wonderwoman

Yes, Celia is entitled and thoughtless, sometimes even cruel. And Gillian too often makes bad, but understandable, choices. Which is exactly why I so love this show; imperfect characters living their very ordinary lives provide an elegant example of character-driven story, which is what American soap opera used to be many years ago. I just wish the seasons were longer; six episodes barely whets my appetite. Can't wait to see how the fallout from this episode -- Caroline and Kate, Gillian and Robbie -- plays out in season three. And then there's the dark cloud of Alan's health. There were a couple of times during the reception, and the next morning in bed with Celia, that I worried he might have another heart attack. I also wish that these kinds of quiet shows got more attention from serious critics who all seem taken with edgier, darker shows.

"Why can't they just tell a story about a blended family doing ordinary things? There is plenty of drama in that. And it's the kind that I fell in love with when the show first started. Show me the small life, ordinary experiences of an extraordinary family! Make the characters bigger than life, not some crazy crap that overwhelms the characters. I dislike and don't care about the crazy crap, and I'm starting to not care about the characters anymore" This! is the kind of story I've fallen in with on so many shows. Some went to hell in the 2nd second season, then disappeared; "Life Unexpected" and "Dirty, Sexy Money" are but 2 examples. Others, "Switched at Birth," continue to disappointment. So frustrating. And sorry for the quotes, but I can't seem to access full posting features using an Ipad -- also frustrating:)

"I was worried Cary was scheming against Alicia. I'm still not convince that "day off" business was on the level" Me too! I kept waiting for something to happen -- especially after Cary wouldn't let Alicia off the elevator. Reminded me of Checkov's observation that a gun shown in the 1st act needed to be fired by the 3rd. Maybe the writers were just trying to fake us out, but just leaving it lying there was frustrating.

The scenes last night between Jackie and Hillary and Kate and Warren are why I so love this show. Still no news about a 2nd season and I'm getting worried that it will be one more one-season wonder. The new sitcom I loved this season, "The Crazy Ones" looks to be a goner (though not for lack of promotion on the part of CBS). ABC promotes the hell out of "The Goldberg's," yet I rarely see any promos for "Trophy Wife." And it would certainly benefit from a stronger time slot, say after "Modern Family."

And don't forget Friday Night Lights. But in FNL, Katmins earned my tears, but not in Parenthood.

Of all the reasons I can only hate watch this so (and it's not for lacking of trying to like it. Hell, given the cast and Kamins as the show runner, I should LOVE it), this episode illustrated the main one: despite its blatant emotional manipulation, Parenthood has never -- ever -- made me cry. I may be in the minority here (or maybe not), but sad scenes like Kristina at her dying friend's bedside, or Amber and Ryan, never develop organically; rather, they're announced in all CAPS, italicized, bolded and in quotes, like "laugh" and "applause" signs for live television audiences. Part of it is likely the large cast; with so many characters, there's not enough time to let the emotions unfold. I've always suspected that the other side of this is the suits at NBC, because given the shows Jason Katmins has done in the past -- Friday Night Lights -- hard to believe he's forgotten how to write with subtlety and nuance.

In an odd way, this family reminds me of a straight arrow version of Parenthood's Braverman's. They're never, EVER wrong, there are never any consequences when they are (but, they're not, because they're the Reagan's). The worst, of course, is Danny. Over on TWoP, many posters noted that IRL, his flagrant flouting of suspect's constitutional rights (and police procedure in general), would have led to him being fired (and sued) a long time ago. And it wouldn't be so bad if they played the shades of gray and explored the ambiguities of being a cop. Early in this episode I had a glimmer of hope that there finally might be some consequences. But alas...

Me too! But eighteen episodes into season four, I'm not holding my breath:)

"Makes you wonder what Sarah Ramos did or who she pissed off, b/c The Invisible Braverman actually drove real story back in the day" Actually, the actress is in NYC at Columbia. So, it was her choice. That said, they miss so many opportunities to even mention her, particularly during Kristina's breast cancer story. Also: I don't seem to be able to have the quote appear in that little box. Am I missing something, or is it because I'm posting from an Ipad?

"I think it would have been a REALLY interesting dynamic if Max had a brother or sister who was normal. Maybe a year or two older,so they could maybe keep an eye on him and smooth the way for him in school when mom and dad aren't there, plus the frustration when mom and dad spend all of their time on Max and his pwecious feews." He does -- her name is Haddie. She's a sophmore (I think) at Cornell,

Word to everything ElectricBoogaloo said above. Entitled, insular, no boundaries, zero capacity for self-reflection -- and never, ever any consequences for the Braverman's. I've never gotten through an episode without screaming at the screen. Don't know if I could continue watching without a place to vent.

The three I've saved on my DVR: The aformentioned "Our Fifteen Minutes": love when Jamie smacks Paul as he's trying not to watch Lisa's striptease. "The Last Scampi": Murray acts out as Jamie and Paul argue about their mothers, then meets his mother "Her Houseboy, Coco": while a pregnant Jamie is confined to bedrest and quiet, the heat is off, Ira needs Paul to sign a contract, and the entire cast stops by.