Miss Dee

By the way, I haven't heard any discussion about that oh-so-subtle mention of Orpheus and Eurydice yet (the lamp Ichabod used in the beginning was said to belong to them). From Wikipedia: Hopefully it doesn't end as tragically as this story though! But I thought it was interesting that this was the connection the writers made.

I was SO relieved we saw Abbie before the episode ended! I was starting to be afraid she really wasn't coming back. Loved the Joenny. And Zach Appleman's arms. Loved Jenny getting vulnerable with him and telling him she loved him. Loved his reaction - that little face realization some actors play in that sort of scene is so hot. And speaking of hot: maneuvering into the bedroom during that kiss had me fanning my face. RANDALL!!! So happy to see him again even though he's a douchebag! I am all for redeeming Randall into a hilarious semi-regular sidekick. Everyone is likely to have different thresholds for Crane's level of angst, and I know for some nothing other than complete abject self-immolation will do, but I thought his grip on reality here was sufficiently haywire without making him completely useless. I don't think Ichabod was giving up on Abbie there at the end...I think he realized the manic way he was going about it was not working and even actively doing harm. Abbie wouldn't have gone off the deep end; she would have been measured and calculating and bided her time and grabbed every shot that presented itself with logic and purpose. Walls of crazy (per the PreviouslyTV article) are not getting him anywhere. He has to cool down and take measure. I also appreciated that there was no visible attempt to force chemistry between Crane and Foster during their partnership. They're pleasant to watch together, which bodes well if Foster is going to become part of the group, but it wasn't compelling like the Ichabbie and more importantly, there was no hint that it was meant to be (a là the Katrina nightmare). In fact, where I *did* get that vibe was between Sophia and Daniel. Hmm.

That's where I'm to. I've read all the arguments for and against for all the ships, and this is what I've concluded: I'm a pretty easy-going shipper. Just point me to where the two lovers are, and I'll happily follow like a puppy dog. But I'm also a savvy story person. I've read tons of books and plays, watched tons of movies and television. I know how to read the beats of a plot. There is NO FUCKING WAY a writer allows a letter like that to see the light of day without intending to make good. At the point of that writing, they pretty much telegraphed their intention for Chloe and Clark to get together at some point (probably the Chlois theory as well, but that's more ambiguous here). So I followed. The writers did something unforgivable in fiction: they engaged with the audience by setting up a particular story arc, and then bailed - and not only that, bailed in the worst possible way: by telegraphing loud and clear that they *were* bailing, yet continuing to hit the same original story beats in subtext, like rubbing it into our faces that they knew this was the original direction but we were never going to get it. When it became clear to me that they were never going to follow-through, I felt as foolish and as taken in as someone who falls for a long con. I dropped the show and not even Welling's eyes or Rosenbaum's woobiness was enough to get me back. Haven't seen a single frame of it since, and I don't plan to. All I expect from a story is that it plays fair. Give me all the twists you want, but don't cheat. Don't push your storytelling in a clear direction and then pull a bait and switch.

I watched this to distract me from the tin can at 30,000 feet I was in last Saturday. I read the book early in my university career, so I wasn't sure if it was hitting all the beats the way they happened in the novel or not. I'll have to put it on my re-read list. In any case, the music was swoon worthy and I bought the soundtrack at the first opportunity. I didn't have an issue with Bathsheba overlooking Oak at first. Despite his hotness she was young and didn't want to be tied down so easily when she first met him; after that he was penniless and needed her to give him a job - not really marriageable material in that day and age. She had to grow up a bit before realizing he was actually blend of the two inducements to marry: stability and security (Boldwood) in his intelligence and common sense and loyalty, and sensuality and spark (Troy) in the way he was direct with her and confident in himself, yet had obvious regard for her.

I think for many the ending with Robin came out of left field, especially as Tracy was so enjoyable as a character. I really think it would have come off better if Ted's daughter had spoken to him about Robin in a heartfelt way that honored the story of "how I met your mother" yet encouraged him to move on, rather than the jokey "Duh, Dad, plow Robin already" vibe they went with.

Interesting, the level of shippyness between the UK promo (high) and the US one (low).

Agree to disagree. I would hate it and think it cowardly, that's all I'm saying. Not insisting that everyone has to see it the way I do. You do you.

That seems to be the common denominator with successfully transitioning child stars. You can add Natalie Portman and Claire Danes to that list too. Whereas look at the parents of Macaulay Culkin or Lindsay Lohan... If you look it up, Mara Wilson (of Miracle on 34th Street remake and Matilda fame) wrote a great essay on this topic.

That was the first time in a long time that Family Guy has made me LOL. Great cutaway.

It's not important from a storyline point of view (other than personal taste). It's the meta issues that would bother me - namely, that the only Sherlock story on movies/television willing to explore a romance between the main characters is also the only story where such a romance would be between straight characters, and it would be highly suspect that the gender change is solely for that purpose. As though that storyline couldn't have possibly happened if both characters were men.

That finale would not be my cup of tea, but the only thing that would make me really revolt is the kissing. And I'm one of those people who are generally accepting of whatever romantic narrative the show wants to sell me for the OTP, as long as it's done well. The reason I would hate it is because I actually would like to see a Sherlock Holmes/John Watson storyline in movies or TV where either one or both struggle with an attraction to the other, but there is NO REASON why one character needs to be a woman for that to happen. I was convinced when they announced Watson would be a woman that putting them together romantically was the only reason they were doing that, and I thought it was cowardly and disgusting. The only reason I gave the show a chance was because the creators swore up and down that there was no intention to build a romance between the main characters. So if the British show wants to pursue a storyline where Sherlock is not as asexual as he thinks and John is not as straight as he thinks and they deal with a mutual attraction, I'd welcome it if it was done well. But on this show I've been highly gratified to see not even the glimmer of an attraction from Sherlock or Joan towards the other, and I for one fervently hope it stays that way. In fact, it's the one story beat that would make me give up this show in an instant.

Hey, we can gush over him together! I find him to be really sexy - more so in his less manic roles admittedly. His weight doesn't really bother me one way or the other. I'm a sucker for a devilish grin I guess, my husband has one too.

How did we get this far through the thread without mentioning a bullpen, red horn-rimmed glasses, and "Wild Thing"?!!

I love Kevin Kline trying listening to that tape to be "more like a man" in In and Out, only to joyfully give in to the music. He's just so blissful about it, and watching him burst out like that and be true to himself in the face of the tape's call to conformity is completely heartwarming.

"Sins of the Father"? "Dark Mirror"? Have I wandered into the Star Trek threads by mistake? :) That said, intriguing titles!

That's a good thought! And takes us right back to: Just how much does the FBI know about all this?

I read that as Crane going to the dark side. Or at least flirting metaphorically with it.

I don't know about Walter, but I'm always interested in the bachelors who lived alone and the women who lived together in pairs. Not that that made them gay - they could have been asexual, if not straight - but I always keep my ear out for hints.

I'm inclined to think the two reasons intersect. I do see a lot of hatred come from shipping, but women characters who "spoil" the OTP seem to get a lot more flack from fans then men characters who do the same.

Plus one here on Alien Nation. Now why can't someone reboot that?!

Thanks Babalu! That sounds intriguing!

I've learned to appreciate Tom Cavanaugh on that show; I never noticed him before then. And Trevor Noah is currently my main TV squeeze. Those dimples! That smile! Those cheekbones! Those accents!

Alan Rickman was one of those stars that made me understand why May-December romances happen. I would use his voice in my head to read just for the sheer pleasure in imagining his voice. Dammit. Cancer, if you take Bruce Springsteen away from me before I get to see him on February 3, I WILL RIP YOU A NEW ASSHOLE.

Happy about Jenny and Joe; they were one of my favorite parts of the fall season. Not sure what that last part means, but I choose to view the word choices of "need and desire" optimistically for now!

Oooh, I hadn't heard of Sleuth! Thanks for the tip! We won't have a car, unfortunately. But that sounds lovely.