Indestructible: Truth and Consequences on Big Love

Written by Jace | Monday, January 31, 2011 | 0 comments »

"We're not holy. We're all unholy." - Barb

As dire as things have been for the Henricksons in the past, things looked especially bleak at Christmas, even as Bill noted that they had made it through the darkest day of the year and into the light. But that's the problem with the sunlight sometimes: in the harsh light of day, you can't avoid the seeing the truth right in front of you. Things are not what they seem: plum pudding contains no plums, after all.

On this week's gut-wrenching episode of Big Love ("Certain Poor Shepherds"), written by Jami OʼBrien and directed by David Petrarca, the family has to contend that their own inner secrets may be the thing that destroys them in the end. Even as they make their way onto the ice--to the ironic strains of ABBA's "Knowing Me, Knowing You"--in a show of unity, Bill and his wives are anything but a singular unit, each concealing something in turn, a hurtful truth that puts further strain on this already aching clan.

But as the snow comes down and the Henricksons gather outside in their Living Nativity, putting on a show for the entire neighborhood to see, one can't shake the feeling that each of them has been playing a role for some time now. The darkest days, it seems, are still yet to come.

Before we get into anything, I want to discuss the truth about Margene's admission this week. I had a brief inkling of the truth of her situation last week when she spoke about being a few credits shy of her high school diploma; for some reason that fact stick with me and made me wonder if she wasn't younger than we thought she was.

The truth is that Margene is younger than we thought. She and Ben were even closer in age than we believed over the first few seasons (making their mutual attraction all the more understandable, perhaps), as both she and Ginger lied to Bill when they met. While the family believed that babysitter Margene was 18 years old when she and Bill wed, the truth is far different: Margene was only 16 years old, below the age of consent. Which makes her pre-marital relations with Bill unlawful and morally reprehensible.

It's no surprise that the family reacts the way that they do. They had the wool pulled over their eyes by Margene and welcomed her into their family without knowing what they were doing, believing that she was an adult with the ability to make her own decisions, rather than a minor that they were bringing into their polygamist lifestyle.

For Bill, with all of his talk of cleaning up the compounds and purifying the faith, it's a slap across the face. He's railed against the abuses of Juniper Creek his entire adult life, against forcible marriages, underage sealing, against everything that Roman Grant and his ilk have perpetrated over the years, twisting their religious beliefs and corrupting them altogether.

What happened with Margene goes against everything he has been fighting for, and striving to build with Safety Net. Her lie makes him complicit in the web of abuse, even though he had no knowledge of his actions. Their marriage to Margene began with the basest of lies. From her point of view, it doesn't change anything: what difference could two years shaved off her drivers license really matter? But the truth is that there are forcing looking to take down Bill, looking to round up the polygamists and recriminalize their lifestyle. Two years can make a huge difference at the end of the day, if people were to learn of the truth.

And that's what Margene doesn't quite see. It's not a matter of hiding her drivers license when Bill asks for it or hedging about her true age. It's a shocking betrayal that cuts to the heart of their marriage and puts their very future in jeopardy.

And clearly, as we see at the shelter, it's affecting how Bill sees his youngest wife, as he suddenly treats her at a distance, keeping her at arm's length until he can determine just how to react. How does one recover from his? Does it fundamentally change the way he sees Margene? How any of them do?

While Bill might not know what to do with Margene, Barb runs away from the situation, fleeing the shelter to return to the darkness of the empty houses, seeking solace in the plum pudding and the bottle. This season has seen Barb tempted to experience new things, to taste from the forbidden fruit, but here she has given herself over to excess. As she lurches about the kitchen drunkenly, there's a real sense of sadness and loss over her life, as she finds herself unable to process this latest betrayal.

Her naked drunkenness, her shame, and her anger all coalesce in that scene in the kitchen, as the family enters to find her eating plum pudding out of a can by herself. I don't for a second believe that Barb is an alcoholic, but her behavior is troubling here; she's thrown off one of their strongest beliefs (abstaining from alcohol) because her voice isn't heard in their marriage or in their religion. Still reeling from the horror in Nicki's voice when she attempted to give a blessing to Margene last week, Barb lives in hope that Bill will see her point of view and allow her to bless the congregation. (No way; instead, he asks Ben to do so.)

She is seeing her good works go up in flames. The time and energy she put into the casino have been completely eradicated; her beloved ice cream bar replaced by some slutty dancers grinding away to "Santa Baby." Her marriage has been based on lies. Her quest for religious equality stamped out by traditionalist Bill. The promise of eternity has been damaged by their sin in inviting Margene into their marital bed.

Barb's drunkenness is more than an escape; it's an attempt to stop feeling, to numb the pain and the frustration and the compromise and the lies. Standing in the snow after, her loneliness and isolation is palpable, even as her sister-wives and Bil gather around her. But it's her words that cut like a knife: "We're not holy," she says, sadly but resolutely. "We're all unholy."

Interestingly, that viewpoint is echoed by Alby, for all of his talk of purifying the compound. But Alby's thoughts on purity are very different than anyone else's: he takes it upon himself to poison all of the dogs on the compound, turning on Lura and threatening to have her children reassigned. He kicks Adaleen out of the big house after learning that she still has that "monstrosity" inside of her.

Even more intriguingly, both women flee Juniper Creek and end up at the Henricksons, looking for refuge. In the last three episodes, we've been seeing a nexus of power and influence building up around Bill within the polygamist community. His church is now filled with new faces, his homes bursting with cast-out polygamists (Adaleen, Lura, Lois).

As I said a few weeks back in my advance review of the fifth season, I believe that the endgame is upon us and that Bill will eventually receive his true destiny and will become the true prophet of Juniper Creek, ushering in a new age for polygamy, one that's markedly different from the amoral corruption of the Grants' rule.

There's a moment at the shelter where Lura finds herself trapped between Bill and Alby, between her new life as an outcast and her old life as the prophet's wife. But the scales have fallen from her eyes; she now sees her husband for the monster that he is. She chooses to stay rather than to return and there's hope in the scene where she blinks her eyes after removing her false eyelashes; it's as though she's seeing for the first time in a very long time.

It also connects to the faux plum pudding and the other false faces encountered in this episode, to the lies told to Cara Lynn about JJ by Nicki and Margene and the way that Bill doesn't want to see the truth about his mother. It's not until Bill sees the results, does the truth about Lois hit home, but he can't deny just how widespread her mental state is when Lois takes the kids in search of Santa and has a complete breakdown at the drive-through. It's a gutting reversal for this fierce woman, so canny, so conniving and brilliant, who is undone by her own mind. (Kudos to Grace Zabriskie for pulling off this tough transformation with honesty and grace.)

Nothing is as it seems until we're presented with proof. Just as Bill sees evidence of Lois' dementia (even in the face of her "indestructible" nature), Cara Lynn needs hard proof of her father's death before she can let go. Convincing Gary to drive her to the compound, she stands in the burnt wreckage of JJ's clinic, the realization hitting home that her father is dead even as Adaleen attempts to continue to lie to her.

But Adaleen does finally come clean to Cara Lynn, just as she finally does to herself, realizing that she doesn't want to carry this child to term. She destroys all of her hormones, sweeping the empty bottles into the trash, but interestingly, she chooses to return to Albert, to her grieving son, to promise her eternal support and steadfast love. It's a shocking about-face for Adaleen, but she's always been a survivor at heart.

Elsewhere, Bill nearly crosses a line with his condemnation of Alby in front of his young children, even though he's telling the truth. But these children, already reeling from their mother's flight from Juniper Creek, don't need to see the harshness of their father's true nature. Not yet, anyway. Just as Cara Lynn contends that she always saw her father as a "good man" ("He taught me how to ride a bicycle," she says sadly), so too likely do Alby's children not see him for what he truly is. But it's a testament, perhaps, to Lura's strength that she doesn't go back to Albert and to the compound, even with the threats he throws at her.

Last, I just want to say how happy I am that Tina Majorino's Heather Tuttle is back in the mix this season; I've missed Heather and I'm glad that the writers sought to bring her back for this final season. Her perspective and outlook are needed here, even as she and Ben seem to be heading for romantic territory. I loved Ben's shock upon seeing her, and how much Heather had changed since they last met.

Seeing, it seems, is believing.

Next week on Big Love ("The Oath"), with his swearing-in ceremony only days away, Bill searches for ways to overcome the anti-polygamist sentiment swelling among state officials; Barbʼs strategic attendance at a First Ladiesʼ fashion show triggers
lingering resentment between Nicki and Margene – and between Barb and Nicki; Rhonda and exiled polygamist Verlan try to shake down Alby; Margene and Pam find their niche with Goji Blast and Michael Sainte; Nicki pushes for Cara Lynnʼs adoption; Lois learns the source of her ailment; Ben rewards Heather for her sensitivity.

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Yes, Charlie Sheen, the troubled star of CBS’ Two and a Half Men, has finally entered rehab, amid a production shutdown on his CBS sitcom, produced by Warner Bros. Television.

Over at The Daily Beast, you can read my latest feature, entitled, "Charlie Sheen, Two and a Half Men, and the Hollywood Machine," in which I talk to television industry insiders--from writer/producers to household name showrunners--about why the hell it took so long for Sheen to go into rehab.

And I look at the self-perpetuating system that enables stars like Sheen to indulge in such bad behavior as showrunners and producers--speaking on condition of anonymity--discuss their own culpability in the issue.

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Fringe Fridays: 140-Character Testimonials

Written by Jace | Friday, January 28, 2011 | 1 comments »

I asked, you answered.

To celebrate the arrival of another Fringe Friday, I took to Twitter to ask you to sum up why you loved FOX's Fringe in 140 characters or less. No small feat, given the rampant love for this mind-bending sci-fi drama, which recently moved to Friday evenings during its fantastic third season.

The responses I got were not surprisingly impassioned and intelligent, and demonstrated why Fringe has struck a chord with its devoted viewers. (Among whom, I count myself as a member.)

Curious to see just what Fringe-philes had to say about why they love the show? You can check out the responses below, which I will continue to update throughout the day. And don't forget: there's an all-new Fringe tonight at 9 pm ET/PT on FOX!

Fringe in 140 Characters or Less:


mtoddcohen: "I love #FRINGE b/c it's dynamic, intelligent, and perfectly blended with unexpected humor. In short, it's science with charm."

SterlingCooper1: "I love Fringe b/c it continues where the XFiles stopped, it shows us what real love is about and that nothing is as it seems."

TorreyHam: "Fringe is a prime example of how TV can excel far beyond film in terms of connecting with viewers. We are lucky to have it."

SnapTheJap: "aside from the terms 'Walternate' and 'Fauxlivia" it's self-contained sci-fi that SEEMS feasible. Next-Files."

Kaelity: "#Fringe is thrilling, creepy, funny, romantic, smart, beautiful, heartbreaking and a tweet is not enough to say everything."

Cortexifans: "Love #Fringe 'cause it makes us feel, think, imagine. Has amazing cast and crew work and makes a Fringe Family with the fans."

brandollars: "Sci-fi amazingness with plenty of mystery & more importantly, real characters with believable drama."

DamianLovesTV: "because it is 50% scary, 50% science-y, and 100% awesome. plus it was my first cover story!"

CathTerrierette: "I can tell you why I love #Fringe in just ONE word: Walter!!!"

r1pvanw1nkl3: "john 'effing noble"

LostBoneyBoot: "It is intelligent, engaging, intriguing television, with strong characters whose stories are developed authentically/honestly."

scriptgrrl: "doppelganger love triangle"

_Dani_79: "I love #Fringe cause it's the g8est series ever.I adore Anna Torv.She is the best actress on TV@themoment.She totally rocks!"

manissag: "b/c there's nothing else like it. It's a mix of sci-fi, drama, action, & comedy. #Fringe is TV brought to the next level ;)"

Starbuck7121: "Two words: Anna Torv. She melts my brain. Plus, #Fringe is beyond brilliant. It pretty much blows my mind on a regular basis."

paperplanesca: "I love Fringe for it has such a smart way to show 'impossible' events look scientifically possible!"

ActiveDoll: "unusually successful mainstream SF, fringe's strength lies in subtle casting, & constant reimagining of the underlyng arc."

EnergyTanks: "Fringe embodies the best elements of sci-fi TV of the past 30 years. Also, the cast is incredible."

HouseBonesLove: "I love Fringe because the cases are mind blowing and every episode just keeps getting better! Yay for Fringe Friday!"

spcebaby: "I <3 Fringe b/c it puts the 'Science' in 'Science Fiction'!"

kyrssy: "John Noble, nuff said."

dianadavis76: "I love #Fringe because it's innovative, thought provoking, well written, well acted and exciting! I can't wait for each week!"

witharmsakimbo: "I love #Fringe b/c it underlines the human core in a world dominated by science. Plus I get a weekly dose of Joshua Jackson!"

aimeeinchains: "Most heart-felt, thought-provoking, well-written, best-acted show. Action, Science, family, love; speaks to the soul."

BIGANDER: "for its delicious strawberry flavored death."

truffle_shuffle: "You thought the X-Files was good? Not as good as #Fringe."

JudeLaBarre: "Walter and his relationship with his son. Also how the writers resolve the intricacies of having parallel universes."

On tonight's episode of Fringe ("Reciprocity"), the doomsday device is assembled at Massive Dynamic, but a worried Walter asks Nina for help in understanding Peter's relationship to the weapon.

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"Stop. Pooping."

The MVP award for last night's fantastic episode of Parks and Recreation ("Flu Season") goes to Rob Lowe, for his sensational delivery of the above two words as Chris succumbs to the virulent strain of flu infecting everyone in Pawnee.

Chris' ouright outrage and horror, upon learning that the "microchip has been compromised," is transformed into self-loathing and ultimately a complete and utter breakdown as he vomits into a drawer, makes friends with the hospital room floor, and manages to make would-be girlfriend Ann at ease with him for the first time during their nascent courtship.

But the heights that "Flu Season" reached (which, I might add, for all of their strengths are topped by other upcoming episodes this season) are due to the tremendous work being done by all of the members of Parks and Rec's talented ensemble.

For all of the scene-stealing done by Lowe here, there are standout moments for Aubrey Plaza (throwing her blankets on the floor and getting under Ann's skin), Chris Pratt (the super-straw; yanking the desk drawer off of its track), Nick Offerman (the giggle alone as Ron and Andy run off alone was worth the price of admission), Aziz Ansari (the spa scenes), and Rashida Jones (Ann's end-of-shift freakout at April).

But it was Amy Poehler's Leslie Knope who took the cake as she attempted to make her way to the "Chamber of Secrets" to make her presentation, creating a denim scarf out of her jeans, stealing powerful flu medication from her fellow convalescent patients, and generally behaving in a hysterically delirious fashion. (Two words: "Leslie Monster.")

But most comedies would have had Leslie deliver her speech in a stupor, having her wreck the moment with bizarre non sequiturs and fever-dream ramblings. Which is why Parks and Recreation has managed to establish itself as one of the smartest comedies on television, as it doesn't fall into this sitcom trope but instead inverts it, having Leslie step in and save the day with a brilliant speech about being a part of history, transforming her from a sick woman who believes the floor and the walls have switched places to an accomplished public speaker with the audience in the palm of her hands.

And that's really the magic of Poehler's Leslie Knope: her dynamic optimism comes from the heart. Unlike the vast majority of politicos or public servants, she means the words that she says and nothing, not even mind-altering illness, will stand in her way when the crunch arrives. Standing at the podium, Leslie is nothing less than perfect, nothing less than persuasive, and nothing less than the Leslie Knope that we know and love.

(It's also, perhaps, the moment where Adam Scott's Ben really sees Leslie for the first time.)

There is no "nope" for our Leslie, the eternal cockeyed optimist and big dreamer, and this week's episode went a long way to reaffirming just what makes the character tick. While the humor might come from Leslie's attempts at flight and evasion in the face of illness (loved the bit about her throwing up the Claritin), the episode truly soars when it lets Leslie be her passionate self, getting her to the podium with her red folder and her attempts to save the Parks Department.

When push comes to shove, this is a woman who you want in your corner, whether she's trying to save a pit (or a lot), a parks department, or pony-sized horse (watch "Harvest Festival" for that one). And that's a testament to both Poehler and the writers operating under showrunners Greg Daniels and Mike Schur: it's a rarity to have a character that can be both funny and sympathetic, brazen and compassionate, out-there and relatable, all of which Leslie embodies. It's even more rare when that character is the female anchor of an ensemble cast.

All in all, "Flu Season" was a fantastic episode that showcased the charm and skill of this fantastic comedy ensemble and managed to advance the plot, while giving a very pregnant Poehler plenty of tummy camouflage. And, as fantastic as this installment was, the third season of Parks and Recreation just gets better and better. Take it from someone who has now seen the first seven episodes no less than five times. This is one season--truncated though it might be--that you will want to watch again and again.

And I didn't even need to have any flu medicine to say that.

Next week on Parks and Recreation ("Time Capsule"), Leslie wants to bury a Pawnee time capsule, but an odd suggestion from a local man (guest star Will Forte) causes unforeseen consequences.

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I'm of two minds about last night's crossover cold open on NBC's The Office ("The Seminar"), which, if you missed it, can be viewed in full below.

Let's be upfront about this: I'm an obsessive fan of the original UK Office, so the chance to see Ricky Gervais don David Brent's goatee was absolutely priceless, but I've also given up watching the US version for a while now as, in the last few seasons, it's descended into a bit of a tired and humorless mess.

Having said that, I thought that the chance encounter between Steve Carell's Michael Scott and Gervais' David Brent was a bit of a hoot at first, and easily the funniest cold open The Office has pulled off in quite some time (from what I remember of the last few seasons I watched).

Seeing the simpatico spirit that exists between the two men, each versions of each other, was unexpectedly touching, even as the two joked around and David asked if there were any jobs going around at Dunder-Mifflin.

Was it wonderful to see David Brent up to his old tricks, telling vaguely offensive jokes, giggling naughtily, and waxing philosophically about the nature of comedy "tickling the mind"? Absolutely. But there was also something oddly troubling about the sequence as well, something that got under my skin last night.

Could it be the fact that Gervais himself spoke out against appearing on-screen on the American version just a few years back, decrying it as potentially "desperate"? Or could it be the fact that the encounter seemed to establish that the events of The Office, unfolding in Slough and Scranton, are in fact taking place within the same narrative "universe"?

It's true that, over the last few seasons, these two characters have gone in wildly divergent directions in terms of their outlook and behavior while still retaining a bit of the same shared blueprint at their core. I think that Brent would have skewered Scott alive had the two had to spend more than a few minutes together; Gervais' boss is inherently a terrible, awful individual, while Michael is more of a bumbling idiot who fails to read social cues and offends because he's in search of the perfect punchline, a quest to achieve acceptance and (in his mind) fame.

But the fact that we're now meant to believe that these two paper merchant bosses and their similar staffs are in fact co-existing got under my skin in a way that the showrunners clearly did not intend. (Am I alone in this thinking?)

With Steve Carell set to leave The Office at the end of the season, it seemed likely that Gervais would make a drop-in on the show before Michael Scott heads to the paper warehouse in the sky (or, well, wherever Michael is heading next) and while I spent those few minutes chuckling, it wasn't enough to keep me from turning over once the credit sequence began. These days, the Office I most want to visit is Wernham Hogg, if I'm being honest.

But I am curious to know what you thought of the encounter between Gervais and Carell last night: was it a stroke of brilliance or a desperate ploy? Head to the comments section to discuss.

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Yup, Archer Is Back Tonight: Why You Need to Watch

Written by Jace | Thursday, January 27, 2011 | 1 comments »

FX's subversive animated comedy Archer returns tonight and not a moment too soon, for television needs the gonzo spirit and out-there humor of this Adam Reed creation.

The first seven episodes of Season Two of Archer, provided to press for review, might be the strongest to date, offering up a virtual cornucopia of sight gags, double entendre, shockingly foul language, superspy hijinks, and one of the worst examples of humanity in HR executive Pam Poovey.

To say that these memorable characters are flawed is an understatement of the highest order; they're so morally corrupt, so self-absorbed and tragically insane, that it makes for obsessive and unpredictable viewing. And that's perhaps the beauty and magic of Archer: in creating a cast of characters who are so reprehensible in every way, it's impossible to turn your eyes away from the carnage--both physical and personal--that follows in their wake.

Along the way, Sterling Malory Archer and his covert cohorts at ISIS are tasked with protecting a slew of important VIPs: from a slutty, seemingly nymphomaniac teenager in the season opener "Swiss Miss" to a Chihuahua-toting actress in "Movie Star," while a pipeline, a blood sample, the wee Baby Seamus, Cyril's sex addiction, Pam's thirst for gossip, Mallory's Hollywood dreams, and Lana's low self-esteem all play right into the various plots unfolding his season.

Building on the strength of the first season, creator Adam Reed deepens the characters here, giving screen time to supporting characters like Krieger and Ray Gillette and broadening the world of ISIS exponentially. Familiar faces (voices?) make their return appearance here, as well, giving some sense of continuity and serialization to the adventures of Sterling Archer and Co., even as the throwaway lines and dirty jokes leave you gasping for air on the ground. (Hmmm, flashbacks to Judy Greer's Cheryl here.)

The result is a gleefully psychotic comedy, and I mean that in the very best possible sense. Archer is a touchstone for the sort of subversive humor and no-limits comedy that FX embraces and I'm glad to see that a break between seasons hasn't dented the delightfully twisted psyche of this unique series.

With spies like these, who needs national enemies?

Season Two of Archer premieres tonight at 10 pm ET/PT on FX.

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Each episode of Friday Night Lights brings with it the double-edged sword of satisfaction, delivering another impassioned and poignant installment but also bringing us ever closer to the precipice itself: the end of the line.

This week's beautiful episode ("The March"), written by Rolin Jones and directed by Jason Katims, painfully reminded me of why I love Friday Night Lights in the first place, setting up conflicts both internal and external, transformative events and those quotidian moments that add up to a life in the end. For the characters of Friday Night Lights, victory on the field doesn't translate to personal glory, as this episode showed in no uncertain terms.

The March of the title might be that towards the state championship, but it's also the march that each of us endures in our own way: one day turning to the next, a broken-down door, a conversation with a spouse, a misunderstanding, a tear-filled goodbye, a brawl between brothers.

While life goes on for the Lions, poor, broken Tim Riggins has seen his life take a tragic detour. The sacrifice he made for his family--taking the fall for brother Billy's crimes so that his brother could be with his wife and son--has become a burden that's too heavy to carry, as Tim believes that his brother didn't make good on his end of the arrangement.

Billy promised to look after Becky and he did, giving the teenage girl a place to stay when even wife Mindy wanted her gone, but Becky has followed Mindy to the Landing Strip. While she's not stripping, Tim is uncomfortable with Becky's presence there, with the fact that Billy and Mindy's infant son is being fed a bottle by some strippers, while Billy sits out there, drinking his seventh beer.

Billy's casual attitude hits home for Tim, who has spent the better part of a year in prison; Billy's freedom, both physical and intellectual, is a slap across the face to Tim. After all his lifestyle was paid for by Tim's life, his ease made possible by Tim's fraternal sacrifice. Is this what it was all for?

Kudos to both Taylor Kitsch and Stacey Oristano for pulling off an emotional two-hander in this episode; I was struggling to hold back the tears when Mindy begged Tim not to go here. It was a gut-wrenching and genuine moment that passed between the two that had as much of an emotional slap as the parking lot brawl between Tim and Billy, each a sucker punch to the heart in their own way.

Kitsch's Tim Riggins is a shell of a man, having served his time and come out the other side. Gone is the irrepressible ladies' man, the football star, the hard-drinking partier. In his place is the ghost of Tim Riggins, a haunted soul who is reminded of just what he's lost. The sight of Smash on television, the whir of the radio as it announces that the Dillon Lions are going to State, the sight of Becky fooling around on the couch with Luke, they're all reminders that time has marched on for everyone else around him.

But Tim, for all his sacrifices, is still trapped in prison, a solitary soul on his own, his dream of that big open space, that "Texas Forever" parcel of land, empty and hollow now that he's seen the other side of life. What Tim, sleepwalker and malcontent, needs is to be woken up from his nightmare.

Even as Tim remains stuck in neutral, change is afoot elsewhere in Dillon, as couples fall apart at the seams, opportunities of personal and professional natures arise, and the future is contemplated. Even as the Lions prepare to take the state title, a looming budget crisis could mean the elimination of the East Dillon Lions' football program. In an interesting payoff, it seems as though there's only room--and resources--for one team in Dillon. Will it be the Panthers or the Lions? And just what does it mean for Coach Eric Taylor at the end of it?

Eric had sacrificed his own exit strategy to stay in Dillon and see his team all the way to the end, but the budget cuts that Levi is dealing with mean that he could be without a job very soon. Interestingly, I don't know what that means for Eric, whose entire identity seems derived from his role as a football coach. It's impossible to separate Eric Taylor from Coach Taylor, the family man from the molder of men. But what happens when the rug is yanked out from beneath him?

The Taylors' future seems now in the hands of Tami herself, who is offered a position of the Dean of Admissions at a college in Philadelphia, a surprise given that she's just spent the last year as a guidance counselor in a crumbling small town high school in Texas. Will Tami accept the role? And what will it mean for Eric? Just how does he fit into this potential new lifestyle?

The series began with Tami contemplating returning to work after leaving to raise her family, so it's perhaps fitting that it should end with Tami becoming the breadwinner in a way, taking the baton from her husband and running with it. She's worked hard, she's sacrificed, and stood by her husband, but it's time for Tami to seize hold of her own destiny now, to guide her family on their path.

Elsewhere, Jess struggled with her own feminine ambitions, attempting to get Coach to see that it was possible for her to become a football coach, even though she's a woman. While the odds are stacked against her (one female coach among hundreds of thousands of men), Eric does offer her the opportunity to step up and attempt to achieve her dreams, just as he's done for the countless boys who have come to him on the field. While he calls her a pest initially, I think he admires her moxie and her determination; besides, she's a canny tactician and an accomplished trainer in her own right. Why shouldn't she become the new face of football coaching? Why should he stand in the way of any of their aspirations?

The alternative is far scarier, demonstrated by the personal hell endured by Vince's mom Regina, struggling to keep clean amid a household that's increasingly falling apart. It starts with Ornette's insistence that he be allowed to drink in the house, followed by a brutal scene at the BBQ shack in which Ornette manhandles Regina and reveals that he's using drugs again, and culminating in a truly upsetting moment as Ornette attempts to bash down the door to their house after Regina changes the locks.

The violence, the brutality, the fear, are all palpable here, even as Regina and Vince try to remain strong in the face of Ornette's savagery. Vince's sadness etched on his face as he struggles to keep his father at bay. It's the cruelest cut, seeing as Vince reluctantly admitted his father back into his life, only to be betrayed by him in so many ways, both big and small.

But, most touchingly, the episode set up that victory can mean very different things to different people. Even as Vince manages to save the game against Arnett Mead with just two seconds on the clock, Regina manages to control her inner demons, sacrificing her son's moment of glory for a support group meeting. The look of pride on both their faces, as they spot each other across the crowded lot, and run to each other, recounts their strength and love for each other. It's a moment of pure happiness, as mother and son embrace each other, their tears both for themselves and each other, their victory hard earned and deserved.

And then there's Eric Taylor, standing alone amid the celebration, looking for his wife, for something to hold onto in the face of victory and on the path ahead of them. But Tami is thousands of miles away, having achieved her own success, and Eric seems more than a little lost without her by his side.

Is it a prophetic moment? Or a reminder of what's truly important at the end of the day. With only two episodes to go before the end of Friday Night Lights, it's safe to say that there's likely going to be more than a little change before the final credits roll and that life for all of them, Dillon Lion and Taylor alike, is about to change forever.

On the penultimate episode of Friday Night Lights ("Texas Whatever"), Coach Taylor is offered a deal he can't refuse; Tim assesses his future plans when an old flame returns to Dillon; the fate of East Dillon's football program is decided.

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The Dance: The Pursuit of Happiness on Big Love

Written by Jace | Monday, January 24, 2011 | 1 comments »

"I'm trying to win a place at the table." - Bill

Many mourned the loss of the original opening credits of Big Love. Set to The Beach Boys' "God Only Knows," it offered a look at the celestial family created by the Henricksons, a glimpse into the eternity offered to their family. But of late, the new credits, which hauntingly depict the various members of the Henrickson family in a state of freefall, seem all the more appropriate, as the clan continues to come apart at the seams. And as each of them searches for their own definition of "home."

This week's evocative and powerful episode of Big Love ("A Seat at the Table"), written by Julia Cho and directed by Adam Davidson, found each of the wives grappling with their own inner compass in the wake of their public outing. Revealed to be "lying polygamists," each of the three wives attempts to find a new path for themselves. For Margene, it's the effort to prevent any further change after the decks have been swept clear; for Barb, it's to question the foundations of her faith and her life; for Nicki, it is a fixation on her teenage daughter, Cara Lynn, an attempt to prevent the sins of her past infecting her daughter's future.

But surrounding this week's installment was also a thematic exploration of the role of motherhood and wives in the polygamist family arrangement. Throughout the episode, we see how each of the mothers--from our three main sister-wives to Adaleen, Nancy, and Lois--deal with their subservience to their husbands. Despite the fact that each of these women are strong and independent, each follows their respective husband's lead, believing his instructions to be the path of guidance they must follow.

But Barb has begun to question this tenet of their faith, questioning the foundations of their underlying belief system, to wonder whether women don't also have the right to hold the priesthood, to offer their own blessings, to set their own path in life.

What follows is a remarkable exploration of faith, family, and spiritual fidelity, something that Big Love has excelled at since the very beginning of this series. As we move deeper into the final season, it's only natural that these questions should loom even larger in the characters' minds and, one hopes, that they spark similar questions in the viewers. What is satisfaction? What price does happiness have? Or sacrifice? Who should decide the paths we take in life? And who ultimately is responsible for the choices we make? Should we all try to live in the light?

I offered a spoiler-light review of the first three episodes of Season Five of Big Love over at The Daily Beast, but now that this week's episode has aired, we can begin to discuss the specifics. (And, no worries about spoilers here: while I've seen the first three episodes, the discussion below is strictly based on the second episode only.)

The abuses of the compounds' doctrines often fall hardest upon the women of polygamy. In looking to reform the compounds, to bring their religion into the light, Bill looks to drag it out of the darkness of abuse. By opening it up to scrutiny, he believes that he can earn the followers of the Principle a seat at the table, and can offer them the same protections and privileges of any American citizen.

Safety, justice, education: these are things that many of us take for granted in the 21st century ivory tower of the States, but these are things denied to many of the compounds' followers. Nicki should know: she claims that there is no high school education at Juniper Creek, and no education of any kind for girls. Even as she strives to give Cara Lynn the best possible education, the best possible start at life's possibilities, she stands up to Alby at Bill's Safety Net meeting, and to the patriarchy at large.

Nicki's claims, that women are treated as chattel and forced to breed until "their uteruses fall out," greatly anger many at the meeting (especially Robert Patrick's Bud Mayberry), but her accusations, louder and angrier than her sister-wife's, are part of an echo of Barb's own line of questioning. Where are the equal rights for the polygamist wives? Why did Nancy fight so hard for the ERA back in the day? Why are these women being systematically abused and denied equal opportunities?

Barb doesn't believe that she is doing anything wrong in questioning her faith. In fact, she believes that the scripture points towards her new-found understanding: that women can hold the priesthood, they can lead their families, they can--as she attempts to do to Margene--make blessings. But her views are radical and go against the status quo. They're perhaps more dangerous than Bill realizes, even as he looks to straighten up the compounds and reform them altogether.

But each of the wives is struggling in their own way. As Barb opens herself up to new experiences, to wine and dance classes and Sunstone, she's looking for something to hold onto, something to live for amid wide-sweeping change in her life. She's looking to experience things outside her worldview, to challenge herself and her faith. Bill believes her to be careening, but Nicki believes that Barb has set in motion a deliberate plan.

In offering Margene a blessing, Barb nearly breaks a holy sacrament. But it's clear that Margene is aching for something as much as Barb, and Barb attempts to help the both of them, to connect them to Heavenly Father and to something larger, and more powerful, than themselves. If Nicki hadn't have intervened, I believe that Barb would have gone through with the anointment. But while Nicki sees her actions as blasphemous (something that Nancy echoes later), Barb clearly is looking to create equality in her religion, to offer feminine empowerment to the connection to their deity.

Barb has always chafed against the constraints of her plural marriage throughout the series' run, testing the boundaries of her marital contract and at times fleeing the confines of their shared homes. It's only natural that she would begin to question the fundamentals, to open her eyes to another way of living, one that's not based in abstaining from experiences but embracing it.

Margene, on the other hand, is certainly careening. Her mother is dead, her business gone, Ana and Goran are being sent packing. She feels as though she too has lost her way in life. Returning to the trailer park where she lived with Ginger, Margene finds the grounds deserted, the only reminder that people had once lived there the disused power outlets amid the swirling dust. She's clinging to her lost past, to the music she enjoyed as a child, holding onto Anna with such fierceness that she inadvertently knocks the pregnant woman to the ground in her frustration with Bill.

Goji Blast might offer her a home-business, but it's not a long-term solution for the problems facing Margene. She doesn't want to expand their family, she doesn't want to carry a fourth child. She's a high school dropout who has woken up to wonder just what happened to her life. And while she loves her family, she can't help but cry to Cara Lynn, to offer herself up as a cautionary tale, to shock the teenager into following her own dreams.

Margene did get out of that trailer park, but her life didn't turn out the way she imagined. But that's, at its heart, the nature of life in general. Fortunately, the final scene points towards some possibility of happiness, as Margene finally does smile, seeing Bill bathe little Nell, a moment of domesticity amid the sadness.

And then there's Nicki, so clearly projecting (as Margene tells her) her own experiences onto Cara Lynn, reeling from the realization that Cara Lynn and Gary Embry are heading towards a romantic relationship. (That kiss on the stage after Mathletes was a dead giveaway.) Forcibly sealed to a much older spouse, Nicki doesn't see what happened as "rape," but she clearly doesn't want her daughter to be trapped in the way that she was. Nicki rails against everyone around the girl: Barb for giving her a copy of "Our Bodies, Ourselves," Margene for terrorizing her with tales of her unhappiness, her math teacher Mr. Ivey (Christian Campbell) when he won't offer Cara Lynn individualized tutoring sessions.

Nicki's behavior towards Barb, however, are beyond the pale. Criticizing her first for her gift of "Jane Eyre" to Cara Lynn, she lashes out at Barb at Home Plus upon learning that the second book was also her gift. She uses the opportunity to remind Barb of her failures: of Teenie's dirty magazine habit and of Sarah's pregnancy. Her words are cruel and caustic, verbal blows upon Barb's character, brutal reminders of how her daughter "defiled her body." It's shocking and awful.

Nicki attempts to reconcile with Barb at the end of the episode, arriving at Barb's dance class in an effort to make amends in a beautiful and subtle scene. But it's Barb who realizes just how closed off Nicki's world has been, how her experiences on the compound have shaped her. A simple question about what they do in the class reveals that Nicolette Grant has never once danced in her life. And the grace that Barb shows her sister-wife, taking her by the hand and leading her around the dance floor, points towards perhaps some future solidarity between the two. Or, at the very least, some understanding of the different paths they've taken.

If only that were true of everyone in this episode. Nicki's sheltered existence, her deprivation from the quotidian joys of life, aren't just her own. Her outrage at the Safety Net meeting is greeted with shouts of acknowledgment by some of the women in attendance. And her own mother is herself trapped in a web of male domination, first by her marriage to Roman Grant and now by the outcome from her marriage to the treacherous JJ. She carries a demon-spawn in her stomach but cannot bring herself to be free of it.

Lois claims to be tormented by Frank, as Bill sees first-hand the conditions she's living under at Juniper Creek, a tree crashed through her broken window, her kitchen ruined by a fire, efforts by Frank to drive her crazy, to reveal where she has hidden her money. Her appearance at the Henrickson homes is a surprise to Barb, as Lois staggers in, "Have I got news for you," spilling from her lips.

The Major, at dinner, compares Nicki to Victoria Gotti, "the mobster's daughter," telling her that Gotti at least admitted that her father was a murderer. But for all of the Major's harsh talk, it's her daughter Midge who presents the clearest threat to the family, as she looks to introduce a bill that would redefine polygamy as an impeachable offense and re-criminalize it as a second degree felony.

It could be the start of a witch hunt, an effort to put polygamists behind bars, to push them further into the darkness. Or, if Bill is able to bring together the divergent polygamist community, to provoke them into unity, into solidarity, and to bring their beliefs finally into the light of day, something that Albert Grant is firmly against. ("The Principle can't survive in the glaring light," he says. "It needs protection.")

But there's a clear difference between protection and living in the shadows. Nicki says that she believes that children need to be protected from the world, but perhaps there's something to be said for not closing yourself off from the world, from putting yourself out there for the world to see. Bill opened his house up to his constituents last week, but it's going to take more than that to achieve acceptance. He'll have to open up his lifestyle and his religion to the world, to say that there is no shame in his homes, no fundamental difference between the love that he shares and those of any other family.

Just as a dance begins with two people stepping together, so too does social change. In an era of Prop 8 and hate crimes, of terrorism and war, the message that the show embraces is one of love and acceptance. And I think that's a lesson, I believe, that we can all take to heart.

Next week on Big Love ("Certain Poor Shepherds"), the Henricksons try to put on a unified face during Christmas, but are tested amidst numbing revelations from Barb, Marge and Adaleen; Lura takes drastic measures in response to Albyʼs zealous efforts to “purify” the compound; Lois drifts towards the deep end; Bill tries to soften up a
senator; Ben bonds with Heather; and Cara Lynn looks for answers about her father.

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Don't Forget: New Fringe Tonight on Fox!

Written by Jace | Friday, January 21, 2011 | 1 comments »

Attention, Fringe faithful!

Beginning tonight, FOX's Fringe makes the move to its new home on Friday evenings at 9 pm ET/PT. Given this move and the, uh, traditions of this timeslot, it's safe to say that FOX will be paying particular attention to the ratings and how much of Fringe's audience followed the shift in scheduling and stuck with the show.

To this end, please tune in.

And please remind everyone you know who loves the show to do the same. DVR numbers will definitely play a role here, just as they did on Thursday evenings, but it's essential that you watch this week's episode ("The Firefly") as soon as you possibly can. (Live ratings, after all, are still hugely important.)

In the meantime, you can read my spoiler-light advance review of Fringe's "The Firefly" here. It's truly a fantastic and emotional episode and sets up the back end of the season.

Fringe airs tonight at 9 pm ET/PT on FOX.

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I have a soft spot for travel shows that offer a twist on the now ubiquitous genre, such as the snarkiness of Travel Channel's Anthony Bourdain's No Reservations.

But it's rare that any of these actually make me howl with laughter. Which is very much the case with Science Channel's new travelogue An Idiot Abroad, which launches on Saturday evening here in the States after a successful run on Sky1 in the UK. This is one show that manages to successfully fuse together pretty pictures of exotic locales, staggeringly hilarious humor, and a round-headed chap with a host of xenophobic issues.

Yes, it stars Karl Pilkington.

If you're unfamiliar with the premise, An Idiot Abroad recounts the globe-spanning journeys of The Ricky Gervais Show breakout Karl Pilkington, here sent around the world to the locations containing the Seven Wonders of the World by close friends Ricky Gervais and Stephen Merchant, who executive produce this series and apear on-screen (and on the phone) throughout as they check in with Karl to see what he's gotten up to.

The results are unpredictable and excruciatingly funny, which I would expect from anything involving Gervais and Merchant.

The first episode ("China") finds Karl on a trek to see the Great Wall of China, but his friends have arranged a few surprises for him along the way, including a fiery massage (yes, seriously), kung fu training with a Shaolin devotee, a picturesque lunch of frog in a small village, and a visit to a local market. Along the way, Karl's eyes are opened up (sometimes saucer-wide) to experiences vastly different to his own as he makes his way through the sights and sounds of Chinese daily life, encountering toilet stalls with no doors (this shakes him to his core) and unusual delicacies.

In true Karl Pilkington fashion, his facial and spoken reactions are priceless, his Little Englander mentality coming to the fore the minute he arrives in China, unable to get a reaction from anyone by smiling at them. It's impossible not to love the big buffoon, though, especially as he cracks me up every time he opens his mouth; there's an aura of child-like amusement and discovery with every step he takes. Though I would advise the producers to be sure to keep any sharp objects out of Karl's hands in the future...

Ultimately, this is a novel and hysterical travel show with what might just be one of the most unusual and unexpected hosts ever, one that would rather be at home with his girlfriend and his diary rather than seeing the world at large. Which makes An Idiot Abroad, which Gervais called "the most expensive practical joke ever," absolutely intoxicating and engaging, as Karl is forced to explore some of the most wonderous sights this planet has to offer. Unless you want to be left behind, do not miss this show.

An Idiot Abroad premieres Saturday night at 7 pm ET/PT on Science Channel.

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The Daily Beast: "Skins Is Not Kiddie Porn!"

Written by Jace | Friday, January 21, 2011 | 2 comments »

There's been a lot of furor in the last few days about MTV's adaptation of British teen drama Skins, particularly whether the show crosses the line into "child pornography."

Over at The Daily Beast, you can read my latest feature, entitled "Skins Is Not Kiddie Porn!" As you might expect from the title, I examine, whether or not, despite the hype, MTV’s Skins breaks child-pornography laws. While I'm of the firm mind that it does not legally do so, I say that the show, a pale imitation of the original, still has plenty to be ashamed of.

The conversation reminds me that just because you might disagree with something, or find it to be immoral, doesn't mean that it is in fact illegal. And that the parties who are throwing around the term "child porn" might actually have better things to do with their time: such as actually focusing on preventing and prosecuting distributors, producers, and suppliers of actual child pornography, rather than point the finger of accusation at this bargain-basement adaptation. While this is smutty (what isn't on MTV), the assertion that the network didn't have all of these legally vetted ahead of time is absolutely absurd.

But that's just my two cents, really. What do you make of the nontroversy?

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Homecoming: Where the Heart Is on Friday Night Lights

Written by Jace | Thursday, January 20, 2011 | 1 comments »

The end is almost here.

While I've felt the looming end of Friday Night Lights throughout this season, never have I felt the urgency as keenly as I did with this week's eloquent installment ("Don't Go"), written by Bridget Carpenter and directed by Michael Waxman, which began to move the pieces in place for the series' ending in a few weeks.

At times lyrical, at times somber, the sensational "Don't Go" had me wiping away tears freely throughout the episode as the concept of home was revisited several times throughout. Just what is home? Is it the place where we hang our hat? Is it the place where we're surrounded by our loved ones? Or is it the place where we choose to be, in spite of the opportunities elsewhere?

This week, Coach Taylor considered a fantastic position in Florida, one that would give him free reign to recruit and a massive budget. After struggling to make ends meet with the Lions, it seemed like the answers to his prayers, an easy out, a golden opportunity, a perfect situation for someone who perhaps has grown a little restless of late.

But this is Eric Taylor, after all. That molder of men, the Lions' Kingmaker, the steadfast champion of Dillon. Can he turn his back on the young men who have pledged to play for him? Who need him? Who are inspired by him?

While the episode follows Eric as he consults Tami and considers his options, the town rallies around Eric, looking to manipulate him emotionally into staying. Or at least, that's Buddy's intention, buoyed by the discovery of those Florida oranges. Speeches are arranged, testimonials considered, plaques and statues discussed. If Dillon's lifeblood is football, then Eric Taylor is its beating heart. Without him, what chance do the Lions have at victory?

As Eric considers his future, so to does Vince finally, realizing that Ornette is behaving more like an agent than a father. It takes a series of confrontations (including a pretty powerful one at a restaurant) and a touching conversation with Regina for Vince to see the error of his father's ways, and the fact that Eric was the one steering him in the right direction.

While Vince is unable to articulate his thanks to Eric at the sports banquet, he shows up at the house to not only make amends for his awful behavior of late, but also to offer a personal testimonial, a heartfelt thanks, and the realization of the truth. If it weren't for Coach Taylor, Vince would likely be in jail or dead in a ditch somewhere. He saved his life, just as Eric as saved so many others.

This truth hits home even more so in this episode as the time for Tim Riggins' parole hearing creeps closer. While Billy can't bring himself to admit to Mindy just why he's acting so angry (it's guilt more than anything), he attempts to enlist Eric's help in providing a character witness for Tim. Eric is more than happy to do so, speaking on Tim's behalf and stating eloquently that he knows Tim's good heart. (Surprisingly, it's Buddy's impassioned argument that seals the deal for the parole board, as he promises to give Tim a full-time job.)

What was interesting to me is that Tim had been writing Eric during his incarceration, letters that seemed to go unanswered. Even as Eric apologizes for not visiting him enough in jail, there's a sense perhaps that Eric feels as though he failed his former star player, not once, but twice.

As for Tim, he bears little resemblance to the cocky football player we once knew; the light has gone out of his face and he seems a shadowy shell of his former self. There is no Texas Forever bravado, no upturned head, but rather a sad man facing his future. Even upon his release, he seems a strange in his own house, ill at ease around Billy, Mindy, and Becky, unsure of what lies ahead for him, his sacrifice seemingly unappreciated by his brother, who can't bring himself to tell his wife what really happened between them.

That change in Riggs brought tears to my eyes, as did his parole hearing as Billy, Eric, and Buddy plead to the board on Tim's behalf, their words adding up to a picture of a man very different than the one sitting before them.

But it was also the small moments that got me as well: Riggs' sad smile; Eric and Tami discussing their days, as Eric rubbed her back; the shared "I love you" that passes between these spouses as he heads off for the final away game before the playoffs. The way that he tells Tami that he's going to stay in Dillon, that the kids needs him, even as you can see her dreams of Florida evaporating before her eyes.

These two and their marital bond remain the constant center of Friday Night Lights. Through thick and thin, through good times and bad, Eric and Tami have remained steadfast and true to one another. The look that passes between them at the end of the episode? That, more than anything, is the definition of home. And, in each other, these two have found something that most people search their entire lives for.

Next week on Friday Night Lights ("The March"), budget cuts loom for East Dillon; Tami goes to Pennsylvania for a big opportunity; the team look ahead to the playoffs; and Vince is once again responsible for his household.

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Many viewers and critics--myself included--had a lot to say when FOX announced that it was moving its fantastic sci-fi drama Fringe to Fridays.

After all, the series had hit new creative highs both last season and in the current third season, amid a storyline involving human nature, doppelgangers, alternate universes, and the consequences of a father's love. The series had successfully transformed itself from a science fiction-laden monster-of-the-week procedural into something more enduring and heartfelt, a drama that at its center was about a collection of very damaged individuals who had carved out something resembling a family even when facing down some fiendish plot to destroy the universe or science run amok on a weekly basis.

At TCA's winter press tour last week, FOX entertainment president Kevin Reilly publicly declared his support for Fringe, amid increasing worry that the series was being put out to pasture on Friday evenings. Those concerned about the move should at least take comfort in this fact: When Fringe moves to Fridays this week, it does so with its core mission and its brilliance very much intact.

I had the chance to see this week's wondrous new episode of Fringe ("The Firefly"), written by Jeff Pinkner and J. H. Wyman, which managed to be brilliant and heartbreaking in equal measure.

Fringe soars when it explores not only the mysteries of science but also the mysteries of the soul. Here, it does so with expert precision, examining the consequences of our actions, both seen and unseen. The road to hell, as they say, is paved with good intentions. When Walter Bishop (John Noble) cut through the curtain between dimensions in order to save the life of another world's Peter Bishop after losing his own son, he set in motion a chain of events that damned two universes in the process. A father's grief, his love, his devotion destroyed countless lives in the process. But what are two worlds when weighed against a child's life?

(Note: Very minor spoilers follow. As always, please do not post this review in full on any message boards, websites, or fan sites without written permission.)

Chaos theory at its most elementary posits that every action has an outward ripple effect. In essence, a butterfly beating its wings can cause a hurricane on the other side of the world. Imagine then what the consequences would be if one were to actually punch a hole through dimensions, to replace a dead child for a living one, to throw the natural order out of balance altogether. We've seen the result of Walter's actions Over There, the widespread destruction, the amber, the shocking devastation.

But Peter being alive Over Here must also have consequences then as well. Something as simple as a firefly, a little phosphorescent insect caught in the hand of a child, can itself have a ripple effect, setting in motion a chain of events that's breathtaking in its brutality. The firefly then becomes emblematic of the unseen, its light at odds with the veil of ignorance surrounding Walter Bishop. In saving this boy's life, he has altered the outcomes of several futures because Peter wasn't supposed to live. In stealing this child from his world, Walter's actions are both noble and foolhardy, the short-term benefits paling in comparison to the long-term damage.

But Walter hasn't seen just what consequences his good intentions have wrought. Until now.

I don't want to give too much away about this extraordinary episode, but I will say that "The Firefly" dramatizes the results of Walter's great experiment, showing the audience the web of consequence stemming from that fateful night. But the chain of events that he unleashed upon the world tautly circle back onto him. There's always a price to pay in any Faustian arrangement, and Walter sees here first-hand just how high that tariff is.

The great Christopher Lloyd guest stars in the episode as Roscoe Joyce, the keyboardist of Walter's favorite band, Violet Sedan Chair (previously mentioned on-air), now a lonely old soul living in a nursing facility, his memory at odds with his intelligence. If that reminds you of someone else, you're on the right track. These two strangers are intrinsically bound together by threads of fate. Thrown together, each has a part to play in the other's life, as that chain of events constricts ever tighter. There's a simpatico spirit to these two brilliant men, their minds both shattered, their lives eerily similar in a way. Both have endured great losses, and in coming together, each offers the other a way to make amends.

Lloyd's performance as Roscoe is staggering here and, in a more just world, he would nab an Emmy nomination for his depiction of the haunted keyboardist who reawakens to the possibilities of the world when he crosses paths with Walter Bishop. (Noble, as I've argued for years now, is supremely deserving of a nomination, yet is continually and criminally overlooked by the Academy voters.)

It's worth noting that "The Firefly" features a procedural element, as always, but the case that the Fringe Division faces ties into the overarching narrative this season and features The Observer. But just what is The Observer doing and what exactly is he trying to course-correct here? Interesting....

Likewise, the episode also continues the gut-wrenching plotline involving Olivia (Anna Torv) and Peter (Joshua Jackson) as they grapple with the fallout from the realization that Peter was romantically involved with Olivia's alternate dimension look-alike. Comparing herself to Rip Van Winkle, Olivia feels like a sleepwalker in her own life, waking up to discover that the world has moved on without her.

A package received in the mail--a copy of "If You Meet the Buddha on the Road, Kill Him!"--becomes symbolic of what she's lost and what she's missed out on. But, if this episode proves anything, it's that you don't often get second chances at life. Sometimes, you have to seize the moment, put aside the baggage, and start over. And sometimes, that's not possible at all outside of our dreams.

(Quick aside: Twin Peaks fans, look for a throwaway shout-out to David Lynch and Mark Frost's seminal series within the episode--both a visual and dialogue cue, in fact--that seems to establish that Fringe and Twin Peaks are, in fact, taking place within a shared narrative universe. A both terrifying and tantalizing proposition, really.)

Ultimately, "The Firefly" asks thought-provoking questions about culpability. Can we be held accountable for the unseen consequences of our actions? Is guilt for such fallout misplaced or deserved? When faced with making the same decision again, do we alter our course? Can any of us truly change? And what will we do when faced with the possibility of sacrifice? The dominoes are beginning to fall into place for Olivia and the Bishops, and this viewer is waiting with baited breath to see which way the pieces fall.

Fringe moves to its new timeslot this Friday evening at 9 pm ET/PT on FOX.

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Last season, NBC's Parks and Recreation exploded into a bona fide comedy hit, a critical darling that had transformed itself from being in the shadow of The Office to outperforming it in terms of heart, humor, and brains on a weekly basis.

It took the series, created by Greg Daniels and Mike Schur, a few episodes in the first season to find its footing but it came right out of the gate at the beginning of its sophomore season, with its tone, sense of humor, and characters just right.

Over the course of the twenty-odd installments of Season Two, Parks and Recreation quickly established itself as the go-to workplace comedy, the sort of mockumentary show that had expanded upon its initial premise to become a series that combined the awkwardness of romantic life in Pawnee with the eccentricities of the Parks Department workers and the cockeyed optimism of Leslie Knope (Amy Poehler), whose can-do spirit were often at odds with, well, reality.

Despite the critical success of the series in its second year, NBC opted not to return the show to the schedule in the fall, despite shooting six episodes immediately after wrapping last season in order to accommodate Poehler's pregnancy. Fans and critics wondered aloud just when NBC would bring back Parks and Recreation, why this winning show had been put on the shelf for this long, and why only 16 episodes had been ordered for this season.

The long wait is, at least, finally over: Parks and Recreation's third season launches on Thursday evening and, based upon the seven (yes, seven!) episodes I've seen so far, the grueling delay has been worth it. When we last saw the Parks Department bureaucrats last May, the Pawnee government had been shut down amid massive budget mismanagement, thanks to the arrival of "black hats" Ben (Adam Scott) and Chris (Rob Lowe).

With Leslie and the others cast out into the cold, things seemed particularly bleak for the future of the Parks Department. When we rejoin them at the start of the first episode ("Go Big or Go Home"), the news reaches each of them in turn that the government has been reopened and they can return to their jobs. It's a canny beginning that that plays to both the narrative decision as well as to the audience's own anticipation at the return of Parks and Rec, as the characters happily discover, as Leslie gleefully says, "We're back!"

And they are back in fine form. These first seven episodes comprise a mini-arc for the season that's keyed to the launch and execution of Leslie's Parks Department-saving scheme, the Harvest Festival. With the budget and future of the department on the line, Leslie comes up with a plot that will either save the department's budget or destroy it altogether. With the season consisting of 16 episodes, this arc provides a strong throughline for the first half of the season, enabling Leslie and the others to embark on a mission that forces each of them to work towards a common goal. (The "go big or go home" mentality that Leslie espouses would seem to apply towards the series' writers as well.)

Which isn't to say that this is the only storyline unfolding in these episodes, because it isn't. In the hands of showrunners Daniels and Schur--and the uber-talented staff of writers assembled underneath them--Season Three of Parks and Rec has a host of compelling sub-plots, both romantic and professional, as well as episodic plots that build towards the overarching storyline.

And I want to commend both Scott and Lowe for their delightful performances here as Ben and Chris, respectively. Both fit quite nicely into the world of Pawnee, and their outsider status gives them free reign to enter into conflict with Leslie and the others. Their good cop/bad cop shtick never feels tired and Ben's grumpiness and irritability are slowly erased as we learn more about his backstory as the 18-year-old mayor of a Minnesota town and see just how ill-at-ease he is in the public eye. (He gets a chance to shine in the fifth episode, "Media Blitz." Two words: Ice Town.)

The romance arc between Lowe's Chris and Rashida Jones' Ann began last season in earnest and we see that storyline develop over the course of the first six episodes before coming to a head in "Indianapolis" in a very unexpected twist. Along the way, we're treated to a side of Ann that we haven't seen before: one that's uncomfortable, awkward, and doesn't have the upper-hand in the relationship for a chance. Paired with the indefatigable Chris, Ann is forever struggling to keep up with the seemingly perfect Chris, a nice about-face from her relationship with the far-from-perfect Andy (Chris Pratt) in Season One or the seeming equality between her and Mark (Paul Schneider) last season.

Additionally, there's a fantastic chemistry between Ben and Leslie as well, one that doesn't blossom into a physical relationship within these episodes. The two are clearly set up as romantic leads within the context of this season but the writers are playing things close to the vest with these two, not pushing them together immediately, but making it clear that Ben and Leslie are made for one another. Ben's nerdiness (look for near-constant Star Wars references) and dour expression and Leslie's eternal verve might not scream "match made in heaven," but these two are clearly being positioned as the next romantic coupling on the series.

Romance is definitely in the air in Pawnee. Look for the complicated relationship between Andy and April (Aubrey Plaza) to get even more complicated following her return from Venezuela with a new boyfriend in tow and for April's vendetta against Ann to get even more overt. (The second episode, "The Flu," has several fantastic scenes between Plaza and Jones in the hospital, where April is recuperating from the flu. Thrown bedclothes, accusations of attempted murder, and rude behavior seem to be de rigeur.)

Meanwhile, the return of Tammy (Megan Mullally) poses a number of problems for Ron Swanson (the fantastic Nick Offerman) in the hysterical "Ron and Tammy II," which sees the warring divorced couples hit some mightily impressive new lows as their demon courtship/war continues apace. Providing a painfully funny bookend with last season's "Ron and Tammy," this installment sees Ron Swanson go completely off the rails bonkers and demonstrates the awesome power evil ex-wife Tammy Swanson has over him. Plus, seeing real-life married couple Mullally and Offerman sparring (and, um, other things) adds a nice sheen of uncomfortableness to the brutal comedy unfolding here.

Elsewhere, we're given further glimpses of the hidden talents of Jerry (Jim O'Heir); Tom (Aziz Ansari) attempts to finally get his cologne, Tommy Fresh, off the ground when he engineers a chance encounter with fragrance guru Dennis Feinstein; Ron unveils his "Swanson Pyramid of Greatness" when he and Andy are drafted to coach youth basketball; the feud between Leslie and Pawnee Today host Joan Callamezzo (Mo Collins) continues; a Twilight-obsessed man (guest star Will Forte) chains himself to a pipe in Leslie's office as an act of protest (in "Time Capsule"); and the Harvest Festival seems like it might happen, if the gang can pull off a major coup, but there's a certain curse that might derail the festival altogether. All this, plus Li'l Sebastian! (You'll see just who that is--and the awesome corn maze!--in Episode Seven, "Harvest Festival.")

One of the joys of the third season is seeing just how seriously the writers have constructed the world of Pawnee and rendered it in a three dimensional fashion. In-jokes crop up all the time, as do callbacks to earlier seasons, familiar faces--such recurring characters as Joan, Wendy Haverford (Jama Williamson), Tammy Swanson (Mullally), Shauna Malwae-Tweep (Alison Becker)--continue to reprise their roles, and the same disgruntled townspeople show up to the open forums, all of which goes a long way to establishing Pawnee as a living, breathing entity in its own right.

Ultimately, these first seven episodes are outstanding, once again positioning Parks and Recreation as one of the most deft and sly comedies on television today, offering a winning mix of romance, humor, and the comedy of the awkward that this series does so well. With only 16 installments this season, I'd say to best enjoy the magic of Parks and Rec you might need to save these episodes on your DVR and watch them repeatedly in order to catch each little nuance and every little second of comedy that permeate these insanely brilliant gems.

As for me, I'm going to try to keep Pawnee alive as long as possible. If I were constructing my own time capsule (as the people of Pawnee do in the third episode), these first seven episodes prove that Parks and Recreation has more than earned its spot in there.

Season Three of Parks and Recreation launches Thursday evening at 9:30 pm ET/PT on NBC.

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The moment many have been waiting for is finally here.

The Paley Center for Media has this morning unveiled its full lineup for the 2011 Paley Festival, taking place March 4-17 at the Saban Theatre in Beverly Hills, CA. (The annual festival moved to its new digs last year.)

Among the offerings for the 2011 festival, which is always standing room only: Community, Parks and Recreation, True Blood, White Collar, The Walking Dead, American Idol, Supernatural, Eastbound and Down, Raising Hope, a Freaks & Geeks/Undeclared Reunion, an evening with Jimmy Fallon, and more.

Tickets will go on sale to members on January 21st and to the general public on January 23rd at 9 am PT via Ticketweb.

The complete Paley Festival 2011 lineup, with event dates, can be found below:

March 4th at 7 pm: The Walking Dead
March 5th at 7 pm: True Blood
March 7th at 7 pm: White Collar
March 8th at 7 pm: Hot in Cleveland
March 9th at 7 pm: Parks and Recreation
March 10th at 7 pm: Eastbound and Down
March 11th at 7 pm: An Evening with Jimmy Fallon
March 12th at 7 pm: Freaks and Geeks/Undecared Reunion
March 13th at 3 pm: Supernatural
March 14th at 7 pm: American Idol
March 15th at 7 pm: Community
March 17th at 7 pm: Raising Hope

Now that the full schedule has been announced, I'm curious to know: which of the above panels are you the most excited to see? What are you dying to get tickets for? And are you planning on coming out to Los Angeles for the event? Talk back here.

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Attention: Parks and Recreation fans!

Over at The Daily Beast, Amy Poehler picks her 11 favorite sad film scenes in a hysterical piece written by Amy, entitled "Amy Poehler Picks Her Favorite Sad Films" (the latest in our Curator series), that I wrangled into existence.

Among the offerings: 11 of Poehler's favorite sad movie scenes, from You Can Count on Me and Pretty in Pink to--wait for it--Dumb and Dumber. (Yes, you read that correctly.) In true Amy Poehler fashion, our latest curator discusses her topic of choice with flair, wit, and, above all else, humor. So grab a tissue and prepare to laugh until you cry.

Season Three of Parks and Recreation launches Thursday evening at 9:30 pm ET/PT on NBC.

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The wait is over: Neal Caffrey (Matthew Bomer) and Peter Burke (Tim DeKay) are back.

USA's smart and slick series White Collar returns tonight for the back half of its sophomore season, following a cliffhanger that threatened the life of Neal's shadowy associate Mozzie (the always fantastic Willie Garson), even as the dynamic duo got closer to unmasking the conspiracy surrounding that omnipresent music box.

When the series returns with the next two episodes ("Burke's Seven" and "Forging Bonds"), provided to press for review, there's a spirit of both righteous vengeance and calculated craftiness employed by Caffrey and Burke on behalf of poor Mozzie, gunned down by an unknown assailant, and some forward momentum on the music box storyline and just who is pulling the strings of the story's characters.

I don't want to give too much away, but I will say that what follows are two fantastic installments, each with their own distinct point of view. "Burke's Seven" finds Peter grappling with suspension as he puts together his own team (hence the title) to track down Mozzie's shooter and make sure that justice is paid. Unfortunately, said shooter (Paul Blackthorne, in fine form here) seems to be one step ahead of Burke and Co. Can Peter manage to pull together the team's diverse talents for a singular goal? And just who are the seven members of this rogue strike force? The answer is both in keeping with White Collar's history and its sometimes irreverent tone.

In next week's "Forging Bonds," it's a chance to take a trip down memory lane, complete with funny wigs and facial hair, as Neal remembers the first time he met both Kate (the improbably irksome Alexandra Daddario) and Mozzie, while the audience learns about the first time that Neal and Peter crossed paths. Sucker, anyone?

While most series typically fail at successfully employing this type of narrative device, "Forging Bonds" gleefully pulls off the flashback episode in fantastic style (as though you'd expect anything less from this charming series), rendering the backstories of Neal, Kate, Alex, Peter, and Elizabeth (Tiffani Thiessen) in three-dimensional glory. Creator Jeff Eastin and the writers have wisely resisted peeling away the curtain to dramatize these events until now but, in the midst of its second season, White Collar has enough momentum and character investment to warrant the use of flashback at this point in time.

And what flashbacks they are.

Bomer gets to play Neal as a wide-eyed optimist, a naive fresh-faced kid with a floppy haircut and a penchant for wearing polos with chinos rather than bespoke suits. Garson's Mozzie is, well, like you've never seen him before, both mentor and comic relief, friend and gateway drug in one. Additionally, we get a little more indication of just why Neal was so hell-bent on finding Kate after his prison sentence (though I still find their attraction extremely unlikely, though that could be because Daddario rubs me the wrong way) and how these two met and ultimately fell in love. Along the way, we're given a glimpse at Neal's working relationship with professional thief Alex and the man who made Neal who he is today.

That man would be Vincent Adler, played to smarmy perfection by Andrew McCarthy. Just what was Neal's relationship with shady businessman Adler? And just who was conning whom? In Adler, we see the seeds of the man that Neal Caffrey would one day become, his seeming generosity paving the way for some of Neal's more flamboyant style. Through Adler, we see the transformation of Neal Caffrey from two-bit crook to gentleman criminal as he gets a taste of wealth and of the possibility afforded by his less than, uh, honest professional aspirations.

These are both two very strong episodes that seamlessly set up the overarching plot for the remainder of the season and allow White Collar's accomplished actors to demonstrate their range and depth. They're also just what this winter needs. Amid a rather staid season, there's a nice heat and flair to these first two episodes back. Throw in a rakish hat, and you've got the makings of a perfect evening.

White Collar returns tonight at 10 pm ET/PT on USA.

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Two-Buck Chuck: The Days of Wine and Roses on Chuck

Written by Jace | Tuesday, January 18, 2011 | 13 comments »

Proposals are funny things.

Pull off an entirely romantic marriage offer and you have a story that you'll be telling your grandchildren in years to come. Fail and it could be, for Sarah's parents, emblematic of everything that went wrong with their relationship.

But whether it's an Italian restaurant, or the balcony of a posh French chateau, what really matters is the moment itself, something that Chuck finally grasps at the end of this week's sweet and funny episode ("Chuck Versus the Balcony"), written by Max Denby and directed by Jay Chandrasekhar. It's more about seizing the moment with the one you love than it is about balloons, string quartets, or carriages.

Unfortunately, Chuck realizes this lesson too late. In true Chuck fashion, the course of true love never did run smooth and Chuck and his lady love, Sarah Walker, find themselves on opposite trajectories. As Chuck prepares to spend his life with Sarah, she's engaged on a dangerous mission, posing as a double agent in order to free Chuck's mom from the dastardly Alexei Volkoff.

For all of Chuck's planning, his "sub-mission" fails to take off due to external circumstances beyond his control... and some internal ones as well. Unable to propose until he encounters the ideal situation, Chuck misses his chance to ask Sarah to marry him, as he's twice interrupted in pursuit of his marital goal.

I'm glad that the writers opted to paint Chuck as extremely nervous about proposing to Sarah. Despite the fact that the two have saved the world (and each other) on numerous occasions, there's still something life-altering and tremendous about making a marriage proposal. Chuck's Intersect-like abilities don't seem to include getting down on one knee among its mind-arsenal of fighting styles. For all of his superheroics, Chuck is still an Everyman and there are few things more terrifying than proposing. (Even I found myself flustered when it came time for it, after being with my future wife for years and years.)

Chuck's nervousness and his belief that the moment needed to be absolutely perfect point towards his good heart and his love for Sarah. Hoping to avoid the awfulness of her parents' proposal (aside: do we know anything about her mother?), Chuck wants to avoid the cliche, over-the-top excess that marred Sarah's father's proposal. (Along with a restaurant carpet fire.) But it true Chuck style, our everyman spy has drafted Morgan into a sub-mission to pull off a most romantic moment with his girlfriend... who herself quickly finds out just what is going on.

The tension of the mission--involving a missing nanochip secreted at a chateau in the Loire Valley--is nicely paralleled by the tension of Chuck's side mission... and it was fantastic to see Sarah not go into a tailspin about the imminent proposal (and the long-term relationship implicit with it) but rather express her excitement, and help out to ensure that the proposal went smoothly. (Nice save with the ring box, S.)

But Sarah is also a covert agent in the employ of the United States government. Her desire for a happy, well-adjusted life are secondary to their orders... and I truly believe that she thinks she is helping Chuck by going undercover at Volkoff Industries in order to free Frost. But Sarah's desire to reunite Chuck with his mom have put their future happiness on hold altogether. Unable to even finish proposing to Sarah in her cell at Castle, Chuck is shocked to learn that she's posing as a double agent in order to do her job and to get Mary back to safety.

History, as they say, has a way of repeating itself. Mary's clandestine mission destroyed her marriage to Stephen, and Sarah's decision to follow in her footsteps don't bode well for her prospects with Chuck. She's chosen professional duty over personal desire, once again. Chuck's bended-knee proposal may go horribly awry, but it's the horror of learning what Sarah has accepted to do that's truly shocking for him.

I don't doubt that these two will eventually make it down the aisle together (season finale, anyone?), but I have to commend the writers for puncturing our expectations here. While it seemed as though the episode was finally building up to an engagement (or at the very least, the proposal), the rug is yanked out from under our feet just as much as it is Chuck's.

All in all, "Chuck Versus the Balcony" managed to pull off a delightly combination of heart and humor, something that the best installments of Chuck have in abundance, and created a nicely parallel storyline for Lester at the Buy More, as he prepared to meet his Saskatchewan bride. Issues of marriage, morality, and mothers all coming together to create a winning episode here that wore its heart on its sleeve.

But I'm curious to know what you thought of the episode: did you think Chuck would pull off a perfect proposal in the end? Think Sarah would accept in the cell? Wondering just why she's putting her life in danger to save Chuck's mom? Head to the comments section to discuss.

Next week on Chuck ("Chuck vs. the Gobbler"), in a bid to free Chuck's mom, Sarah goes undercover on a suicide mission for Volkoff industries; Awesome and Ellie struggle to choose a baby name.

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"My brother has his sword and I have my mind." - Tyrion

HBO has released its newest teaser trailer for its upcoming adaptation of George R.R. Martin's Game of Thrones, launching April 17th. (Yes, I'm sure your calendars are marked. Get your lemon cakes ready.)

Unlike the staggering trailer that the pay cabler unveiled last weekend at the Television Critics Association Winter Press Tour--which I'm still hoping they release online soon--this teaser is more atmospheric than anything else, playing up the visual of the Iron Throne as a backdrop for the characters themselves, each of whom gets the chance to whisper a single line of dialogue that sums up their characters' inner struggles.

Provocative and eye-catching, yes, but it doesn't quite have the snap and sparkle of the one that HBO showed at their Game of Thrones session. I do love, however, that they looked to offer a primer on the diverse characters of the show, setting up the central conflicts and the general aura of intrigue and war. And that throne? Terrifying and dangerously uncomfortable, just as the Targaryens intended.

That said, I hope the next trailer is less style and more substance.

But don't take my word for it: you can watch the newest teaser in full below.



Game of Thrones premieres Sunday, April 17th at 9 pm ET/PT on HBO.

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