Calling a show created by David E. Kelley and starring Robin Williams The Crazy Ones is only logical. Robin Williams, as ad exec Simon Roberts, doesn’t have to be anything but his most manic to be hilarious. In this show, he gets to do plenty of that.
David E. Kelley has a string of bizarre hits to his credit including Harry’s Law, Boston Legal, The Practice, Ally McBeal, and, my favorite, Picket Fences.
Together, these two guys are the world’s most outlandish and wacky minds on the planet. Putting them together on a sitcom is, again, only logical.
Then you introduce Sarah Michelle Gellar as Simon’s daughter Sydney to the mix. She’s the other Roberts in the Roberts & Roberts ad agency. I love SMG – Buffy forever! – but let’s face it, she’s not known for her comedy chops. Can she keep up with the world-class comedy awesome Robin Williams brings?
Luckily, a considerable part of her job on The Crazy Ones is to be the sane one. She reins in her father with a voice and look that she surely acquired from being a mother. Even though she tries to tone him down, his excesses are always a stroke of pure advertising genius which she should have actually encouraged rather than discouraged. She never will, however, because the premise of the show is that she must act as the tether that ties her father to solid ground.
Even so, it isn’t all perfect sanity from her. She’s been given a chance to stretch her comedy muscles. She’s proven she can do the fast talking and the sight gag stuff with aplomb. She’s got the timing down. We are getting to see Sarah Michelle Gellar stretch and grow on this show and it seems to me that it’s working out very nicely. Working with Robin Williams every day must be like going to the college of comedy with the valedictorian as your personal mentor. I think she’s taking advantage of the education and holding her own with a solid performance.
What’s your opinion? Is SMG keeping up with the master?
It’s the morning after everyone was up all night looking for Alan (Derek Jacobi) and Celia (Anne Reid) and after Caroline (Sarah Lancashire) announced to her husband John (Tony Gardner) that she’s been seeing someone.
Caroline parks at her school. She’s on the phone to Kate (Nina Sosanya), all chirpy voiced, asking her to come to her office.
In her office, she grabs Kate, pushes her up against a door, kisses her passionately and pulls up her shirt to reach under and have a feel. She steps back, smiling, and says, “I told John. It felt good.”
Kate asks Caroline if she wants to come round tonight. Caroline says, “Yep.” She studies Kate’s face and announces, “You’re very pretty.” Kate answers, “You’re magnificent.” I have to agree with both of them about it. Caroline whispers something we cannot hear in Kate’s ear, but we can assume it was naughty indeed. They almost kiss again but an assistant comes in with a cup of tea. The assistant talks about the day’s calendar, offers lunch, and heads off.
Caroline collapses in tears with the same passionate energy she had just devoted to kissing, and moans, “I thought she was dead last night. There was this one moment when I thought that’s it. And I thought how unfair that was, to find that one person again after all these years and then die.”
She realizes she sitting on the floor. Kate suggests maybe she should be home resting. Caroline asks if Kate will be home by 4 o’clock and Kate says, “I can be.”
At the farm, Alan is watching Celia sleep. She’s on the couch. He perched on the other end, enjoying the sight of her. He brings in tea and the rattling of the china wakes her. She says, “We keep having adventures!” He reminds her that their adventures have been her idea. They talk about the “distinct presence” in the old Hall last night. Celia says, “We’re back in the land of the living now.”
He starts to tell her something about when Gillian’s husband died, but Paul (Sacha Dhawan) comes crashing down the stairs and through the door. He writhes on the floor in pain muttering about keeping his fluids up as Alan explains who he is.
A knock on the door and it’s Alan’s two sidekicks (Paul Copley and Roy Barraclough) which leads Alan to ask, “Is it Tuesday?” The fellas apparently have a regular Tuesday thing.
Celia is on the phone to Caroline while outside a pub with Alan and the fellas. She asks Caroline to bring her fresh knickers, her toothbrush, and a nightie so she can stay in Halifax a few days. Caroline doesn’t want to do that but asks to call her later. Celia tries to make her feel guilty, apparently an old and well worn game with them, then asks her what she wants for her birthday tomorrow. Caroline manages to get off the phone by promising to call her later. In the pub, Paul is there, trying to drink a pint. Guess they didn’t want to leave him alone at the farm. Alan and his sidekicks discuss Gillian’s birthday tomorrow. Well, well, well, isn’t that interesting. Caroline and Gillian have the same birthday. Alan wants to buy Gillian a used Land Rover and knows where he can find one. He wants to go have a look at it.
Sidekick number one lists his qualifications to be Alan’s best man. Alan won’t commit.
Celia comes in to join them. She says to Paul, “I hope you’re not taking pain killers and drinking alcohol.” He asks her to get him a straw. Cheeky.
Gillian (Nicola Walker) arrives at the house to find it empty. She calls her dad but his phone is on the table. She picks it up and talks to herself on two phones for a funny moment. Then she calls Caroline who explains they’re at a pub. Caroline asks Gillian if she can get her mom a few things – she doesn’t explain why, but we know it will leave her free to go to Kate’s. Gillian can do.
Out in a muddy field, Alan is trying out the used Land Rover. Paul and the two sidekicks are stuffed in the back. Gillian calls and says they are to take Paul to his mother’s house and she asks what size knickers to buy. Celia pretends she can’t hear – no way she’ll discuss knickers in front of these blokes – and hangs up. Sidekick number two announces that the clutch needs to be replaced. And – they are stuck in the mud.
Caroline rings Kate’s doorbell, looking incredibly eager. Just as they are about to start kissing again, Gillian calls asking about knicker sizes for Caroline’s mum. This gives Kate the giggles and we get to see Sarah Lancashire show off her physical comedy skills.
Alan buys a new clutch, and sidekick number two makes his pitch to be best man. Alan doesn’t commit.
Alan and Celia hide the Land Rover in the barn and go inside. He makes tea and tells Celia his story. When Gillian’s husband Eddie put his head in the log splitter, he didn’t die immediately. Gillian stood and watched him die without calling an ambulance. After about an hour, Alan arrived. Gillian told him what had happened and that she had called the police. Alan feels guilty and responsible for being a party to something that wasn’t right. He doesn’t blame Gillian, he just feels guilty about his part. Celia does not blame him or Gillian and reminds Alan about wanting to kill her own husband. Alan says sometimes he feels as if Eddie’s ghost is in the barn and that’s why the Hall bothered him.
They talk about jiving in the old days, and move on to happier thoughts. When Gillian gets back, she hears music and finds them dancing in the living room, much to her delight. (Derek Jocobi is a damn good dancer, by the way.) Gillian snaps their picture and texts it to Caroline. They stop dancing when they see Gillian. Alan is winded, but not having any chest pains.
Gillian says Robbie is bringing Raff back home tonight. She’s invited Robbie (Dean Andrews) to dinner and seems excited about it. She’s bought food and wine and wants to celebrate. She tells her dad Robbie apologized last night.
Caroline breezes in at home – her afternoon with Kate must have gone well, she’s very happy. John wants to know where she’s been. He wants to know who it is. Caroline wants to know if Judith is pretty – he says no. He says he thought they were going to try to make it work for the boys. He says he can’t stay there if she’s going to sleep around. She says, well maybe we should get divorced. She says if she’s going to be with someone she wants to have them at the house where she can have them any time she’d like. Caroline says it’s like a fog has lifted from her, that she’s happy for the first time in years. John says, “You’re not moving him in here.” Caroline says, “It’s not a he.”
Tony Gardner’s rendition of processing this announcement is absolutely perfect! Caroline is going on and on about something related to the boys but I can’t hear it for laughing so hard at the expressions rolling across Tony Gardners’ face. He’s gobsmacked.
Gillian phones and the two women discover that they share the same birthday. They both turn 46 tomorrow. They’re twins!
John, in the garden, calls Judith (Ronni Ancona).
Robbie and Gillian are saying goodnight. He asks her out for a meal and she says yes. He kisses her, a move she rather likes. She asks him to stay. He refuses.
William (Edward Ashley) wakes Caroline on the couch and says she should go to bed. He asks her if she’s seeing someone and if it’s Kate McKenzie. She bumbles around a bit and he says, “She’s nice, she’s interesting, she’s kind. I want you to be happy.”
Next morning Alan presents the Land Rover – and the clutch – to Gillian. She’ll have to install the clutch herself.
A car roars up and dumps Paul on the ground. His mother won’t have him. Maybe because he keeps calling her a bitch. Gillian walks away and leaves him in sprawled in the dirt.
At Judith’s, John is talking to Judith about how Caroline couldn’t be a lesbian. “Aren’t you quaint?” says Judith. She wants to know what it’s like to get hot and steamy with a woman. Then she points out that the woman he’s been living with for 18 years has probably been faking it every single time. Caroline calls and tells him she’s cooking for her “friend” and the boys that night for her birthday. She wants him to join them if he can behave like an adult. He finally clicks on the fact that he knows who the woman must be – the woman Caroline had in the garden.
Celia and Alan, still searching for a wedding venue, are looking at an impersonal public space. They talk about a chapel at Caroline’s school. That might be the answer.
Gillian is installing the clutch when John calls. He says she gives such good advice he wants to come talk to her. She tells him okay.
Caroline is cooking, drinking wine, and so happy she’s almost dancing. She answers the door to find Kate. William wants Kate to come play Scrabble with him and Lawrence (Louis Greatorex) before dinner.
Kate agrees to Scrabble, but steals a few kisses before she goes. Caroline says William knows about them and is being brilliant about it.
On the farm, John, Robbie, Paul and Raff are lined up like ducks in the living room. Gillian is pacing the floor in her bedroom. Alan and Celia arrive from their venue search. Alan again brings up the “manslaughter” he confessed earlier. She again reassures him. They go in laden with boxes and sacks from shopping.
Gillian tries to warn Celia about John and what’s going on. She can’t quite get it out about Caroline and Kate. John, who naturally is drunk, manages to announce that Caroline is a lesbian in the most offensive way. And Celia is indeed offended – both by the thought that her daughter is a lesbian and by John’s behavior. She gets very upset. Alan and Robbie try to shut John’s ranting down. Celia says it’s wicked to say things like that. She wants to go home.
Caroline’s dinner with Kate and the boys is going well when Judith appears at the door. She’s drunk and looking for John. She’s dropped a wine bottle on the sidewalk. She talks about how she always wanted to be with a woman. She keels over backwards and when Caroline goes to help her Judith is covered with blood from the broken glass. Caroline takes her to the hospital.
Caroline’s at the hospital and Kate is back at Caroline’s with the boys. She’s talking with Lawrence. He knows his mother is seeing someone but doesn’t know who it is for sure. Gillian calls and wants him to tell his mother that Celia is on her way home and very upset about Caroline’s relationship with . . . with . . . with . . . Gillian can’t say it, but Lawrence says, “Kate.” Gillian says, yes, Kate. Everyone important to Caroline now knows about Kate.
Robbie is leaving for the evening. He says good night and kisses Gillian again. She goes into the living room and sits down to have a drink with John. John says he only came over because he wanted to see her again. He keeps thinking about her.
It’s late, Alan is tired. He’s driving Celia back home. He pulls the car over to rest his eyes for a few minutes. Celia is upset, won’t look at him. We got a glimpse at Celia’s conservative politics when she and Alan were taking politics a couple of days ago in the church. Her conservatism may cause trouble between her and her daughter when she gets home. Gillian got a new car for her birthday. Caroline’s about to get an earful for hers.
Gillian and John have a few drinks. Gillian tells John she can’t decide if he’s an evil git. He says he’s not horrible, just disappointingly human. She says, “Do you want to go upstairs,” and rubs his thigh. Paul is out of commission, Robbie’s being honorable. John it is. Will he be honorable, too? We don’t find out in this episode.
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In the season opener of Grey’s Anatomy last week, we saw the first reaction by Callie (Sara Ramirez) to Arizona’s (Jessica Capshaw) infidelity. Hurt and angry, Callie takes Sofia and leaves. She takes up residence on Derek and Meredith’s couch for a while.
It takes Callie one day to talk to Arizona about a schedule for sharing Sofia. She can’t discuss anything else about their relationship without crying, but she’s willing to talk about Sofia.
(IMDB does not give the real name of the child playing Sofia.)
Before the wedding, before the baby, Arizona had to be converted to the idea of parenthood. I clearly remember the episode when she embraced the idea of mothering Sofia. In fact, I wrote about it way back then.
A quick recap: Arizona and Mark argued about who was more important to save after the car wreck – Callie or the baby. Mark argued that he should have more say in the decision because he was the baby’s biological father and Arizona was “nothing.” Both Callie and the baby were saved, of course, and Arizona was at Callie’s bedside when she woke up. Arizona said, “I don’t feel like nothing. I feel like our baby’s mother.” Here’s what I wrote earlier:
It’s the line I feel like our baby’s mother that I want to talk about as important. Once the heart moves into that place of parenting, a family is born. For same sex couples like Callie and Arizona, or for adoptive parents from any configuration of family you can imagine, this is the bond, the spiritual tether. The parental bond, once formed, is what creates a family that will cherish and nurture a child.
This is what’s remarkable about Shonda Rhimes and this particular story about a two-mom family: from the first suggestion that there might be a split between the two women, they were written as equal parents to little Sofia. Shonda Rhimes gets the “parental bond” between both parents and their daughter.
Shonda Rhimes gives us drama and conflict, and plenty of it. Bumps in Callie and Arizona’s relationship are a part of that, but it looks as if their baby isn’t going to be a source of the conflict.
I’m rooting for Callie and Arizona to work it out. I really hope Shonda Rhimes wants them to be together and happy, too. Until we find out what happens, I’m glad to see her treating an adoptive parent as equal to a biological one. It’s further proof that Shonda Rhimes can write about same sex couples and treat them as she would any other couple.
This is Caroline and Gillian’s episode. It’s the rainy evening when Alan (Derek Jacobi) and Celia (Anne Reid) are trapped in the spooky hall they scouted as a wedding location. Gillian (Nicola Walker) is outside with firemen who responded to her flaming Land Rover. She returns to the house, anxious because her dad isn’t home yet and isn’t answering his phone.
Paul (Sacha Dhawan), in all his bloody, beat-up glory on her couch, asks how the fire started. She says they don’t know, but he says someone torched it.
In the old hall, Celia and Alan found candles, food, a deck of cards and a bed. They are on the bed, still wearing their coats. They sing and talk to the creaking noises that might be a ghost. Alan is having chest pains, which he hides from Celia. Alan says, “Do you think anyone’s realized that we’re missing?”
Indeed, pretty much everyone will know they are missing before long. Gillian calls John (Tony Gardner) looking for the two tardy lovers. John gives the phone to Caroline (Sarah Lancashire), who takes note of the fact that John has Gillian’s number and she has his while talking to Gillian about calling her mother. Celia doesn’t answer her phone either.
Gillian mentions that her dad doesn’t have his heart pills and shows her worry, which gets through to Caroline.
Celia flushes a noisy toilet in the old hall, while Alan stands guard with candles and a guide book to the age of this ancient structure they’re stuck in. Drafts and noisy spook them a bit.
Gillian calls her son Raff (Josh Bolt) looking for Alan. Robbie (Dean Andrews) offers his usual trash talk about Gillian and Raff actually stands up for her. Raff offers to go to the farm and to help find his grandad.
Caroline sets off for the police station, as the fears about the missing parents have infected her too.
The fearful spookiness of the hall is making Celia angry and she’s talking about suing. They climb back into the big bed as candles move around and doors open themselves.
Raff and Robbie reach the farm. A couple of Alan’s friends show up, mainly for comic relief. At least they notice Paul sitting on the couch, which is more than Robbie and Raff have mentioned yet.
In the car, Caroline is on the phone with Kate (Nina Sosanya), who brings up Caroline’s suggestion that they go away for the weekend. Kate is looking at a web site about Barcelona and is ready to book a getaway. Caroline says, “Can we talk about it later?” When she reaches the police station, the two old buddies of Alan’s are still about, still bringing the comic relief. Robbie explains that police cameras will tell them where the car was last seen. Gillian suggests they all go home.
Caroline goes with them to the farm. Caroline points at Paul on the couch, asks who he is. Robbie and Raff explain that he’s Paul, an idiot, who was beat up because he’s “not popular.”
Robbie follows Gillian into the kitchen and they finally have the conversation they’ve needed to have for days about what she’s doing with Paul. She says, “It’s been 10 years, do you seriously think I haven’t slept with other people?” He stumbles around and finally admits that all his lashing out was because he likes Gillian himself, a fact obvious to everyone but Gillian all this time. He basically apologizes and she says she appreciates it.
A phone call informs them the car was seen driving on Godley Lane. There’s a discussion about what’s on that road. Nobody knows why they are there, until Paul says, “You can get married at South Whatever Hall.” (I still can’t get the name.) They realize then that Alan and Celia were there looking for a wedding venue.
Cops arrive outside the hall where Alan and Celia are now sleeping peacefully. The cops find the empty car parked there but don’t think to look inside the hall because the manager of the place tells them the Hall was closed all day.
John, home with his boys, talks about not wanting to get a divorce. The younger son gets quite upset over the idea of a divorce.
Caroline and Gillian are cleaning up the kitchen at the farm, washing dishes. They talk. Really talk. They talk about Raff, Paul, John, themselves. Caroline isn’t holding it together very well and welcomes the offer of brandy with enthusiasm. They are starting to care about each other. If two women ever needed a friend, it’s these two. Happy as I am that Alan and Celia found each other, I’m even happier to see these two connect – they both desperately need someone to talk with.
A phone call tells them they’ve found the car, but not Alan and Celia. The police think Alan and Celia have killed themselves, to which Gillian answers, “They’re in love. They’ve never been happier.” Robbie reassures everyone about the situation and offers to go to the hall.
Morning comes and Caroline and Gillian sit outside drinking coffee (tea?). Again, they have a meaningful conversation. This time about Gillian’s husband’s death, about how beautiful what their parents feel for each other is. Gillian talks about how much it bothers her that her mother didn’t pass on the message from Caroline’s mum. Caroline tells her that her mother was a teenager then, and it shouldn’t be held against her. Gillian’s parents were happy. Caroline’s were not. They talk about that, laugh that they might have been sisters.
Celia and Alan wake up, snuggled deep in the covers of their borrowed bed. Celia complains about being stiff but is in a hurry to get out of there. When they get downstairs there are people there who tell them that you have to dial 9 for an outside line and the door was open yesterday for a delivery. Celia wants to call home and finds out the police have been looking for them.
Caroline talks to John about how things are at home with the boys as the phone rings at the farm. It’s Celia calling to say everything is fine. Caroline runs outside with Raff to tell Gillian. There are happy hugs all round, including Gillian and Raff, who definitely needed the shared moment.
John tells his boys they can stay home from school and he heads off for the “supermarket.”
Caroline and Gillian help Paul up the stairs and into bed. This removes him from the living room, but, alas, installs him in Gillian’s bed. Gillian tells him he’ll be out on his ass sooner than he can say compound fracture if he says anything vulgar to Celia.
Alan’s first thought on getting home is for the Land Rover. They go in for tea and Alan’s pills. Gillian explains why Paul’s car is in the yard.
John’s in a coffee shop, where he gives Judith (Ronni Ancona) money for her rent. She wants to be a writer and thought he was going to be a help to her. He tells her she has to put in the work or it won’t happen. She’s mad. He’s busy trying to dump her for good.
Tea in hand, Celia still wants to sue. Caroline points out that you can’t accept the very classy venue free of charge for the wedding and sue at the same time.
In the kitchen, Alan, Gillian and Raff have a family discussion about Paul. Alan says, “You always did pick ’em.” To Raff, he says, “You can’t be stopping with Robbie.” Raff answers he doesn’t mind his mom having a boyfriend but why can’t she pick on somebody who, A, isn’t a dickhead; B, isn’t 300 years younger than she is; and C, isn’t engaged to somebody else. After this most excellent speech he exits. This gives Alan the opportunity to say he wants to go to the doctor. He makes light of his condition, but Gillian knows it’s serious. She makes him promise to call immediately.
When Caroline leaves Gillian hugs her and tells her not to be depressed. Instead of going straight home, Caroline stops for coffee. She watches a happy family and smiles – some decision made, she relaxes visibly.
Alan tells Celia he’s poured her a bubble bath. She says he’s spoiling her. He gives her a kiss. He offers to have coffee ready when she gets out of the bath and heads for the kitchen, where we see him stunned by more chest pain.
Caroline arrives home where John is being cloyingly nice. He brags that he promised himself never to lie to her again, and tells her about giving money to Judith. Everyone is exhausted from being up all night, but John is invigorated by his honestly. Caroline says, “This can work. We can be civil for the boys. I’m seeing someone.” Boom! She won’t tell John who it is. John yells and rages. William comes in and John asks who Caroline could be seeing at school. William instantly realizes it’s Kate, but doesn’t tell his dad that. He’s been so angry with his dad for cheating on his mom. I hope he doesn’t transfer that anger to his mom, because I think his little brother really needs him now. John won’t take finding out about Kate well and Caroline isn’t the best at explaining herself to her children.
Whee! What did you think of this week’s developments?
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All the season openers for the week have aired now. Let’s talk about how they did.
The two that I thought did the best job starting the new season off with a bang were Castle and Bones.
Castle jumped right out of the gate with action, conflict and new situations. Beckett is busy in Washington D.C. in a new job and the newly engaged couple are missing each other. Castle can’t keep from meddling in her cases and trying to keep their relationship exactly like it was before. Alexis comes home with a boyfriend in tow – a boyfriend who makes a mess in the kitchen cooking vegan steaks out of hunks of papaya. The episode was fast, fun, and gave us a glimpse into where the season is headed with Beckett in D.C. and Castle in NYC.
Yes, Bones can be formulaic. However, this week was hilarious, with Bones and Booth going undercover as a couple of Jersey shore types to solve a murder at a couples retreat. In other storylines, Angela wants to quit working at the Jeffersonian, and Sweets is having a crisis of his own about his career path. Camille has been targeted by a recurring bad guy who is messing with her identity, credit, and finances. We had a fun plot line to get us going and ongoing problems for future episodes. Perfection.
And the Others Are . . .
Much as I love Nashville, it got off to a slow start, mainly because Rayna spent the majority of the episode in a coma. Connie Britton is the soul of this show, and we simply cannot have her lying in a bed doing nothing. Juliette released a new album while pretending to be concerned about Rayna’s condition, Scarlett quit her job as a waitress at the BlueBird to go record an album on Rayna’s new record label, Gunnar might be growing up a bit, Teddy’s girlfriend is lying to him about being pregnant, and Deacon is blaming himself for every bad thing that ever happened on the face of the earth. Deacon is caught in one of the most grandiose shame spirals ever – much credit to Charles Esten for playing it so powerfully. Rayna finally woke up at the end of the episode which means I’m really looking forward to next week.
Chicago Fire was a bit same-old, same-old. The plot mainly revolved around Taylor Kinney’s character Severide. An arsonist is out to get Severide with personal attacks. Renée is home from Paris, pregnant and wanting Severide to be her baby daddy. Good grief, why does everyone want Severide for their baby daddy? Shay, who hasn’t managed to get pregnant yet herself, points out to Severide that the math on Renée’s due date doesn’t add up. Man, what a week Severide is having. I know Severide had high hopes for Renée – heaven knows they were sexy together – but I think being busy shooting people with a rifle on a rooftop in Person of Interest puts her in the she’s just not that into you category. The question is, what reason will the writers dream up for him to use to dump her. Arithmetic?
Speaking of Person of Interest, the dream pairing Sarah Shahi and Amy Acker didn’t have any scenes together this week. Sarah Shahi was shooting people from a rooftop and not interested in finding a baby daddy. Amy Acker was being mysterious while having conversations with a shrink. I’m looking forward to seeing where her story arc takes us.
The Grey’s Marathon
Grey’s Anatomy charged into its 10th season with a two-hour opener. My first thought was how cute Tina Majorino looked with her short hair. She’s my favorite of the new doctors, along with Gaius Charles, who always reminds me of Friday Night Lights, which always makes me happy. All that cute and happy screeched to a halt when Shane sent Heather to look for Richard who’s been lying electrocuted in a puddle of water ever since the end of last season. Yep, Heather steps in the water and gets electrocuted. Even Derek and his magical brain surgery skills cannot save her. The rest of the first-year interns bond over Heather’s death and their daunting assignment to tell her mother stories about what a great person she was. Tina, I’m gonna miss you.
Yang and Bailey manage to save Richard while arguing about how to do it for 2 hours.
In other parts of the Grey’s universe, Callie is hurt and angry at Arizona. They fight and cry for 2 hours. One light moment in the Callie and Arizona crisis comes when Karev advises Arizona to apologize to Callie by saying, “Sorry I’m such a slut.”
Christina and Owen break up again, but they keep having sex because they want to create a perfect last-time-we-ever-had-sex to remember.
Meredith has a new baby named Bailey and some further medical complication which keeps her in her bed. Her hospital room is the calm eye of the storm where everyone goes from time to time to hold the baby and have a quiet moment.
Lots of other stuff happened: Kepner decides who she actually loves this week, Karev remains a chick magnet, and lots of people need heroic medical help. Hang on, Grey’s is underway for a 10th year.
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I watched two episodes before I formed that judgment on Sleepy Hollow. It’s too heavy handed for my taste. I feel like they are beating me over the head with the book of Revelations – a dark and not very happy feeling. Tom Mison has a certain panache and Nicole Beharie is delightful, but the material has to be there.
self-deprecating humor, kick ass women, stylish action, ethical heroes, inventive plots, and fun. Agents of SHIELD is how it’s done right.
Marvel Agents of S.H.I.E.L.D., on the other hand, takes a light and elegant approach to its offbeat material and makes it fun. Brett Dalton is so handsome, he’s a perfect living comic book drawing. Plus, he is surrounded by Ming-Na Wen, Chloe Bennet and Elizabeth Henstridge on a regular basis. Toss in turns from Clark Gregg, Cobie Smulders or Ron Glass from Firefly and J. August Richards from Angel and you have a perfect cast.
What’s your take on these two new series?
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Last week, Caroline (Sarah Lancashire) drove off with her two boys and Celia (Anne Reid), leaving John (Tony Gardner) standing in the middle of the road at the farm. That’s where we start up this week, with Caroline having an emotional breakdown in the car as she drives erratically away.
Caroline stops the car and gets out. Her oldest son, (Edward Ashley) follows and says he’s sorry about telling her about his dad having Judith in the house. The younger son (Louis Greatorex) follows and the three of them end up in a hug.
Alan (Derek Jacobi) arrives at the police station, where Gillian (Nicola Walker) is waiting for the release of her son Raff (Josh Bolt). Gillian asks her dad is he is angry about her mother’s trick. He says no, he has no regrets. Policeman Robbie (Dean Andrews), who is Raff’s uncle – the one who blames Gillian for his brother’s death – brings Raff out. Robbie makes a remark that Gillian ignores about Paul and they leave.
When Gillian, Alan, and Raff get home, they find John half drunk in the living room. Can’t let all that booze from the engagement party go to waste, now can he? Gillian and John chat in a commiserating way.
Gillian goes to check on Raff. They have a brief exchange. He won’t tell her what Paul was saying about her, and she doesn’t attempt to explain her relationship with Paul.
Alan offers to drive John home in the morning. He asks him not to drink any more. He doesn’t want John throwing up in the new Lexus before Celia’s even had a chance to ride in it! John explains to Gillian about Judith. Gillian says his house is half his and doesn’t see how Caroline can throw him out. He needs to stick up for himself.
In the morning, Alan delivers John to the big house. John blusters in loud and yelling about cooking breakfast and pancakes.
Alan has a bouquet of flowers and knocks on Celia’s door. She’s still in her bathrobe but brings in him and makes him tea.
In the big house John is playing the radio loudly, tossing pans about, singing, and generally acting like he owns the place.
Celia asks Alan if he believes in God. She says she wants to get married in a church. Alan says you don’t have to believe in God to get married in church.
Caroline comes down stairs and John and Caroline conduct a screaming argument that Alan and Celia listen to gleefully. They have a giggling fit while John and Caroline yell at each other.
Gillian tries once more to get Raff to talk to her, but he won’t. She heads off to work. As she’s heading in to the grocery store, Paul comes out. He says he told Raff about the wallpaper in her bedroom and the shoes in her closet to make him believe that he really knew Gillian. She goes into the store and pulls her hair in anguish. She can’t believe she’s involved herself with a fool who would brag to her son about getting into her bed. In a very poignant moment she thumbs through the contacts in her phone, wanting to talk to someone. She looks at Raff’s name and doesn’t call. She looks at her Dad’s name and doesn’t call. Just as she gives up on talking to someone, John calls her. He goes on about how he stuck up for himself and how happy he is with his behavior at home. He thinks Gillian’s a “sweet, exotic creature.” Oh, dear.
Caroline meantime is on the phone with Kate (Nina Sosanya) who gives her very sensible advice like “divorce him and sell the house.” Caroline isn’t quite ready to face this yet, but asks Kate to come over to talk to her.
Caroline goes outside and throws a bucket of water on John. Another loud argument the whole family can hear. She says the marriage is over, dead, and redundant. He refuses to leave.
Alan and Celia are parked on a beautiful scenic overlook holding hands and getting acquainted by exchanging stories. Her marriage was not a happy one. She tells Alan a story about a time when she could have killed her husband but didn’t. However, she vowed to do it if she ever got another chance. Alan is sad she had to go through all that. She asks him to spend the night in her cottage – in the spare room. He grins and says, “I’d have to buy a toothbrush.”
Gillian arrives home from work and finds Raff has moved out. He won’t answer his phone but she finds him at his Uncle Robbie’s. Robbie says he thinks the boy has finally figured out what a mad bitch she is and that he can stay with him as long as he wants. Gillian’s response to this latest upset is to call John. Oh, good grief, she calls John. Her loneliness already has her up to her butt in alligators with Paul, and she calls John. They have a long heart-to-heart about affairs, parenting and John’s marriage.
While John and Gillian are on the phone, Caroline and Kate are talking in the garden.
Kate complains that Caroline’s never really asked anything about her. Caroline seems to expect sympathy with nothing in return. They talk about Michael and how he tried to blackmail Caroline. Kate talks about “the effect” Caroline has on her. Caroline tries to explain her feelings. She talks about not knowing how to be a good friend to anyone or how to have a happy relationship. She describes her early life and how unhappy her parents were. Caroline talked about how different Celia is with Alan than she was with her dad, and how different her life might have been if her mother had loved her father.
Alan and Celia are in her cottage, asleep on the couch, holding hands.
Gillian comes out of the farmhouse in the morning to find Paul, bloodied and horribly beaten in her yard. It wasn’t Raff who did it. I couldn’t understand what he said when he explained who beat him up, but apparently he’s in some sort of trouble. [Note: this part of the story is explained in addendums and a comment. Keep reading.] Someone has threatened to douse him with gasoline and set him afire. She takes him to the doctor.
Caroline is having breakfast. Celia pops in to say she and Alan are going to Halifax. She says they slept together in her double bed, which Caroline is desperate not to hear about. Celia claims they had marvelous sex. (I’m wondering if this really happened or if Celia is exaggerating the truth. All we saw was snuggling on the couch.) Caroline holds her ears.
Gillian reluctantly takes Paul back to the farm after his doctor visit. He isn’t welcome at his own home.
In William’s classroom, Caroline comes in and sends the instructor (Kate) off. She touches Kate’s shoulder in a familiar way. She sits down to watch the students while the Kate is gone. The boy in front of William writes, “Your mum is a lesbian” on his hand and shows it to William.
Judith calls John and wants money. When he doesn’t want to give it to her, she threatens to come to his house.
Alan and Celia are sitting in a church, waiting to talk to the vicar. They have a very funny argument about religion, politics, The Daily Mail and pop songs at funerals. They end up laughing. Celia mentions she wants to walk down the aisle to the strains of “The Arrival of the Queen of Sheba” by Handel. These two are so lovely together.
Celia says she hopes the vicar isn’t a woman. So, of course, the vicar is a woman who questions them about why they want to get married in a church when they haven’t been churchgoers since the 70s. They leave – the church isn’t going to work.
Alan says, “Where would you like to get wed?” and Celia says, “Somewhere classy.” South something Hall – I didn’t get the name of the hall correctly.
Raff returns home to pick up his belongings and finds Paul on the couch, all beat up. Robbie, who drove Raff home, figures out that Gillian has been involved with Paul and tells Gillian she needs to have her head examined. Gillian asks Raff to stay and tells him that she can’t chuck Paul out. Raff leaves anyway.
Alan and Celia arrive at the Hall where they are thinking about holding the wedding. There’s no one about, so they wander through rooms full of an assortment of memorabilia. Alan tells about seeing a ghost in one of the upstairs rooms. They climb spiral stairs and wander through chapels and finally find the room where he saw the ghost. Odd dolls with strange eyes populate the room. There’s a flash of lightning and the lights go out. Celia gets uncomfortable and wants to go. I’m with her – this place is spooky. They race for the exit.
They are locked in. With no reception on their phones and a storm raging outside.
At the farm there’s a flash of light and a boom. Gillian rushes outside to find her Land Rover ablaze in the rain.
ADDENDUM: I wasn’t the only person who could not understand what Paul said about why he was beaten up. I’m seeing people show up on this blog who want to know what he said as well. If any reader could understand him and knows what happened to Paul, please fill us in with a comment. Thanks!
ANOTHER ADDENDUM: I found this on IMDB’s summary of episode 3: “Later a badly injured Paul arrives, beaten up by his girlfriend’s brothers, and she lets him move in.” So that solves the mystery of what he so poorly articulated, It also emphasizes the point, which I did not in my summary, that Gillian revealed to John that part of Paul’s unsuitableness as affair material was that he already had a girlfriend. I love how broken and troubled Gillian is, but I’m ready for her to do something smarter. Like maybe not let an already entangled dude who thinks it appropriate to brag to her teen-aged kid about banging her set up residence on her couch.
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Downton Abbey fans, I found a tiny tidbit about season 4 to help tide you over. Hope it helps with the pain of waiting.
Season 3 of Downton Abbey ended with Lady Mary Crawley giving birth to a son as his father accidentally smashed his car into a tree and died.
Season 4 doesn’t begin on PBS until January, but people in the UK can watch it starting soon. A season 4 teaser video lets us see the problems Lady Mary is having dealing with the loss of her husband and her new role as a parent.
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Developer Diversity: The Mars/Venus Thing and WordPress Moderator: Karen Arnold
Panelists: Suzette Franck, Alison Barrett, Daryl L. L. Houston, Virginia DeBolt, Mark Casias
The discussion was about how to get more women in tech fields, among other things.
One of my talking points whenever I get to talk about this is to bring in how pop culture affects perception. I like to bring up the acceptance of gay couples on TV, the changing acceptance of openly gay people in our everyday world, and the changing acceptance of the idea of gay marriage. I think the visibility of gay characters on TV has changed the majority attitude of society. It’s my example of what needs to happen to visibility for girls in tech.
If that worked for LGBT visibility, why wouldn’t it work for women in tech? Why wouldn’t it work for girls who are interested in science and math, but who drop the idea around middle school in favor of being popular or not viewed as geeky and weird? If they saw a lot of geeky teen girls being successful and in leadership roles in popular shows, I think it would change attitudes.
If you can get girls through middle school still owning up to their interest in science and math, they can go on to careers in those fields. But they hit middle school and nerdy girls get teased and bullied and don’t get the attention of cute boys. That could be changed to a large degree by pop culture. We need to reframe and reset the popular image of female geeks.
One of the audience members at the panel discussion pointed out the geeky women in both NCIS shows, and one on Numb3rs. That’s great, but those aren’t shows that young girls are watching. There is a geeky female character on Big Bang Theory. I think young girls probably watch this show. Am I missing any current shows?
Where we really need geeky female characters are on shows like Pretty Little Liars that millions and millions of teen and pre-teen girls are watching.
We need more characters like Tina Majorino as Mac on Veronica Mars or Alyson Hannigan as Willow on Buffy the Vampire Slayer or Miranda Cosgrove as Carly on iCarly.
A lot more characters, not just one every few years. In fact, I’ll say that every show aimed at pre-teens should feature a geeky female character – hackers, programmers, scientists, and engineers who are teen girls or young women and are leading characters in an engaging drama or comedy. Geeky girls with lots of friends, interesting adventures, and a great personality.
Fringe completed its 5th and final season earlier this year. There were 100 episodes in this Sci Fi drama full of parallel universes, strange beasts, and far out science – or “fringe” science – concepts. When it first came out, back in 2008, I watched a few episodes, but my attention was spotty. It was on at a bad time for me and I couldn’t give it the regular week-by-week attention it requires. I never got into it.
Why didn’t I get into it? One of its creators, J.J. Abrams, is known for some pretty popular shows. That didn’t sway me. I originally wanted to watch because of Blair Brown. Blair Brown has been a huge favorite with me since her wonderful performance on The Days and Nights of Molly Dodd. That couldn’t keep me watching. Bottom line, I just didn’t watch it.
Five years go by, and Netflix keeps suggesting to me that I would enjoy Fringe. Netflix knows my Sci Fi habits better than I do. It’s that time of year with the summer shows are over and the fall shows haven’t started. What can you do with an empty TV night? Giving Fringe a try sounded like a good plan.
I love Fringe!
No surprise to you Fringe fans out there – I love the show. I’m only in season 2, so I have lots more watching to do, but I’ll share why I love it. If you aren’t already a fan, you might give it a try.
This procedural drama is fronted by a woman. Anna Torv plays FBI agent Olivia Dunham. Olivia Dunham is strong, smart, brave, and a great detective. A perfect character to lead the cast. A show led by a woman who is strong and smart? Bingo.
I’m now a hopelessly devoted Anna Torv fangirl.
Binge watching turns out to be a perfect way to watch Fringe. You need to see every episode in order to make sense of the story. The fringe science builds over time to explain what’s happening, and the idea that there is a parallel universe threatening the one we live in develops episode by episode. Each episode has its own standalone FBI mystery to solve, but the plot points lead you into a larger story about parallel universes and alternate timelines.
Going from left to right in the photo of the season one cast, the players are:
Lance Reddick as Phillip Broyles, Olivia’s FBI boss. He seems stern and obstructionist, but he generally believes Olivia when she comes to him with a strange story about creatures who can shape shift or have body parts that come from scorpions.
John Nobel as Dr. Walter Bishop, a mad scientist who’s been in a mental institution for 17 years but is responsible for most of the fringe science that’s invading the current universe. He’s brought out of the nut house to work with the FBI to figure out the mysterious goings on. Walter doesn’t always remember what he did years ago to create the startling science cases we see now. Part of Walter’s charm comes from the things he goes through to try to jog his memory. In addition to not remembering a lot of his former science experiments, Walter is hiding information deliberately, especially from his son Peter.
Blair Brown as Nina Sharp from Massive Dynamic, a biotech company headed by Walter Bishop’s former partner William Bell (Leonard Nimoy). Massive Dynamic may or may not be responsible for much of the chaos the FBI sets out to investigate.
Kirk Acevedo is Charlie Francis, Olivia’s FBI partner.
Mark Valley is John Scott, another FBI agent. Olivia is in love with him but he’s killed off early in the series.
Joshua Jackson is Peter Bishop. He’s Walter’s son. The two have been estranged for years, so there’s a subplot of father son relationships running through each episode. Peter has a rather testy attitude toward his father’s mad science, but nevertheless helps the FBI by keeping his father focused and by being a generally handy fellow to have around.
Jasika Nicole is Astrid Farnsworth, an FBI scientist who becomes Walter’s lab assistant. Her part grows slowly. She has little to do early on, but she is used more and more as the series goes on.
Looking forward to the far-out science
Based on where I am in season 2, the real story about parallel universes and alternate timelines is just getting going. Season 1 was mostly build up. I’m looking forward to the rest of the story.
If this show had been canceled after season 1, it would never have had a chance to tell its real story. There was danger of that, because the show had low numbers, but it hung on. Now it has a developing cult following, including me. I’m still a little amazed that our digital lifestyle allows shows to live on and continue to grow and convert new fans.
Fringe had an active Facebook page with about a bazillion photos you might enjoy looking through.
Are you already a Fringe fanatic? Please share your reasons for loving the show.