will push Nanny Carrie off the deep end.
Can I take a moment to gloat that I was able to predict dialogue. … Thank you. Peyton has every right to be angry, and I clapped for every single book she threw at Lucas’ stupid head. Why did they both assume that after the way they ended, and the not talking, that they would be able to magically be friends? He is still holding on to the ring he wanted to give her, and she doesn’t seem to have dated anyone since him. Friendship between them would take a great deal of time and effort on both their parts. What is with all of these people trying to put on a front, and for whom? Peyton needs to embrace her honest nature, and not let anyone tell her she should like Lindsay. Anger is so much more entertaining than winning.
The TV Girl
Brooke’s mom may be a witch, but what an awesome witch. Brooke should have known better than to try to connect with a woman who seems barely able to restrain herself from saying “you were an accident.” As ill advised as her overture may have been, it worked well to remind us that Brooke and Co. are still very young. At 21 you are still trying to figure out your relationship with your parents, and Brooke’s success can only make the situation more complicated. The parent/child relationships were kind of the foundation of this show; Lucas and Nathan hated each other because they share a father who picked one over the other, Lucas’ relationship with his mom Karen (the missed Moira Kelly) contrasted with Nathan’s relationship with his mom Deb (the not-so missed Barbra Alyn Woods), Brooke and Peyton both had absent parents, and Peyton’s grief over her mother’s death (and then her second mother’s death) is a fundamental of her character. I understand allowing these storylines to grow, to show the transformation of children into parents, but without Brooke’s mom as a reminder of where we started it would feel too much like a completely different show.
While I’m on the topic of parenting (or lack thereof), oh crazy nanny. I don’t think Lindsay is going to keep her mouth shut about Nanny Carrie’s little passive-aggressive revelation. Nathan defiantly stayed out on that balcony too long, but I don’t think Nathan is so stupid that he doesn’t see what this girl is all about. The long and short is that Nathan will not cheat. Nathan and Haley are obviously distant (I think that kiss at the end of last week’s episode was their first physical contact since his accident), but no matter what happens, he won’t cheat. I predict his rejection is what will push Nanny Carrie off the deep end.
Can I take a moment to gloat that I was able to predict dialogue. … Thank you. Peyton has every right to be angry, and I clapped for every single book she threw at Lucas’ stupid head. Why did they both assume that after the way they ended, and the not talking, that they would be able to magically be friends? He is still holding on to the ring he wanted to give her, and she doesn’t seem to have dated anyone since him. Friendship between them would take a great deal of time and effort on both their parts. What is with all of these people trying to put on a front, and for whom? Peyton needs to embrace her honest nature, and not let anyone tell her she should like Lindsay. Anger is so much more entertaining than winning.
The TV Girl
Wednesday, February 6, 2008
Guest Star: KP
I would be quite surprised if anyone chooses to watch October Road after KP's scathing (and from the two episodes I have seen, entirely accurate) review. Why eat tripe when there is kobe beef? The delicacy KP recommends is one I tried, but for which I wasn't, let us say, properly prepared. What she has to say has given me the courage and proper perspective to give this show another go. So let KP convince you why you should spend your Wednesdays watching Pushing Daisies.
The TV Girl
Pushing Daisies: A Sweet Slice of Magic Realism
I’ll admit it. I have a sweet tooth. Lemonheads really get me but Pushing Daisies is jam packed with enough sugary goodness to equal 300 pounds of lemonheads. And that’s a lot of lemonheads.
Pushing Daisies has quickly become a viewer favorite and folks have attached all sorts of words to it like quirky, odd, endearing, charming, sweet and a modern fairy tale. The weird thing is, for once, the masses are correct. Pushing Daisies embodies all those adjectives with a dose of film noir, a touch of sadness and a smattering of dark humor. Like the pies that Ned bakes, Pushing Daises is stuffed with salacious ingredients that end up making it quite a delicious treat.
Key Ingredients for a Sweet Success (according to Asiankp):
1.) Cast-The big berries of our metaphorical pie. The ensemble cast of this show is one of the finest. Ned (Lee Pace), Charlotte “Chuck” Charles (Anna Friel), Emerson Cod (Chi McBride) and Olive Snook (Kristen Chenoweth). Also included are Aunts Lily and Vivian (Swoosie Kurtz and Ellen Greene). Together they make the show run. The chemistry between Ned and Chuck is so real, you can almost feel the sexual tension oozing out of the screen. The love/hate relationship between Ned and Olive is so endearing to watch that you gradually come to love Olive, quirkiness and all. And the fact that Kristen Chenoweth is so small compared to everyone else gives it an extra dose of humor. She reminds me feisty chihauha among great danes. Emerson Cod is the apathetic member of this crime-fighting “team” and although he acts like he is just using Ned to make money, deep down he is a big old softie with a passion for knitting. And the deadpan, sarcastic delivery of lines by Mr. Chi McBride is one of the highlights of the show for me. Ned (Lee Pace) is about as charming as they come. With his boyish grin, shining brown eyes and a general aura of sweetness, he reminds me of a young Carey Grant. While Chuck (Anna Friel) may be the weakest member of the cast in terms of acting and character, when placed in scenes with the other folks, she is given an opportunity to shine and shine she does. Although a majority of the action centers on Chuck and Ned’s peculiar predicament, Emerson and Olive are inches away from stealing the show.
2.) Plot-The premise of the show revolves around Ned who possesses an usual gift of bringing people back from the dead with one touch but killing them as quickly as they came with a second touch. In this writers mind, that aspect of the show is highly original and although a tad morose, the shows writers treat this “gift” in a humorous and respectful manner. While the pilot, aptly named Pie-lette introduced Ned and his gift, the writers did a great job of not revealing everything in the first 20 minutes. As the show progresses, you learn the upsides and downsides of such a gift and Ned’s constant struggle to function on the same plane with the rest of the universe while he retains this unearthly skill. The storylines are often a bit absurd but it works for this fairy tale-eque story. No one expects CSI and the show has no intention of conveying that message. The formulaic nature of the show, it usually opens with a narration about young Ned’s life as a boy and how it foreshadows something later on to a bizarre murder case to the solving of the murder to opening more questions about the past, is reminiscent of another phenomenal show known as the Pretender where the formula always included three distinct parts that gave viewers a certain comfort level and familiarity. With so many shows like Lost and Heroes and their complex storylines, a simple question/answer plot is a welcome change. Spoiler alert: Although for fans of the complex storyline, Pushing Daisies addresses that too for in the final episode before the writers strike, we discover that Chuck’s Aunt Lily may actually be her mother.
3.) Artistic design-This is some of the finest work I’ve seen in television in terms of artistic design and set design. From the Pie-hole diner with its pie crust awning to the windmill farm country, the bright colors literally jump off the screen. I often feel as though I’m watching a Roald Dahl book come to life before my very eyes. The design is somewhat similar to that of Tim Burton’s Big Fish or even Amelie. The almost cartoonish architecture and coloring help create this feeling of magic that gives the show its quirky, endearing charm.
4.) A competent narrator-The narration of the show reminds me a lot of Arrested Development. Instead of a lame 1st person voice over, think Grey’s Anatomy, the narrator of Pushing Daisies adopts a omniscient, 3rd person point of view. It plays right into that fairy tale theme and the accent doesn’t hurt either.
5.) Writing-I love the rapid fire pace of the dialogue. Instead of annoying word vomit a la Lorelai Gilmore, the fast, sharp witty dialogue reminds me of Carey Grant/Rosalind Russell in His Girl Friday. And even though the show borderlines on romantic comedy fodder, you never feel like the characters are forcing their expressions of a love that can never be expressed physically. Which brings me to another point, given their unusual situation (ie. Chuck and Ned can never touch) it allows the writers to be creative and challenges them to make Chuck and Ned’s relationship more than just sex. Because they can’t ever have it. Together, that is. The show moves pretty effortlessly from film noir to dark to comedy to dramatic to sad to heartwarming and back again and that is due to the smooth transitional writing.
6.) Wardrobe-This is a minor detail, kinda like powdered sugar on a top of a pie. But Chuck’s dresses are always gorgeous and remind me of the 50s or rather 50s with 90s colors. And you have to love Olive’s green diner outfit although I sometimes question whether Kristen Chenoweth has a cleavage clause in her contract because literally every episode, I’m afraid one is just going to pop out Janet Jackson style.
7.) Guest stars-again, a minor detail, maybe some whipped cream to top it all off. Instead of going with high power celebs (Brad Pitt, Bruce Willis on Friends), Pushing Daisies employed over the last season Molly Shannon, Mike White, Joel McHale (I love Talk Soup) and Paul Reubens. Fairly under the radar stars, but hilarious nonetheless and give the show its added boost of quirky.
I’d like to think of watching Pushing Daisies akin to devouring an entire French Silk or Lemon Meringue pie. The appearance is attractive, the ingredients are tasty and when you are done, you are left with wanting more.
A few other things to make watching better:
-Ned wears Chuck Taylors almost religiously. Chucks. Think about that. The name of his childhood crush and it also happens to be the same name as another favorite show of mine featuring the effable Chuck Bartowski.
-Aunt Lily’s eyepatch. Since Tim Burton has said to be a slight inspiration to creator Brian Fuller, I found it awesome that Aunt Lily sports an eyepatch, which is identical to the witch (Helen Bonham Carter) in Burton’s Big Fish movie who also wore an eyepatch.
-Kristen Chenoweth and Ellen Greene are both Broadway stars. That’s a cool factor plus 10.
The TV Girl
Pushing Daisies: A Sweet Slice of Magic Realism
I’ll admit it. I have a sweet tooth. Lemonheads really get me but Pushing Daisies is jam packed with enough sugary goodness to equal 300 pounds of lemonheads. And that’s a lot of lemonheads.
Pushing Daisies has quickly become a viewer favorite and folks have attached all sorts of words to it like quirky, odd, endearing, charming, sweet and a modern fairy tale. The weird thing is, for once, the masses are correct. Pushing Daisies embodies all those adjectives with a dose of film noir, a touch of sadness and a smattering of dark humor. Like the pies that Ned bakes, Pushing Daises is stuffed with salacious ingredients that end up making it quite a delicious treat.
Key Ingredients for a Sweet Success (according to Asiankp):
1.) Cast-The big berries of our metaphorical pie. The ensemble cast of this show is one of the finest. Ned (Lee Pace), Charlotte “Chuck” Charles (Anna Friel), Emerson Cod (Chi McBride) and Olive Snook (Kristen Chenoweth). Also included are Aunts Lily and Vivian (Swoosie Kurtz and Ellen Greene). Together they make the show run. The chemistry between Ned and Chuck is so real, you can almost feel the sexual tension oozing out of the screen. The love/hate relationship between Ned and Olive is so endearing to watch that you gradually come to love Olive, quirkiness and all. And the fact that Kristen Chenoweth is so small compared to everyone else gives it an extra dose of humor. She reminds me feisty chihauha among great danes. Emerson Cod is the apathetic member of this crime-fighting “team” and although he acts like he is just using Ned to make money, deep down he is a big old softie with a passion for knitting. And the deadpan, sarcastic delivery of lines by Mr. Chi McBride is one of the highlights of the show for me. Ned (Lee Pace) is about as charming as they come. With his boyish grin, shining brown eyes and a general aura of sweetness, he reminds me of a young Carey Grant. While Chuck (Anna Friel) may be the weakest member of the cast in terms of acting and character, when placed in scenes with the other folks, she is given an opportunity to shine and shine she does. Although a majority of the action centers on Chuck and Ned’s peculiar predicament, Emerson and Olive are inches away from stealing the show.
2.) Plot-The premise of the show revolves around Ned who possesses an usual gift of bringing people back from the dead with one touch but killing them as quickly as they came with a second touch. In this writers mind, that aspect of the show is highly original and although a tad morose, the shows writers treat this “gift” in a humorous and respectful manner. While the pilot, aptly named Pie-lette introduced Ned and his gift, the writers did a great job of not revealing everything in the first 20 minutes. As the show progresses, you learn the upsides and downsides of such a gift and Ned’s constant struggle to function on the same plane with the rest of the universe while he retains this unearthly skill. The storylines are often a bit absurd but it works for this fairy tale-eque story. No one expects CSI and the show has no intention of conveying that message. The formulaic nature of the show, it usually opens with a narration about young Ned’s life as a boy and how it foreshadows something later on to a bizarre murder case to the solving of the murder to opening more questions about the past, is reminiscent of another phenomenal show known as the Pretender where the formula always included three distinct parts that gave viewers a certain comfort level and familiarity. With so many shows like Lost and Heroes and their complex storylines, a simple question/answer plot is a welcome change. Spoiler alert: Although for fans of the complex storyline, Pushing Daisies addresses that too for in the final episode before the writers strike, we discover that Chuck’s Aunt Lily may actually be her mother.
3.) Artistic design-This is some of the finest work I’ve seen in television in terms of artistic design and set design. From the Pie-hole diner with its pie crust awning to the windmill farm country, the bright colors literally jump off the screen. I often feel as though I’m watching a Roald Dahl book come to life before my very eyes. The design is somewhat similar to that of Tim Burton’s Big Fish or even Amelie. The almost cartoonish architecture and coloring help create this feeling of magic that gives the show its quirky, endearing charm.
4.) A competent narrator-The narration of the show reminds me a lot of Arrested Development. Instead of a lame 1st person voice over, think Grey’s Anatomy, the narrator of Pushing Daisies adopts a omniscient, 3rd person point of view. It plays right into that fairy tale theme and the accent doesn’t hurt either.
5.) Writing-I love the rapid fire pace of the dialogue. Instead of annoying word vomit a la Lorelai Gilmore, the fast, sharp witty dialogue reminds me of Carey Grant/Rosalind Russell in His Girl Friday. And even though the show borderlines on romantic comedy fodder, you never feel like the characters are forcing their expressions of a love that can never be expressed physically. Which brings me to another point, given their unusual situation (ie. Chuck and Ned can never touch) it allows the writers to be creative and challenges them to make Chuck and Ned’s relationship more than just sex. Because they can’t ever have it. Together, that is. The show moves pretty effortlessly from film noir to dark to comedy to dramatic to sad to heartwarming and back again and that is due to the smooth transitional writing.
6.) Wardrobe-This is a minor detail, kinda like powdered sugar on a top of a pie. But Chuck’s dresses are always gorgeous and remind me of the 50s or rather 50s with 90s colors. And you have to love Olive’s green diner outfit although I sometimes question whether Kristen Chenoweth has a cleavage clause in her contract because literally every episode, I’m afraid one is just going to pop out Janet Jackson style.
7.) Guest stars-again, a minor detail, maybe some whipped cream to top it all off. Instead of going with high power celebs (Brad Pitt, Bruce Willis on Friends), Pushing Daisies employed over the last season Molly Shannon, Mike White, Joel McHale (I love Talk Soup) and Paul Reubens. Fairly under the radar stars, but hilarious nonetheless and give the show its added boost of quirky.
I’d like to think of watching Pushing Daisies akin to devouring an entire French Silk or Lemon Meringue pie. The appearance is attractive, the ingredients are tasty and when you are done, you are left with wanting more.
A few other things to make watching better:
-Ned wears Chuck Taylors almost religiously. Chucks. Think about that. The name of his childhood crush and it also happens to be the same name as another favorite show of mine featuring the effable Chuck Bartowski.
-Aunt Lily’s eyepatch. Since Tim Burton has said to be a slight inspiration to creator Brian Fuller, I found it awesome that Aunt Lily sports an eyepatch, which is identical to the witch (Helen Bonham Carter) in Burton’s Big Fish movie who also wore an eyepatch.
-Kristen Chenoweth and Ellen Greene are both Broadway stars. That’s a cool factor plus 10.
Tuesday, February 5, 2008
Prison Break (7): The Universe Conspired Against Me
Yesterday in my post about House I made a confession, and included in that confession I mentioned how in the Fall of 2007 I had been watching Chuck instead of Prison Break. Two events induced me to tune in last night. The first is, of course, the Writer’s Strike. There is a limited amount of new programming on nowadays, so why not watch a show that I would have been following anyway, if not for Chuck? (Tangent: if the schedule change on The C.W. is permanent, then Prison Break, Chuck, and Gossip Girl will all air Mondays at 7pm. This could compound my already numerous problems.) The second event has to do with a friend of mine. One of my oldest and dearest friends moved to Los Angeles in October. She is an immensely talented actress, and I have no doubt that she will be unbelievably successful. She calls me every couple days to tell me who she’s seen/run-in-to/met. She calls me to tell me about the lesser famous people that I know about from my ridiculously avid TV watching. On Sunday I received a message from her saying that she met Wentworth Miller. If you’re a woman with a pulse, I don’t think I need to explain the extent to which I freaked-out. (According to her he is really nice.) It was marveling over her good fortune that made me think about the fact that a new episode would be airing the next day. Last night a 7pm I settled in to my cosmically mandated viewing.
Since the last episode I saw was the season premier I didn’t know many of the characters, or why the Company wants Michael (Wentworth Miller) to break this guy named Whistler (Chris Vance) out of Sona, the Panamanian prison. The episode hinged on some “coordinates” Whistler needs to hand over to this season’s Company representative, who is holding his girlfriend hostage. Lincoln (Dominic Purcell) has obviously fallen for said girlfriend, and the Company is still holding his son L.J. (Marshall Allman) hostage as well. This is what I pieced together as Michael readjusted his escape plan to account for the unexpected rain, and T-Bag (Robert Knepper) attempted (and succeeded) to undermine that plan.
Something I realized based on pieces of the conversations is the very real possibility that Sara (Sarah Wayne Callies), who was taken hostage with L.J. in the season premier, is dead. My mission is now to catch up with this show, however I can, however long it takes, because I need to know if this is true, and if it is, how it came to pass.
I forgot how addictive this show is and it caught me again. But I had no choice, the universe told me to watch.
The TV Girl
Since the last episode I saw was the season premier I didn’t know many of the characters, or why the Company wants Michael (Wentworth Miller) to break this guy named Whistler (Chris Vance) out of Sona, the Panamanian prison. The episode hinged on some “coordinates” Whistler needs to hand over to this season’s Company representative, who is holding his girlfriend hostage. Lincoln (Dominic Purcell) has obviously fallen for said girlfriend, and the Company is still holding his son L.J. (Marshall Allman) hostage as well. This is what I pieced together as Michael readjusted his escape plan to account for the unexpected rain, and T-Bag (Robert Knepper) attempted (and succeeded) to undermine that plan.
Something I realized based on pieces of the conversations is the very real possibility that Sara (Sarah Wayne Callies), who was taken hostage with L.J. in the season premier, is dead. My mission is now to catch up with this show, however I can, however long it takes, because I need to know if this is true, and if it is, how it came to pass.
I forgot how addictive this show is and it caught me again. But I had no choice, the universe told me to watch.
The TV Girl
House (8): Will I Ever Love Anyone Enough to Drink Their Urine?
I need to make a confession. If I don’t what I’m about to write, and the next thing I will write, will not make sense. Fall 2007 I spent both Monday and Tuesday nights in the classroom. On Mondays I had class from 5pm to 6:30pm and then from 7pm to 10pm. Tuesday nights was only 7pm to 10pm. My academic career took priority over my viewing, and therefore I had to catch up online with the shows I wanted to see. That list got very long, and I made a choice between supporting the new and following the known. I knew that House would survive, while Reaper needed viewers. With the same logic I chose between Chuck and Prison Break. It isn’t that I abandoned former loves for new flings; it was more a cool-down than a break-up. Ah, I feel so much lighter. (Complete tangent: Hugh Laurie was my first actor crush. At age eleven one Bertie Wooster drunkenly stumbled into his apartment and my heart. I heart Hugh Laurie like I heart no one else.)
Sunday night after the Super Bowl I had a chance to pick up where I left off with the good doc. Oh how I’ve missed that sarcasm and those eyes. My whole evening kind of worked out beautifully (and that is not to say I am a Giants fan). After House I put on an episode of Planet Earth before I went to bed. The episode happened to be “Ice Poles” concentrating on the North and South poles. Watching Mira Sorvino re-inflate her own lung tempered the desire to visit Antarctica evoked in me by the stunning pictures of ice cathedrals and frozen oceans.
House (Hugh Laurie)’s attraction to Dr. Kate and his dedication to her case intrigued me. The connection between them was obviously sexual attraction, but she held her own without being a brat. The episode worked so well, because Kate’s attitude with House matched her willingness to perform procedures on her herself. I like to see him reach out to patients, and since I know it won’t fundamentally change his character, it’s like a cynicism vacation. But we all come home eventually.
I have heard from a friend that this Amber chick is not the most pleasant character. I cannot imagine a better punishment for a backstabbing dame than dating Wilson (Robert Sean Leonard). Wilson and House crack me up; they may be the greatest bromance currently on TV. Wilson has the perfect bleeding-heart, handholding liberalism to spar with House’s personally damaged, pain-induced rationalism. They are never sappy, always funny, and obviously care about each other. But, dating Wilson is a guarantee of infidelity. He has ex-wives (take notice of the plural), and as far as we know, cheats on every woman he dates. So, if Amber is a she-devil, she will get what she deserves as Wilson’s girlfriend.
I don’t feel qualified to say much more about the new cast members, I haven’t seen the Survivior-esque episodes that resulted with these new doctors. No one, and I mean no one, could annoy me as much as Cameron (Jennifer Morrison), so I’m not worried about the (to me) newbies. Personally, I could never let Taj (“Kutner,” Kal Penn) be my doctor, but at the same time Chase (Jesse Spencer) hooked-up with Heather Locklear in Uptown Girls, so I will have to be sure not get sick in New Jersey (or Cuba, or Antarctica).
And I will have to be sure to take off my socks so a broken toe doesn’t go unnoticed.
The TV Girl
Sunday night after the Super Bowl I had a chance to pick up where I left off with the good doc. Oh how I’ve missed that sarcasm and those eyes. My whole evening kind of worked out beautifully (and that is not to say I am a Giants fan). After House I put on an episode of Planet Earth before I went to bed. The episode happened to be “Ice Poles” concentrating on the North and South poles. Watching Mira Sorvino re-inflate her own lung tempered the desire to visit Antarctica evoked in me by the stunning pictures of ice cathedrals and frozen oceans.
House (Hugh Laurie)’s attraction to Dr. Kate and his dedication to her case intrigued me. The connection between them was obviously sexual attraction, but she held her own without being a brat. The episode worked so well, because Kate’s attitude with House matched her willingness to perform procedures on her herself. I like to see him reach out to patients, and since I know it won’t fundamentally change his character, it’s like a cynicism vacation. But we all come home eventually.
I have heard from a friend that this Amber chick is not the most pleasant character. I cannot imagine a better punishment for a backstabbing dame than dating Wilson (Robert Sean Leonard). Wilson and House crack me up; they may be the greatest bromance currently on TV. Wilson has the perfect bleeding-heart, handholding liberalism to spar with House’s personally damaged, pain-induced rationalism. They are never sappy, always funny, and obviously care about each other. But, dating Wilson is a guarantee of infidelity. He has ex-wives (take notice of the plural), and as far as we know, cheats on every woman he dates. So, if Amber is a she-devil, she will get what she deserves as Wilson’s girlfriend.
I don’t feel qualified to say much more about the new cast members, I haven’t seen the Survivior-esque episodes that resulted with these new doctors. No one, and I mean no one, could annoy me as much as Cameron (Jennifer Morrison), so I’m not worried about the (to me) newbies. Personally, I could never let Taj (“Kutner,” Kal Penn) be my doctor, but at the same time Chase (Jesse Spencer) hooked-up with Heather Locklear in Uptown Girls, so I will have to be sure not get sick in New Jersey (or Cuba, or Antarctica).
And I will have to be sure to take off my socks so a broken toe doesn’t go unnoticed.
The TV Girl
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