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.
Enough Said met all my expectations. I thought it would be funny – it was. I thought it would be charming – it was. I thought the cast would be superlative – they were. I thought it would be an outstanding example of storytelling from a female writer, a female director, and a female star – it was.
Enough Said, written and directed by Nicole Holofcener (pictured at the top), is about love and family and trusting yourself and about letting people be who they are. There are a number of storylines running through Enough Said. The basic story between Julia Louis-Dreyfus as Eva and James Gandolfini as Albert is a girl meets boy, girl loses boy, girl gets boy kind of romance. The twists in this timeless plot are provided by the insecurities in Eva and her lack of trust in her own judgment. Subplots abound from the supporting characters, including Albert and Eva’s daughters who are both heading off to college. Catherine Keener plays Albert’s ex-wife, who savors a poisonous penchant for dishing about Albert’s quirks. Toni Collette and Ben Falcone play friends of Eva’s with their own set of quirks.
It’s a simple, quiet story about characters who feel absolutely real and who make you laugh. In this tale about a woman, there are no gun battles and no crazy sci fi plot points. It’s refreshing. Bring me dozens more of these, please.
Marvel is doing something marvelous for girls who are interested in Science, Technology, Engineering, and Math (STEM) around the release of Thor: The Dark World. The program is called Ultimate Mentor Adventure. Here’s how it works.
Natalie Portman, who plays Jane Foster, an astrophysicist, in Thor: The Dark World describes the program in a video you can see here.
Girls from the U.S. in grades 9 – 12 can apply. The minimum age is 14.
Each girl is connected to a mentor who is working in a field in which the girl is interested.
The girl interviews the mentor and makes a video.
The videos are entered in the contest.
The winner gets to go to the opening of Thor: The Dark World in California and see the video they made shown along with the film. The winner also gets to go behind the scenes at the movie.
A girl really cannot lose by participating in this mentor adventure. Just by participating she gets to meet a woman in a position she wants to know more about. The girls get help finding the mentors and making the videos. Everyone who participates will have a positive experience whether she wins or not.
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?
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.
Sarah Shahi and Amy Acker: I think that’s an interesting combination of stars. Two people that you might not ever expect to see work together and there they are, working together. Look at some of the combinations we are accustomed to seeing – Samira Wiley and Danielle Brooks, Anna Silk and Ksenia Solo, Angie Harmon and Sasha Alexander, Ellen Pompeo and Sandra Oh – once we get to know the characters the choices seem inevitable. But up until the moment they were cast and the contracts were signed, all the choices were open.
It made me think about dream actress pairings.
Let’s play casting director!
If you could pair up any two actresses to star in a new movie (or TV show) who would you pick? For our movie let’s say the two are not related but instead are friends or coworkers – or lovers. They are strong, smart, and the lead actors in whatever drama we imagine for them.
I’m picking Ashley Judd and Jennifer Beals. Here are my reasons.
As far as I know they’ve never appeared together. Teaming up with someone new is the point.
They are both in their 40s, so the movie doesn’t have to be a “let’s find true love and mate for life” kind of romantic comedy.
They are both in their 40s, but that doesn’t rule out love stories if the movie needs to include that kind of story. It just shouldn’t be the only thing going on.
They are both kick ass. Ashley proved she can do the action stuff in her TV series Missing. Jennifer kicked butt in her TV series Chicago Code. So if the movie is about catching bad guys, these two can handle it.
They are both smart. I’d like to see a story where two leading women characters get to do something smart and clever. If it was a political drama or courtroom drama they could be smart and savvy and make long lines of dialog sound meaningful.
They are both terrific actors who are under appreciated in the awards department.
I like them both and will watch anything they do.
I could go on naming combinations of actresses I’d like to see work together as lead characters, but I want to hear your ideas. Who do you think would be an interesting pair-up?
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.