Marathons of “Merlin” air on Syfy on December 13th and January 7th

The magic is back! SYFY will be re-running the first season of Merlin starting December 13 and a marathon of Merlin Season 2 episodes during the day of January 7.

The popular series starring Colin Morgan, Bradley James and Anthony Head, then returns for its third season on Syfy beginning Friday, January 7, at 10PM (ET/PT).

Season three sees the young wizard Merlin (Colin Morgan) in increasingly more dangerous and dark battles in his secret quest to protect Prince Arthur (Bradley James) in the fabled kingdom of Camelot where magic is forbidden by King Uther (Anthony Head). They rejoin Katie McGrath as the mesmerizing Morgana, who has a dark destiny of her own, Angel Coulby as her loyal maid Gwen, and Richard Wilson as wise Court physician Gaius. The new season sees our heroes pushed to their limits as the kingdom is thrown into turmoil by the return of Morgana from a year’s absence. As misbegotten secrets are exposed and old friends choose new sides, the battle for Camelot has truly begun.

A host of new guest stars joins the regular cast to enthrall audiences over the 13-episode run, including four actors from the Harry Potter films: Harry Melling (The Harry Potter Series) will play Merlin’s friend Gilli; Warwick Davis (The Chronicles of Narnia) assumes the role of bridgekeeper Grettir; Miriam Margoyles (Being Julia) will play Grunhilda; and Mark Williams (The Fast Show) is voice of a mischievous Goblin. Guest stars from the previous season such as Emilia Fox (The Pianist, Ballet Shoes) who plays Morgause, and Santiago Cabrera (Heroes, Che), who plays Lancelot, will also be returning for the new season.

Legendary actor John Hurt once again provides the Voice of the Great Dragon.
(Information provided courtesy of Fremantle Media.)

Timothy Hutton and Beth Riesgraf celebrate the holidays with a very special “Leverage” holiday episode

In a recent conference call, Timothy Hutton and Beth Riesgraf talked about their upcoming holiday episode and all the fun they are having on “Leverage.”   In the December 12th episode, the “Leverage” team undertakes a job to infiltrate a mall in order to save Santa’s reputation, which in turn leads them on a mission to restore everyone’s faith in the holiday; and it is this attempt to work a Christmas miracle that unexpectedly pulls the team into the holiday spirit. Timothy said because of the specialness of this episode, it is now one of his favorite episodes – it simply invoked the true Christmas spirit.

For Beth, one of her favorite parts playing Parker is that each season Parker grows a bit, letting down her emotional walls another inch or two. Thus, in the Christmas episode, because Parker loves the holidays, she is the biggest proponent of saving Christmas. Beth explained that just like Parker zones in on a heist, Parker has a one-track mind when it comes to the holidays.  So Parker’s Christmas obsession and enthusiasm about Santa Claus provides some great moments in the upcoming episode; and, as a result, it was sweet how Parker and her child-like enthusiasm resonates with the team inspiring them to tap into their inner-holiday spirit.  Beth also teased that there are also some pretty great twists and turns in the 3rd season finale that she thinks the fans will be excited by.

Talking about the challenges of her role as Parker, Beth shared that the physical aspect of playing Parker keeps her on her toes, as well as the writers’ tendency to throw in a curve-ball to ensure the steady growth of her character.  While Beth can readily say that she is not an adept pick-pocket like Parker, she has picked up a few skills.  She said that although Apollo Robbins, the famed ‘gentlemen thief,’ has provided her with videos and readily answered her questions, most of what she portrays on screen is just an illusion for television.  She is quite happy simply portraying a master thief and has no plans to ever actually be one — though Timothy chimed in to reveal that she is quite adept at stealing scenes – which Beth laughingly protested.

Beth also quickly added that while she prefers to do her own stunts, most of the riskier ones are done by her capable stunt double.  In fact, many of the upside-down stunt work is done by a professional. Trying to be realistic about her own limitations, only if Beth has time and can safely do the stunt, then she will, but for the most part she defers to her stunt double. A few of the stunts she has down for herself included running a top a moving train and hanging upside down on a 40 story building.  She has found that the more physical the role is, the more it appeals to the adrenaline-junkie side of her.  So she finds herself volunteering when she can to do stunts, unless they are too risky.

As for his character Nate, Timothy said that Nate is miserable when it comes to the Christmas season.  This is largely due to the fact his son died and the resulting break-up of his marriage.  Thus, the whole idea of people celebrating the holidays makes Nate absolutely miserable.  He just wants to hide and be alone.  However, the upcoming Christmas episode provided a nice moment of reprieve from the deep sorrow infused in Nate’s soul.  There is an opening scene between Parker and Nate that was a joy for him, as because Parker is so into Christmas and Nate is not, the scene where Parker bugs him into assisting Santa Claus was a fun moment of transformation – a crack in the emotional wall.

Timothy also noted that even with “Leverage” going into its 4th season that the writing has simply been terrific.  It has only gotten better and intertwining character development with drama and comedy – making it all that much more fun to portray. He also explained that this is perhaps the secret appeal of the show.  As more and more viewers are tuning in, they are discovery that at its heart it is simply fun.  “Leverage” invites viewers on a ride in each week’s episode where the stakes are high and danger is around every corner.  In addition to the high-risk, high-thrill factor, there is the slow introduction of different facets of each character, which makes it feel like each clue is a piece of a bigger jigsaw puzzle.  Therefore, this piece-by-piece approach to revealing who the characters are provides nice surprises and clues as to who these people really are.  They are not just reformed criminals, they have motivations that remain elusive and mysterious.

Another new element to the show has been the introduction of a recurring nemesis to help keep the team on their toes and to provide an ongoing threat in their world.  It has become the larger story arcs with twists and turns, as they try to escape the net that Damian Moreau has seemingly cast across everyone and everywhere.

With the new added depth to the characters and the underlying storyline, Timothy appreciates how supportive TNT has been of the show.  It has provided a good home for them and made a fun working environment for them all to play in for awhile. He elaborated, “TNT does just a great job on all of their shows. They’re very passionate about what they’ve programmed and with our show they’ve managed to keep the show [exciting].”  He added, “All of our enjoyment in working together that really makes it all kind of go — and we’re really excited about these three shows that are coming up; the holiday show . . . And, of course, we can’t wait to get back to Portland and start up season 4 because there’s a lot of things that are going to happen in season 4.”

When Timothy first read the pilot script for “Leverage,” he was struck by how interesting a character Nate was to play.  Nate was someone who had hit rock bottom and who presented a range of possibilities of where he could go – he could climb up and fall again, or climb out of it and still fall again.  That combined with how emotionally shut-off the character was, and then having to willingly get close to people in order to assemble the team that he did, is remarkable.  Parker, Eliot, Hardison and Sophie have become his family.  It is this familial-element that makes the show compelling no matter what the team has to face.

Timothy also hinted at the twist in the upcoming 2 hour finale sharing, “There’s going to be something – it’s kind of a nice surprise at the very end. . . . There’s just a bit about Nate Ford and his past that we don’t know about and I think the writers are going to bring forward, and it’s going to be really fun for me to kind of see what that is.  . . There’s something that happens. It’s more of a visual than anything else that is going to be there’s going to be a need for follow-up, let’s just say, in season 4, so that’s going to be something. There’s – one of the characters of the five of us, it is revealed has a few secrets and a few things that – a few associations, we might say, that are rather disturbing.”

He further shared, “Season 4 is really when we begin that there’s going to be a lot more understanding of how the show kind of sometimes goes into flashback mode and we learn in a little snippet like what Hardison was like, what Sophie was like, Eliot, Parker, Nathan. And I think there’s going to be more of that and we’re going to kind of learn about these peoples’ back story and in a fun way while they’re on a con.”

Finally, reflecting on his cast mates, Timothy revealed “We like working together. . . the chemistry that comes across with the five of us, it started in Chicago when we were doing the pilot. We just kind of in the first moment all enjoyed being around each other and working with each other, so and that’s just continued.”  Beth added, “ None of us take it too seriously. Like, we don’t take ourselves too seriously, and you know, the tone of the show allows for us to be goofy and have fun, and the directors that come on board are always in that spirit of play . . .since we all have fun with it, it makes it so much easier.”

“Leverage” returns with its Christmas-themed episode on Sunday, December 12 at 9:00 p.m. and then concludes with its 2-hour season finale on Sunday, December 19th at 9:00 p.m. on TNT.

Where to find this article:

http://nicegirlstv.com/2010/12/10/leverage-timothy-hutton-beth-riesgraf-celebrate-the-holidays-with-a-very-special-episode/

Review of ‘The Vampire Diaries’ – By the Light of the Moon

Some curses are simply not meant to be broken

There was a full moon hanging over the night sky in Mystic Falls and lots of lives hung in the balance. It was Tyler’s (Michael Trevino) first transformation and Caroline (Candice Accola) had fool-heartedly volunteered to accompany him so that he did not transition alone — like she did. It was also the night that the moonstone was supposed to be de-activated; but due to a nice slight of hand by Luka (Bryton James), that did not exactly go as planned. Then hovering in the wings was Jules (Michaela McManus), a werewolf friend of Mason’s (Taylor Kinney) who was trying to figure out what exactly happened to him. And, finally, Elijah (Daniel Gillies) made his presence known and struck a mysterious bargain with Elena (Nina Dobrev).

Who chose wisely and who chose foolishly remains a bit murky. But perhaps Jonas (Randy J. Goodwin), Luka and Elijah know what they are doing by keeping the moonstone intact and trying to lure Klaus out so that Elijah can kill him — though that does not explain what is going on with the werewolves. So many questions were left hanging: did Jules attack Rose and infect her with something? Or was that another ruse by Jonas and Luka to make Damon (Ian Somerhalder) and Rose (Lauren Cohan) believe that a werewolf’s bite was not as deadly as they feared? Who exactly is playing the long-con here? And what is the endgame?

The theme of the episode was imprisonment: Tyler was imprisoned by a curse that would render him to the most base animal state; Katherine (Nina Dobrev) was imprisoned in the tomb to keep her from wrecking further havoc; Elena was imprisoned in her own home to keep her safe; Stefan (Paul Wesley) was imprisoned in the tomb after trading his life for Jeremy’s (Steven R. McQueen); and Damon was imprisoned in his home until the full moon had passed fearing he had been marked for death.

Despite these various chafing prisons, it came down to a question of: what will we do to protect those that we love? In Elena’s case, she remained willing to sacrifice her life to protect everyone she loves; Stefan was willing to rot for eternity in the tomb with Katherine if it meant keeping Elena safe; and Damon was willing to dance with the devil or at least ply Jules with liquor to find out what kind of threat the werewolves posed. Prison is, after all, not so bad if you walk into it willingly.

What Worked

Tyler’s transformation. Watching Tyler endure the agony of turning into a werewolf was terrifying. Our hearts broke and we cried along with Caroline watching the slow, painful process. It is not exactly like watching a person die, but close. In this case, Tyler’s innocence was stripped away and he became the monster that he feared all along. To lose control and attack those he cares about is his worst fear — he does not want to be just a wild animal; and to be reduced to such a base existence has stolen a piece of his humanity. Thus, it was touching how tenaciously Caroline stayed by his side to remind him that he was not alone and that someone cared about him — for to be abandoned and alone would have made it that much worse.

As beautifully agonizing and scary as Tyler’s transformation was, there was the classic Tyler-Caroline exchange when Caroline saw he was stripping down and exclaimed, “Oh my god! You’re not going to get naked, are you?” To which, Tyler smiled and said, “It’s elastic. What should I wear?” Nice that they could joke a little at such a painful time. Humor and compassion is something they will need to cling to as a friendship between a werewolf and a vampire will not be an easy relationship.

So while Tyler imprisoned himself to keep others safe, Elena was kept imprisoned for her own safety. It was sheer genius that everyone conspired to seal Elena in her own house. It was unexpected and yet perfect for the girl who is consistently trying to do things on her own and without thought of how it hurts those who care about her. It also provided some moments of levity in a very suspenseful episode. Such as when Stefan incredulously asked Damon, “You trapped her in the house?” and Damon ruefully said, “It’s for the best. Trust me. Elena is on a martyr-tude that rivals your greatest hits.”

However, by trapping Elena in an effort to keep her safe, it was also meant she was easy prey for Elijah. It was just lucky that the last thing on Elijah’s mind was killing her. Instead, he has a much more interesting plan of using her as bait to lure Klaus out of hiding so that Elijah can kill Klaus. Sophisticated, devious and very clever. Now why didn’t Katherine think of that? Regardless, it was fascinating how Elijah quickly went from being the most feared villain to being a trusted ally.

Is there no one who does not want Elena kept alive for some selfish reason of their own? It is becoming all that much clear that Elena is simply too valuable alive to want any harm to come to her.

Then turning to Katherine, no matter how much she tried to toy with Stefan’s mind, it was reassuring to see that she still could not breach the walls of Stefan and Elena’s love. Katherine may have been able to manipulate Stefan’s dreams, but the second Stefan was free, he ran straight to Elena — and as Elena discovered, it does not feel like a prison when you are with the one you love.

On a separate note, it was refreshing to see that Damon honored his promise and did not try to exploit the fact that Elena and Stefan were separated by their respective confinements. In fact, showing uncharacteristic restraint, Damon did not make a play for Elena and instead kept busy finding out what Jules was up to. Thus, it felt rather chivalrous that Damon did not dare bring danger to Elena by returning to her house after his encounter with Jules at the Grill. Instead, he returned directly home. Despite his flippancy to Katherine when she tried to warn him that Klaus would be coming to kill him, he retorted, “I’ve been dead before. I got over it,” Damon has a healthy survival streak and his instincts told him to not mess with the werewolves on a full moon. It was really good timing that Rose was waiting for him when he returned home and she took the brunt of the werewolf attack. How devastating would that have been to have watched Damon be bitten and then be left to wonder for the next six weeks if he was going to survive?!

We also knew it had to be too good to be true when the moonstone was shattered in a cascade of fireworks. Despite the illusion, it was still a beautiful scene with the candles on the rooftop and Mystic Falls just below. It felt more like a night of romance and we are beginning to see why Bonnie (Katerina Graham) is resisting Jeremy’s charms in order to hang out with Luka. Devious or not, he has some moves. Thus, later when Jonas asked Luka, “You were successful?” and he responded, “She fell for the whole show and didn’t suspect a thing,” we were simultaneously relieved and disappointed. Relieved that our fears were justified, but disappointed that Luka is stringing Bonnie along. So there may be hope for Jeremy after all.

Gosh, how the mighty has fallen. To hear Katherine plead with Stefan, “Please don’t let him leave me in here” and Stefan’s cold response, “Goodbye, Katherine,” it now seems that life imprisoned alone in that tomb is Hell on Earth.

What Didn’t Work

Surely after being around as many vampires as Jeremy has, he would have seen or sensed Elijah as he left his bedroom. It is not like Elijah is invisible. So it was hard to believe that Elijah just stood there while Jeremy dashed down the stairs to help Jenna (Sara Canning).

Matt’s (Zach Roerig) quick appearance at The Grill was all too brief. With so much action going on in Mystic Falls, he deserves to be included just a bit more.

Giving Credit Where Credit Is Due

‘By the Light of the Moon’ was written by Mike Daniels and directed by Elizabeth Allen. ‘The Vampire Diaries’ stars Paul Wesley, Nina Dobrev, Ian Somerhalder, Steven R. McQueen, Candice Accola, Katerina Graham, Michael Trevino, Zach Roerig, Sara Canning, Matt Davis. ‘The Vampire Diaries’ airs Thursdays at 8 p.m. ET on the CW.

Related article:

http://www.rabiddoll.com/node/1623/the-vampire-diaries-by-the-light-of-the-moon.html

The Curse of the Vanishing 18 Million: Where has the sci-fi audience gone?

On January 16, 1995, UPN launched its brand new television network simultaneously with the 2 hour premiere of the new “Star Trek” series “Voyager.” An unprecedented 18 million viewers tuned in; and when “Voyager” ended in 2001, 8.81 million viewers watched. That same year, “Star Trek: Enterprise” debuted to 12.54 million viewers, which slid to 3.8 million viewers when it concluded in 2005. Even the popular “Star Trek: Next Generation” ended with a scant 4.0 million viewers in 1994 after a successful 7 year run during which it ratings fluctuated between 8.5 to 11.5 million.

With the proliferation of new television networks, increasing timeslot competition, and a larger variety of niche markets, it was believed that much of the failing science fiction audience retention could be blamed on a multitude of factors.

Yet despite the declining sci-fi audience, premiere ratings for sci-fi shows remained at an all-time high. In 2004, “Lost” premiered to 18.65 million viewers; in 2006, “Heroes” premiered to 14.1 million viewers; in 2008, “Terminator: The Sarah Connor Chronicles” premiered to 18.3 million viewers; and in 2009, “FlashForward” debuted to 12.47 million viewers. Remarkably, the premiere numbers for sci-fi series were still showing a strong interest in science fiction television.

But it is the end ratings that tell a startling story. When “Lost” concluded in May 2010, it pulled in 13.56 million viewers, a bump from its previous low of 8.7 million. When “Heroes” ended in February 2010, it only pulled in 4.41 million viewers. When “Terminator: The Sarah Connor Chronicles” ended in spring 2009, it got 3.6 million viewers. And when “FlashForward” ended in May 2010, it only got 4.96 million viewers.

How is it that sci-fi shows that debut to 18 million viewers end with less than one-half its original audience? Fans and non-fans are quick to point out the slip in writing quality, which creates retention problems. But I hazard to speculate that it is not merely a disillusionment with writing quality, but rather it is the lack of commitment by sci-fi fans.

As we have seen time and time again, there is a vast array of inferior television shows populating the TV landscape. There are shows that viewers lament over and over again that are not TV-worthy at all. Yet incredibly, they pull in high and consistent viewership. It is not quality that drives viewers away, it is the lack of commitment. Sci-fi fans are simply not willing to commit to their series. They do not have patience to allow storylines and characters to develop. They want their instant gratification and if it does not meet up to their impossibly high standards, then they are gone.

However, by doing so, they are virtually guaranteeing the death knell of sci-fi television. What television programmers are looking for is consistency. They want to know that the viewers they have lured into checking out a new show will stick around. They need to know that their product will provide a guaranteed number of viewers so that they can sell their advertising ad space. But because sci-fi shows start strong and then rapidly decline, it is difficult to find out what the average viewership base will be. It is that continual erosion that leads to quick cancellation, shifting timeslots and crazy gimmicks to attract back viewers.

Loyal fans of sci-fi shows want to blame studios for the lack of promotion of the shows, but if anything, studios have gone overboard to promote their shows. Premiere ratings validate that more than adequate promotion was given. When sci-fi shows debut to 14 to 18 million viewers, clearly the promotion machine has done its job.

What is not working is the dedication of the sci-fi fans. Current sci-fi shows such as “Stargate: Universe” and “Fringe” are at the top of their game. Creatively, they are providing some of the finest sci-fi stories ever to grace the television screen. Yet viewership is at an all-time low. “Fringe” went from a debut of 9.13 million viewers to an all-time time high of 13.27 to now only pulling in 5.13 million viewers. “Stargate: Universe” debuted at 2.34 million viewers and now only pulls in 1.09 million viewers.

As a fan, it does not matter how often the broadcast network may shift a show around, switching nights or timeslots — for I know, no matter when it is on, I will be there. Yet, clearly, the ratings show that not all viewers feel the same. For some reason, despite the writing quality becoming better, ratings continue to decline.

So it is not about the quality of the show. It therefore must be the viewers. Why are they not tuning in? Are they preferring to watch other non-science fiction shows? They cannot blame conflicting sci-fi loyalties as “Fringe” competes with “CSI,” “Nikita,” “Grey’s Anatomy” and “The Office.” “Stargate: Universe” competes with “Raising Hope,” “NCIS: Los Angeles,” and “Life Unexpected.” If anything, television programmers have made it easy for fans to watch sci-fi shows. So why aren’t the sci-fi fans tuning in? Surely, the 9:00 p.m. timeslot on Tuesdays and Thursdays is not so difficult a time to be home or to tune-in. Why did “Stargate: Universe” pull in over 1 million more viewers on a Friday night (a.k.a. “The Death Slot”) than on a Tuesday?

It is unfathomable. To each sci-fi fan who says that there are no good sci-fi shows on television, I respond: then you are just not watching.

And this is not the first time that sci-fi fans have cut-their-own-throat, so to speak. Iconic sci-fi shows such as “Star Trek,” “Battlestar Galactica” and even fan-favorite “Firefly” were all cancelled because of the lack of viewers. Yet years later, and sometimes  decades later, these shows are the most consistently heralded “best science fiction” shows ever. So what happened? It is a simple formula: if the sci-fi fans do not watch, the show dies.

I am constantly amazed at the ratings for Syfy’s Saturday night sci-fi specials. While the concepts are cool, they really lack the storyline and character development that warrant rave reviews. Yet, incredibly, sci-fi fans are tuning-in on Saturday nights and watching the special of the week — in record numbers that put the ratings of finer sci-fi shows to shame. I posit that it is simply because it is low commitment that sci-fi fans are tuning in. If a serialized sci-fi series was put on at 9:00 p.m. on Saturday nights, the fans would avoid it like the plague. It would be too much commitment. But because they can tune in for just two hours, the average sci-fi fan figures it is okay to watch.

Since when did sci-fi fans have commitment problems? Has it always been an issue or is this a recent trend? Given the retention problems since the 1995 debut of “Star Trek: Voyager,” I am speculating that it has become a problem since 1995. The way we interact with the world has changed dramatically in the past 15 years. We have witnessed the launch and complete global domination of the internet, the growing popularity of video games, and economic recessions that have eradicated our faith in stability in the world. It has become all too easy to “check-out.” We are no longer glued to our television sets for entertainment with steep competition from internet entertainment and video games; and our viewing priorities have changed. With the world around us shifting with uncertainty at all times, many feel that they cannot take the time to commit to television shows. They want something mindless and easy to slip in and out of.

This is one argument. But it still does not explain why non-science fiction shows are still pulling in record numbers in the ratings. Why is only science fiction showing such dramatic retention loss? My speculation is: sci-fi viewers lack commitment. They are not patient. Science fiction is not all about action — explosions, gun fights, space wars. Science fiction is about stories and the characters we get to know along the way. That takes time to set-up and establish. Not each episode of a serialized sci-fi show will be action-filled. There will be times that episodes will be plodding, filled with exposition and yet at the same time laying the foundation and cookie-crumbs for later episodes. Story arcs take time to develop. Characters do not emerge as heroes in the first episode. The best science fiction shows took their time and unpeeled layer after layer until it revealed the hidden gem within. Did anyone know after watching one hour of “Battlestar Galactica’s” initial six hour mini-series that it would become the mesmerizing, gripping story that kept us enthralled for 4 seasons? If you are being honest, then the answer is “no.” It was simply too soon to tell. The same could be said of just about any other amazing sci-fi series. Good stories take time and commitment.

It is time that sci-fi fans realized this basic tenant of story-telling: all good things come to those that wait. It is time for sci-fi fans to embrace commitment and watch sci-fi shows with a tenacity that shows the world that we are behind our shows for better or worse. If we do not want sci-fi to die on television, we need to commit to it. Make time, make an effort and be a sci-fi fan dedicated to ensuring longevity for the entire genre — or it will be too late and there will be no sci-fi shows left to watch.

Do not let the curse of the vanishing 18 million viewers be the legacy of science fiction.

Emily Deschanel’s insightful look into her alter-ego Dr. Temperance Brennan’s psyche on “Bones”

Just in time for the upcoming “Bones” episode “The Doctor in the Photo,” Emily Deschanel provides a few key insights into what is going on in Dr. Temperance Brennan’s mind this season. In the December 9th episode, Dr. Brennan will have to face a unique murder case – so unique that it actually gets under her skin and haunts her.

During a recent conference call with NiceGirlsTV, Emily shared that for the first time ever, Brennan strongly identifies with a murder victim. Emily elaborated by explaining, “There is a woman who is killed and she’s a doctor, and when they started listing the qualities of this person, Brennan thinks they sound very familiar — whether they’re physical or personal qualities — and even looking at the photograph of the person who died, it looks like Brennan.”  In fact, the entire episode is told through Brennan’s perspective, which makes it interesting – yet terrifying for her.

The fact that Brennan and the victim have so much in common makes Brennan question if she has made the same mistakes with her life.  Neither has much of a personal life, and the only people who would miss them are their co-workers – particularly as the victim was friendless and thwarted in her love-life.  So the reality that no one missed the victim resonates with Brennan.   For as Emily speculated, “Isn’t that almost every human’s worst fear — dying and no one misses you and no one notices? This affects Brennan greatly, and she starts relating to the character, believing that it’s her.”

Thus, Brennan has an epiphany about her own life and realizes how detrimental her decision was to reject Booth last year.  It then pushes Brennan to readdress this life-altering question and talk with Booth again about how she feels.  Emily revealed, “It forces Brennan into a place where she is bold and is aware of her feelings in a way she hasn’t been before. It takes a huge, very strange experience for her to become aware of her feelings. Hart [Hanson] and I have always talked about how Brennan may have these feelings for Booth, but she’s the last person to know. Here it takes a very strange experience for her to face her feelings and to see them.”

Upon reflection Emily added, “I think that [Brennan] realizes that she isn’t that woman. She has friends. She has people who love her and she loves. She’s not as extreme as this person. It’s always good to have those reminders in life. Who am I? What am I doing with my life? Am I working my whole life away and not spending time with people who are important? Am I not taking a chance on something that I’m going to regret on my death bed? If I die tomorrow, will I be happy with my life as it is right now? Doing this show and doing fake death and Brennan’s fake real death, you are aware of your own mortality. You can’t help thinking about that.”

So Brennan is at a crossroads.  She must make a decision about her life, which Emily described as, “You have to become bold in your life, and take chances. I think that’s what Brennan is doing. I think that’s not a bad thing. I think that’s a wonderful thing to make the most of our lives while we have it. We’re not here that long. Brennan took that chance. Whether or not it worked is not as important as the fact that she did take that chance. I think it is a happy ending in that way — even if it’s hard and sad, but life is hard and sad at times. The whole point is we get through those times. She still has all those people in her life and she still has all those friends and those people who care about her. That’s what really matters.”

Thus, the case for Brennan is very personal.  Emily shared, “She’s facing her own mortality and also looking at her life, seeing what she would be leaving behind when she dies. You don’t see that side of Brennan very often. She becomes very vulnerable trying to solve this case.” To go through the spectrum of emotions that Brennan does in this episode was a challenge, but also refreshing.  Because Brennan is normally so anti-reactionary, so uninvolved with the victims, to have her suddenly empathize to such a degree that she feels that she is just like the victim was a lot to take on.   However, this was a welcome change for Emily and she embraced the emotional challenge.  So much so, that it is now her favorite episode.

In addition to reconsidering her choice not to pursue a relationship with Booth, Brennan is beginning to realize that her decision to abandon her job at the Jeffersonian Institute was also a mistake.  Emily explained, “Brennan realized when she was away from [her job], how much she missed it. It’s a small factor, but not a big one. She realizes that she’s good at this and that she enjoys this. She loves solving crimes and she loves doing it with the team she does it with. She loves seeing the results of her work immediately — well, not always immediately. You can actually affect the world when you’re solving crimes as opposed to identifying ancient remains. Sure it can impact science in such a huge way. Right now, you’re solving a crime, you’re putting people behind bars, you’re stopping new crimes from happening and you’re bringing some tiny bit of peace to family members. I think she likes being that person. I think she recognized that when she was away from it.”

Emily felt that it has been nice to see the evolution of Brennan over the years; for Brennan is now more open, and allows herself to express her quirky-side more.  Those moments are particularly fun for Emily and she tries to ensure that there are a few in every episode.

Also, for Emily, nothing is better than characters with contradictions – and she loves exploring those contradictions.   While Emily admits that she is nothing like Brennan, she appreciates the differences and relishes portraying them.

As far as how Emily feels about Brennan’s slow transition from emotional-distance to emotional-involvement, she said, “I was surprised when she started to open up more. A couple seasons ago, I just love the scene where she asked Sweets to help her learn facial expressions. She’s kind of almost on the autistic spectrum — almost Asbergery, not quite — but has some characteristics that fit into that. She doesn’t really understand how to read people’s emotions. I love that she recognized that she didn’t know how to do this and get better at it. . . . I love so many of her qualities, especially when she’s trying to grow as a person and open up.”  To witness this amazing transformation is a gift and Emily is loving every minute of it.

Working on “Bones” has been a joy and a privilege for Emily.  She gleefully shared, “I’m so lucky to be doing the show and the show I love doing and the character I have such affection for. I’m just incredibly lucky. . .  I’ve ALWAYS been excited when we’ve been picked up for another season and I think that will continue. . .  Right now I’m enjoying myself and loving it and counting my lucky stars.”

In the meantime, look for Enrico Colantoni to add to this week’s mystery, playing a night watchman who may or may not be the ghost of Christmas Past.  Will Dr. Brennan get a Christmas miracle?  Tune in and find out when the “The Doctor in the Photo” episode of “Bones” airs Thursday, December 9, 2010 at 8 PM on FOX.

Where to find this article:

http://nicegirlstv.com/2010/12/09/bones-emily-deschanel-talks-about-brennans-revelation/

Review of ‘Eureka’ – O Little Town

Celebrating the holiday season with Secret Santas, Santa-ology and holographic reindeer

When last seen at the end of summer, “Eureka” was saying good-bye to the delightful Dr. Charles Grant (James Callis) and wiggling its way back through the worm-hole. Now permanently stuck in the alternate timeline where Fargo (Neil Grayston) is in charge at Global Dynamics, Jo (Erica Cerra) is chief of security, and Jack (Colin Ferguson) and Allison (Salli Richardson-Whitfield) have decided to pursue a relationship, things are a little different in Eureka. So it came as no surprise that, just as Jack and Zoe (Jordan Hinson) were attempting to escape to spend the holidays with relatives, the world needed rescuing once again.

In a funny approach to reinventing the story of Santa Claus, “Eureka” did it with a bit of panache and style. Taggart (Matt Frewer) was back with a flying red sleigh and holographic reindeer – and a ray gun which miniaturizes gifts so that their mass is temporarily transferred into an alternate dimension and then can be brought back to full-size once delivered; and Jo pretended to be Scrooge to hide the fact that she was playing Secret Santa so that she could deliver the perfect Christmas gift to each of her friends.

It was with a bit tongue-and-check and a gleeful spirit that “Eureka” poked fun at some of the holiday traditions. Taggart, in hopes of catching the elusive Saint Nick, had become a Santa-ologist – studying all things Christmas in order to prove that all the mythology could be scientifically explained. However, with a sly appearance by Saint Nick posing as a condensed matter physicist, Dr. Noah Drummer (Chris Parnell), made it all feel that it was done with a twinkling spirit.

Who knew that a tiny “ornament” sized ball of cystallized hydrogen that posed such a monumental problem would become the Eureka “night star”?

What Worked

While Jack should surely know better, it was still priceless watching him get zapped as he tried to walk through the malfunctioning electro-magnetic shield that protects Eureka from prying eyes. Colin Ferguson’s gift with physical comedy makes such moments a lot funnier than they would normally be.

Also delightful was Erica Cerra’s nuanced performance as the dual-Scrooge/Secret Santa. We fully believed that she would be grumpy about this particular Christmas since she and Zane (Niall Matter) are no longer a couple due to an unfortunate wrinkle in the alternate timeline. Thus, finding out that she was the one delivering the perfect gifts was beautiful; her carefully hidden Christmas Angel shone ever so brightly when no one was looking. Also fun was her snarky comment to Fargo, “It’s the time you geeks let your freak flags fly every year,” and his quip, “No, that’s Comic-Con.” It was a nice shout-out to one of the biggest geek-fests of the year.

Another well-done moment of levity was the scene with the giant red bow blowing through town followed by the giant red ornament rolling down Main Street. The visual of it all felt both whimsical and comical at the same time. It is definitely a sight one would only find in “Eureka”!

The appearance of the mysterious Dr. Drummer who wandered about in plain sight at the G.D. holiday party in a Santa suit was also fantastic. When he told Taggart, “It shouldn’t always be about science. Some things are better left unexplained,” he was reminding Taggart that the world needs a bit of mystery.

Even the normally scientifically-inclined Allison, wanted to preserve the mystique of Christmas. When she told Zoe,”I just think we could all use a little more magic in our lives,” she knew that without it, life feels a bit more dull. Allison’s delight in discovering that Secret Santa had brought her pink bunny slippers invoked the child-like joy that everyone should feel for the holidays.

What Didn’t Work

It felt inconceivable that Jack would plan to spend Christmas away from Allison. He would have been dragging his feet about having to spend the obligatory holiday with his family. Instead, the episode portrayed him having no qualms about it. It was not until Allison shared her desire to have a traditional holiday that he changed his mind. It just did not feel like the Jack Carter we all know and love. Thank goodness, it all worked out in the end!

Also just missing the mark was the crazy gift for Carter where Taggart gave him the gift of Christmas cheer in the form of a singing trio of holograms in the form of Vincent (Chris Gauthier), Zoe and Fargo. The joke played out pretty quickly and felt disjarring each time it popped-up.

Also, a few faces missing from the episode were sorely missed. Where was S.A.R.A.H., Deputy Andy (Kavan Smith) and Grace (Tembi Locke)? Surely, a moment or two could have been spared to include them in the holiday festivities. It just did not feel as complete without the entire “Eureka” family to share in the fun.

Finally, this would have been the perfect opportunity to slip in another unexpected surprise, such as Zane could have also been pretending that he had not noticed Jo’s pain and then secretly gave her a Secret Santa present. The joke would have been priceless since Jo was the one leaving presents for everyone – and then for her to receive one in return, that would have been the true essence of Christmas.

Giving Credit Where Credit Is Due

“O Little Town” was written by Eric Tuchman and directed by Matt Hastings. “Eureka” stars Colin Ferguson, Salli Richardson-Whitfield, Joe Morton, Jordan Hinson, Erica Cerra, Neil Grayston, Chris Gauthier, Niall Matter, and Trevor Jackson. “Eureka” airs Fridays at 9:00 pm on Syfy.

Related article:

http://www.airlockalpha.com/node/8196/eureka-o-little-town.html

 

 

Review ‘No Ordinary Family’ – No Ordinary Sidekick

Treachery and villainy lurks around every corner, getting closer each day

In a case of crossed-wires, this episode focused on whether Katie (Autumn Reeser) and George (Romany Malco) are merely the sidekicks in their relationships with Jim (Michael Chiklis) and Steph (Julie Benz). Prior to becoming super-human, Jim and George were on an equal plateau of friendship; and Katie and Steph were not even friends, but rather just co-workers. So did the discovery of their super-powers change their relationships too such a degree that neither George nor Katie are colleagues, but are instead just sidekicks?

As the episode proved, both George and Katie may act like sidekicks from time to time, but their true role is one of a partner-in-crime.  Jim is unable to navigate or get access to information that George can readily provide and Steph would similarly be hindered without Katie’s capable assistance in researching the cause of their abilities and what elements may act as “kryptonite” and nullify their newly acquired abilities. All super-heroes need someone to be wing-man. But wing-men in their world cannot just be arm candy. A super-hero’s wing-man must have special skills of their own and those skills makes them invaluable. After all, it is George’s ability to provide GPS coordinates or safe-landing areas that keeps Jim out of swimming pools and the ability to access police intell and a figure out which location criminals will strike that keeps Jim from accosting the wrong train conductors. It may be funny to see Jim flail about without George’s guidance, but the real lesson is that he needs George’s help. Just like Steph needs Katie’s assistance to watch her back at the lab with Dr. King (Stephen Collins) sniffing around.

For as Dr. Chiles (Reggie Lee) warned Steph as he gave her the vial of potion, “Open your eyes, Dr. Powell. Everything is not as it seems. This evidence will cause you to question everything you know to be true. You will try to convince yourself it is not happening, but it wont matter because the facts will speak for themselves.” The danger is not at arm’s length any more. It has gotten closer and more intimately involved in the Powells’ daily lives. Sidekicks, partners or simply allies, it is time to rally the troops as there is a war coming. Time to get prepared before Dr. King strikes next.

What Worked

Ramping up Will a.k.a. Joshua’s (Josh Stewart) presence has made the show much more taut and exciting. No longer is the danger “out there”; it is now amongst their inner, trusted circle. The fact that no one is really questioning his presence outside of Daphne (Kay Panabaker) makes is all that more alarming and suspenseful.

In addition, even without the injection that Dr. King threw away, Will is still quite powerful. His telekinesis abilities seem stronger than ever and he does not hesitate to use them. Just when we were beginning to wonder if he had a glimmer of a heart of gold because he had not fully informed Dr. King about the extent of the Powells’ abilities, we then saw that the glimmer was not of gold, but of black coal. There is a darkness inside of him that he keeps carefully concealed. It is the aura of danger and creepiness that Daphne picked up on. Now that Daphne has no recollection of the past few months of her life, will she still sense the dark side of Will? Even if she doesn’t, we have seen it. So unleashing Will and having him mind-wipe Daphne is electrifying. It is a demonstration of power that even Dr. King may not be aware of. We are left wondering not only how powerful Will is and what he can do, but if actually took Daphne’s ability away, or of that is only temporary. For as he told Daphne, she is special; she is the only one of her family whose ability has not failed or gone on the fritz.

On another note, George had an interesting role to play in this episode. He got to be the hero. But by taking credit for Jim’s handiwork, it caused a bit of a rift between the two previously inseparable friends as Jim wanted to have his efforts appreciated too. It is not fun to be the guy to saves everyone, and no one knows about it. However, as George reminded Jim, “The minute your secret identity loses its secret, you’re in for a whole mess trouble.”

Plus, George’s 15-minutes of fame will quickly expire. For as he will likely soon find out, playing the hero-card more than once could be a problem. It would seem suspicious if George were suddenly to appear at every crime scene to save the day (or take credit for Jim saving the day).

On the flip-side, even Jim was a bit overwhelmed by Det. Cordero’s (Guillermo Diaz) effusive gratitude after he discovered it was Jim who pulled him from the burning car. Though it touching when Cordero noted, “You wanted to be anonymous. You’re not some glory hound like your friend St. Cloud. You are a real hero.”

It was also cool that George remembered to wipe Jim’s fingerprints from the lead pipe at the drycleaners. Super-heroes do not like to have to remember the small details that could incriminate themselves or blow their cover.

Finally, it was interesting to see that J.J. (Jimmy Bennett) has begun to feel the weight of being super-smart. It can not only make people wonder whether you are cheating, but it also means J.J. does not relate to his friends. He is now the odd-man-out because his brain is thinking at a level above his social circle. Being a super-hero or a super-human can be lonely unless you can find someone who can be trusted with your secret or who can relate at your level. It was a nice look out how social ostracism runs both ways. If you are not smart enough, you can be shunned, and if you are too smart, you feel like you do not fit in.

What Didn’t Work

By now Katie would have done the typical geek thing and run a full background check on her new beau. The fact that she has not feels less credible and makes her appear too love-sick to notice the inconsistencies in Will’s behavior. As a research scientist, Katie would have sought out more information and zeroed in on the inconsistencies. She would not have swept them under the rug.

Giving Credit Where Credit Is Due

“No Ordinary Sidekick” was written by Zack Estrin and Jon Harman Feldman, and directed by Wendey Stranzler. “No Ordinary Family” stars Michael Chiklis, Julie Benz, Kay Panabaker, Jimmy Bennett, Autumn Reeser, Romany Malco, Stephen Collins, Josh Stewart. “No Ordinary Family” airs Tuesdays at 8:00 pm ET on ABC.

 

Related article:

http://airlockalpha.com/node/8140/no-ordinary-family-no-ordinary-sidekick.html

Reflecting on CASTLE, SUPERNATURAL and PSYCH’s fun-filled television homages of TV shows past

Every now and then television decides to pay homage to other cult classic television shows, and if you saw a few of the recent episodes of CASTLE, SUPERNATURAL, and PYSCH, then you were in for a treat.

In the November 15th episode of CASTLE entitled “Close Encounters of the Murderous Kind,” Richard Castle and Detective Kate Beckett investigated the murder of a young research scientist who was killed in zero gravity conditions. All signs pointed towards an unearthly abduction and THE X-FILES Easter-eggs were carefully placed throughout the episode. And while there was a UFO encounter and abduction — it was by government agents, not aliens. There was also a fun nod to THE X-FILES companion series MILLENIUM, with Lance Henriksen making an appearance as the leader of an alien abduction support group, who wrote the book, “Taken By the Fourth Kind.” Whether it was Castle whistling THE X-FILES’ theme song or a cameo of a cigarette-smoking man, the show did a fun job giving homage to THE X-FILES.

Then in the November 19th episode of SUPERNATURAL entitled “Clap Your Hands If You Believe,” it also dabbled with an homage to THE X-FILES. It even modified its opening credits to mimic the opening credits of THE X-FILES and inserting a tagline which read, “The Truth Is In There.” Similar to CASTLE, the ultimate culprit behind the string of abductions was not little green men of the alien kind, but rather little green men of the fairie kind. Given that SUPERNATURAL is based in a reality where demons, angels and all sorts of alternate-life forms do exist, aliens would not have been impossible, but the show mockingly poked at that notion by opting for a more old world tale. It also recruited Robert Picardo as their leprechaun villain, which was a fun nod to both the STAR TREK and STARGATE series, and used David Bowie’s song “Space Oddity” as a backdrop to one of their fight scenes. So while the crop-circles, bright lights, and mysterious abductions were classic X-FILES mythology, it was all the more fun as the Winchester brothers tried to figure out if alien life did actually exist, and if not, what was the real culprit. Agents Mulder and Scully would have been proud.

Finally, in the December 1st episode of PSYCH entitled “Dual Spires,” fake psychic detective Shawn Spencer and his partner Gus traveled to a mysterious little town where the inhabitants mirrored the characters of the television cult classic TWIN PEAKS. In PSYCH’s case, they opted to not simply craft a typical homage, they cleverly cast several of the original actors from TWIN PEAKS in guest-starring roles for their quirky tale of murder and deception. While revisiting the world where everyone is pie-obsessed, haunting music, and everyone has a deep, dark secret, PSYCH lovingly brought its comedic storytelling into a world that entranced the television audience 20 years ago. Everything from the body wrapped in plastic down by the lake to the Log Lady and the startling hair color change of Ray Wise’s character invoked cherished memories. PSYCH sought not only to laughingly share its love for TWIN PEAKS, it wanted to emulate it. It was a true homage — a love letter to a series gone but not forgotten.

Over the years, nearly every television show finds a way to weave in bits and pieces of other television shows — whether it is in an outright homage or through the use of punch-lines. But these three recent examples were particularly fun as they sought to remember two cult television shows that captured our hearts and minds for a time.

The fact that three prominent television shows chose to salute two cult classic sci-fi shows is telling. In the 1990′s, no two shows were more idolized than TWIN PEAKS and THE X-FILES. Each rose from obscurity and went on to become iconic symbols of science fiction (though many would describe TWIN PEAKS as horror-fiction than science fiction). What was it about those two series that lent themselves so well to homage?

For one, they were outrageously over-the-top. Both THE X-FILES and TWIN PEAKS took the idea that there were other types of life forms besides our own that were intervening in our world and shaping it for their own purposes. Both were daring looks at worlds that we cringed from and were scared could possibly exist. As much as we may be intrigued by the idea of alien life or demonic life, we fervently hope that it does not. Like a car wreck — it was fascinating and while we could not look away, we were grateful that it did not actually exist. And like nightmares, it was something for which we were glad to have woken up from and then sighed with relief to know that it was not real in the first place.

Despite the unnerving fascination with that which scares and repels us, THE X-FILES and TWIN PEAKS have lived in infamy even after they were long gone. To see both series so prominently featured in homage was a wonderful walk down memory lane. It was done with love and laughter. CASTLE and SUPERNATURAL’s nods to THE X-FILES were told in a spirit of fun as they invited us to remember a sci-fi series that challenged us to believe in extraterrestrial life. Of the course of the 10 years that THE X-FILES was broadcast, and with so much in our world that is unexplainable, it seemed easier to go along for the ride and stop being the doubting Scully and succumb to the lure of being the believing Mulder. So when CASTLE attempted to lure us back into the world of “believing” all things are possible — even alien life — we were nearly ready to jump back in. We wanted to believe even as our brains were telling us it was impossible — and we laughed along with them, when it was proven to have a more earthly solution.

Thus, SUPERNATURAL’s tale was perfect timing in preying on our susceptibility. It made it all the more fun as we were about to run right along with Dean in the cornfield shouting “UFO, UFO — close encounter!” It was hysterical what was really going on there. SUPERNATURAL can have little winged people, but not little antennaed people? The hypocrisy was hysterical. It is always fun when a TV show can poke fun at itself.

And last, but not least, after seeing how charming a visit it was on PSYCH, I am sure there are quite a few of us who would willingly venture back into the hazy, surreal world of TWIN PEAKS once again. We may still not be sure if a person or spirit killed Laura Palmer, but being invited to dance with the quirky characters populating a seemingly idyllic community and dream of cherry pie has captivated us again.

A good homage makes us laugh. A great homage makes us yearn to wind back the clock. Kudos to CASTLE, SUPERNATURAL and PSYCH for offering homages that make us wish for the impossible.

Related article:

http://www.thetvaddict.com/2010/12/07/reflecting-on-castle-supernatural-and-psychs-fun-filled-television-homages-of-tv-shows-past/

An invitation to dance into the dark with Natalie Portman in “Black Swan”

At a special screening at Fox Studios, “Black Swan” awed the entire audience into stunned silence. That lasted but a moment before the room erupted with thunderous applause. This is certainly Natalie Portman’s year to make a run for Oscar gold. The film is a glorious visual and visceral achievement. The film’s imagery is both breath-taking and gut-wrenching. Feeling very much like a hidden cameras have taken the audience into the private lives of women who put their entire lives on hold for just a moment of elusive fame, “Black Swan” is in turns inviting and repulsive.

Make no mistake, “Black Swan” is a film consumed with showing the light and the dark-side of ballet. At its finest, it is magnificent. But, at its darkest, it is a brutal physical art. To make those beautiful dances look so effortless, dancers inflict great pain upon them and push themselves to the point of psychological exhaustion – and, in this story, beyond the breaking point.

In “Black Swan,” Natalie Portman portrays the emotionally-controlled ballerina, Nina, who wants nothing more in life than to dance as the White Swan in the ballet Swan Lake. But to achieve that coveted role, Nina has to tap into her sexual side in order to play the Black Swan – for the lead must be both sides of a fractured personality. Striving to be perfect in both roles, Nina’s personal life begins to mirror the dance of Swan Lake. She is the innocent seduced by power and desire. Her reality and that which she is driven to portray on stage become so intertwined that they are inseparable and she can no longer distinguish between what is real, what is part of the dance, and what is simply her projections on the world around her.

It is awesome and ferocious to behold. Nina’s passion and pursuit of perfection fractures her reality. Watching her crack into a million pieces psychologically is riveting while heart-breaking. But to watch her dance is a thing of beauty. In the end, the film will have shocked, dazzled and captivated its audience. It is not easy to watch, but it is a phenomenal film showing how a gentle spirit is caught up in the lust for infamy.

Co-starring Vincent Cassel as the daring task-master pushing Nina to explore her darkest fantasies, Mila Kunis as Lily, Nina’s sensual rival, Winona Ryder as Beth the aging prima donna ballerina, and Barbara Hershey as Nina’s over-protective mother, the film is a microscopic look into a grueling world where perfection is not just an ambition, it is a way of life. Directed by Darren Aronofsky, “Black Swan” shimmers under his finely-nuanced approached to the complex layers of fragility and longing encased and fighting for superiority in a tortured ballerina’s body and soul.

“Black Swan” is scheduled for limited release on December 3, 2010.

Related link (SLIDESHOW):

http://www.examiner.com/museum-of-tv-and-radio-in-los-angeles/this-an-invitation-to-dance-into-the-dark-with-natalie-portman-black-swan

Review of ‘The Vampire Diaries’ – The Sacrifice

The best laid plans go awry, and half-baked plans go completely to hell

The Gilbert siblings jumped right into the fire with their plans to save everyone they loved. Elena (Nina Dobrev) enlisted Rose (Lauren Cohan) in order to offer herself up as the sacrifice so that Klaus would spare everyone she loved; and Jeremy (Steven R. McQueen) threw himself into Katherine’s (Nina Dobrev) evil clutches in an attempt to save Bonnie’s (Katerina Graham) life as she tried to undo the tomb spell. But, in the end, all they accomplished was Stefan (Paul Wesley) getting trapped in the tomb with Katherine, and Elijah (Daniel Gillies) knowing exactly where to find Elena just as soon as Klaus gets to town.

And something tells us that Klaus will not just want Elena. He is still going to want his sacrificial werewolf, witch and vampire in order to break the curse. Bonnie, Tyler (Michael Trevino) and perhaps Caroline (Candice Accola) are soon going to be roasting on the sacrificial alter along with Elena. Didn’t Elena remember what Katherine told her: the doppelganger alone is not enough? It is going to be all or nothing, and Klaus is going to want to kill them all. He has lived too long under the moonstone curse. He wants to be free to walk the earth and not worry about sunlight or werewolves. With that kind of incentive, bargaining Elena’s life for the lives of her friends is not going to work.

So ultimately all Elena and Jeremy did was put them all in a more precarious position. Stefan is now stuck in the tomb with Katherine. Katherine got her heart’s desire — to have Stefan all to herself. Damon (Ian Somerhalder) got Elena — albeit not exactly as he foresaw for she is angry with him and still rejects him. But being her sole protector, no longer having Stefan hovering around to occupy Elena’s affections, has got to have some benefits. Jeremy has a nasty neck wound which is going to be nearly impossible to explain to Aunt Jenna (Sara Canning) or anyone else not “in” on the vampire secret. Caroline is being torn between her desire to be with Matt (Zach Roerig) and her desire to help Tyler. And Bonnie is figuring out that she is not as powerful as she thought and that, even with a warlock’s talisman as strength, she is not strong enough.

It is time for everyone to start trusting each other and working together to keep everyone safe. This “I will sacrifice myself to protect everyone else” mentality is remarkably short-sighted. Noble, romantic and brave — but still ineffective.

What Worked

Oh, let me count the ways to love this episode! First, the long, lingering, romantic looks between all the forbidden couples was heart-stoppingly beautiful. Whether it was Elena and Damon, Jeremy and Bonnie or even Caroline and Tyler, forbidden love was the most delicious flavor of the night.

For example, when Elena first said that she was worried that Klaus was going to kill everyone she loves, she looked pointedly at Damon — despite the fact that Stefan was standing right in front of her. Such action belies her true feelings. She did not ignore Damon as she made this declaration — she was looking away from Stefan, and directly at Damon. The attention of a girl in love never wavers. Yet Elena’s attention is definitely wavering. She is worried about protecting Damon. She worries that he will sacrifice himself for her and she would rather die, than let him die for her.

So when Elena angrily told Damon, “When have I ever made a decision? You and Stefan do that for me. Now this — this is my decision,” she was attempting to declare her love. Yet Damon stubbornly refused to hear what she was saying, so she raged, “You’re not listening to me! I don’t want to be saved — not if it means Klaus is going to kill every single person that I love.” This ambiguous language is not meant to be inclusive, rather it is used so that she does not have to identify who it is that she is protecting. The fact that Elena then tried to physically hit Damon to emphasize her point was even more telling. It is a thin line between love and hate. She does not hate Damon. She loves him enough to want to sacrifice herself to protect him. She even tried to strike him in her frustration. So when Damon icily told her to “never to do that again,” he was not referring to her trying to hit him — he was referring to her attempt to sacrifice herself for him.

Trying to explain, Elena softly told Damon, “I don’t question why you and Stefan and everyone else tries so hard to save me. You shouldn’t question why I should try to save you all of you.” Thus, later when Stefan entrusted Damon with the responsibility of keeping Elena safe, Katherine knowingly told Stefan, “That, right there, was the biggest mistake you’ve ever made.” For Katherine knows perfectly well how easy it is to fall in love with Damon. Without Stefan around as a reminder of why she chose him over Damon, Elena will be vulnerable to Damon’s charms. Plus, Elena is already too angry with Damon to justify indifference. She reacts to him emotionally and it will only be a matter of time before her anger turns to appreciation.

Also, while everyone is so worried about keeping each other safe, even Elijah could see that there was no need to fight with Damon. As he explained to Jonas (Randy J. Goodwin), “He’d die before he’d let anything happen to her. They both would. She’ll be kept safe. . . That is precisely what we need her to be: safe.” It is rather chilling to realize that Elijah is using Damon’s love for Elena — and perhaps ultimately her love for Damon — as a tool in his diabolical master plan.

Then, as to Bonnie and Jeremy, it was exquisitely agonizing as they continued their dance around each other. Jeremy may be willing to take the risk on love and declared how he feels; yet Bonnie still feels that it is wrong to fall in love with her best friend’s younger brother. However, if their scenes get any more smolderingly hot, her denials are going to become more futile. Additionally, Jeremy’s act of nearly sacrificing himself to protect her — to keep her from overexerting herself to undo the tomb spell — was a breath-taking declaration of love. Actions speak louder than words and Jeremy’s actions say that he is willing to die for her. What girl can resist that kind of chivalry and outright swoon-worthy love? If Jeremy could sweep a 140-year-old vampire such as Anna (Malese Jow) off her feet, Bonnie has no chance. She too will ultimately succumb to that kind of powerful love. After all, Jeremy was willing to be trapped for eternity with a hungry vampire for her. If that does not scream love, then what does?

The third forbidden-love couple of the night was Caroline and Tyler’s growing closeness. With Caroline offering to be there to support him through this painful period of adjustment and his upcoming transformation, Tyler curiously asked her, “Why are you helping me? Why do you care? We’ve never been friends before.” Caroline then thoughtfully responded, “I don’t know. You just seem like you kind of need it. . . I was alone when I turned. I had no control over my body or my urges — and I killed somebody. I don’t want that to happen to you. I don’t want you to be alone.” Caroline may be only acting out of friendship, but the undercurrent of a frisson of chemistry between her and Tyler is palpable. Perhaps it is simply the heat of attraction between a vampire and werewolf, but they are likely to be caught up in that burning passion.

For as Tyler insightfully noted, it is difficult for Caroline and Matt to have a relationship given the barriers and undisclosed reality between them. So as Tyler gently told her, “It’s not really fair to be with someone and not really let them know who you are,” Caroline knew that he was right. No matter how much her heart yearns to be with Matt, it may not be possible. She still poses a threat to him and brings a level of danger into his life that he does not deserve. So for Caroline, it is confusing as Tyler knows exactly what she is and accepts her. Tyler is also drawn to her and not afraid. That is a powerful intoxicant for a young teenage girl who is afraid of rejection.

Not to be left out of the love-fest, kudos to Matt for being a better man by apologizing to Tyler for initiating the fight at Tyler’s house. The look of pain and confusion on his face as he walked away shows that he is haunted by his unwilling participation in a night that ended with the death of a fellow classmate. Matt may not know how horrifically that night has cursed Tyler, but Matt still continues to feel the weight of his actions and how it resulted in an unintended death. It was also nice to see that Matt put aside his issues to go see Caroline at her home and try to make amends. By admitting that he missed her, he was opening himself up to loving her again. It was a brave and beautiful gesture. He also did not immediately back down either once he saw that Tyler was there. Matt may not understand everything that is going on, but he is willing to pursue what he wants and owns up to his mistakes. He is turning out to be quite a man.

Last but not least, it was a pretty funny and cute scene with Alaric (Matt Davis) getting caught in his boxers holding a bowl of ice cream at Elena’s house. After nearly a year of dancing around a relationship with Jenna, it is nice to see that they have progressed to a good point.

Then, after a rather dubious introduction, Luka (Bryton James) and Jonas are actually starting to appear somewhat sympathetic, like they may actually be good guys, and not the automatic bad guys we feared since discovering that Jonas is working with Elijah. Perhaps there are hearts of gold beating in those warlocks after all. Though it still remains to be seen.

What Didn’t Work

How dare they leave us hanging with the Matt-Caroline-Tyler scene as they all stood on Caroline’s front porch?! Surely, they could have given us a few more seconds to see if Tyler left or Matt left first. What is a new vampire to do when torn between the boy she loves and the werewolf who needs her? We are all dying to know!

Plus, if this is the last we are seeing of Rose, what an abrupt goodbye that was. She vanished as soon as she saw Elijah, abandoning the people she claimed to be helping. Her lack of back-bone is making her a rather pathetic vampire.

Finally, while warlocks apparently do not need an invitation to enter someone’s house, it was absurd that Jonas could pilfer so many of Elena’s personal items like she would never miss them. Like she would not notice the picture on her dresser was missing along with several key pieces of jewelry?!

Giving Credit Where Credit Is Due

‘The Sacrifice’ was written by Caroline Dries and directed by Ralph Hemecker. ‘The Vampire Diaries’ stars Paul Wesley, Nina Dobrev, Ian Somerhalder, Steven R. McQueen, Candice Accola, Katerina Graham, Michael Trevino, Zach Roerig, Sara Canning, Matt Davis.

‘The Vampire Diaries’ airs Thursdays at 8 p.m. ET on the CW.

Related article:

http://www.rabiddoll.com/node/1617/the-vampire-diaries-the-sacrifice.html