Oscar 8-Ball: Outlook Does Not Look Good

Watching the Oscars is like going to my grandparents’ house: everything is very formal, you feel like you’re there longer than you should be, and the loudest kids always get the most attention. This year seems to be no exception, as we lumber slow and steady towards the Academy Awards. It’s time to rock out the Vegas odds on winners, losers, and suckers:

Best Picture: For the second year in a row, ten Best Picture nominees clog the category like traffic on the 405. Sure, the thought of giving props to ten films that deserve to be called out as superior is nice enough, but it ends up being a futile gesture, as there really are only four or five films that stand out amidst the ten. This year is no exception.

What Will Win: The King’s Speech – It hurts the cockles of my soul to say it, but The King’s Speech has been gaining all sorts of momentum and heat behind it in the last few weeks. All the more disappointing is that the film has been bred to win awards, a skill on which the Weinsteins could teach a class. Don’t get me wrong – it is a fine film, but it’s the kind of picture that Academy voters gravitate to like a drunk clubber to a street meat cart at 3 a.m. on a Saturday night.

What Should Win: The Social Network – My heart knows and wants this to win, but my head is telling me to STFU. The Academy will most likely ignore this film; the one that people are going to be referencing, talking about and studying for the next 25 years. The one that will be ripped off and lampooned by the Date/Disaster/Superhero Movie douchebags by late summer 2011. The one that achieves a true rarity in feature films: Perfection. Fincher’s style has never been more refined and sharp, while Sorkin’s script is this century’s Citizen Kane. You may see hyperbole in the text, but I couldn’t be more upfront – watch the Orson Welles classic and do the math. It’s the same Greek tragedy. The Social Network is the most brilliant film of the last five years.

Best Actor

Who Will Win: Colin Firth, The King’s Speech – The Academy has a really bad habit of giving consolation awards for fuck ups in years prior. It happened to Russell Crowe when he got robbed of his acting award for The Insider and instead got one the year after for the far less compelling Gladiator. It’s happening again with Colin Firth, who was dizzyingly fantastic in A Single Man, but lost to Jeff Bridges in 2010. The Academy is putting forth its best mea culpa for Firth this year in the form of a statuette, and while it’s a habit that needs to be broken, it’s still better late than never.

Who Should Win: Colin Firth, The King’s Speech – I mean, really. It’s time. Firth has been quietly turning in amazing, nuanced performances for years now, and while in a perfect world an Oscar would be given based on the singular performance and not the body of work, in this case it fits. Jesse Eisenberg, don’t feel bad. We’ve barely scratched the surface of your skill.

Best Actress

Who Will Win: Natalie Portman, Black Swan – She’s got the most buzz and has, like Colin Firth, built an impressive body of work at only 29. Michelle Williams gave the bravest, most soul-baring performance of all the nominees, but it’s Natalie Portman who totally and completely surrendered herself to the character, studying ballet for a year and keeping a razor-sharp focus for the entirety of the production (also, the extra-curricular activity of getting knocked up).

Who Should Win: Natalie Portman, Black Swan – Because we can forgive Anywhere But Here.

Best Actor, Supporting

Who Will Win: Christian Bale, The Fighter – Of the nominees, The Fighter is the film that has probably been seen the most, which instantly gives Bale the edge. Add to that the fact that within twenty seconds of the first scene of The Fighter, you’ve completely forgotten that you’re watching Christian Bale, and it’s clear who is the most committed, most intensely dedicated of the group.

Who Should Win: Christian Bale, The Fighter – Bale is the sole reason to see The Fighter which is, with the exception of his character’s story, a vanilla, predictable sports film that quickly loses steam. Even next to Melissa Leo’s hard-nosed mother character and especially Mark Wahlberg’s bland Boston toughie, Bale is in a league unto himself, eating everyone else’s performances for breakfast. After a quick hit from the crack pipe, of course.

Best Actress, Supporting

Who Will Win: Melissa Leo, The Fighter – Second to Christian Bale, this is the most nuanced and realized performance in the movie. She fits right in with the rest of the family, which speaks more of Leo’s gravitas than it does the non-actors trying to muster up something resembling a passable performance (I’m really not sure why everyone loves the sisters in this movie. They’re so obviously a product of stunt casting it’s kind of silly). It’s also the “biggest” performance of the category, which generally makes it difficult for the Academy to see around. They get easily distracted, you see.

Who Should Win: Hailee Steinfeld, True Grit – I know adults who have seen True Grit who didn’t understand the majority of the period dialogue and colloquialisms that pepper every hot minute of the film, but not only did Hailee Steinfeld have to understand it, she had to perform it and believe it. She had to hit every nuance and inflection that her dialogue suggested and carry with her the strength and confidence of a civil war general. All at the age of fourteen. ‘Nuff said.

Best Director

Who Will Win: David Fincher, The Social Network – Fincher’s last few directorial efforts saw him moving away from stories that are inherently visual and more subtle and realistic in their narrative execution and story. It’s almost as if he was subconsciously challenging himself to figure out how to make two people talking in an empty room look as visually satisfying as the end of Fight Club. The ultimate payoff for his creative tinkering is The Social Network.

Who Should Win: David Fincher, The Social Network – No other film this year is as artistically unique, yet consistent as The Social Network. The picture is a watershed moment for film and the mile marker in Fincher’s career where he stops becoming a fringe genre director and is recognized by the mainstream as a force to be reckoned with.

Best Writing, Original

Who Will Win: David Seidler, The King’s Speech – For all the reasons that The King’s Speech will win Best Picture, it will also win Best Writing. It’s the obvious, predictable choice that the Academy is known for. Besides, it’s really hard to write dialogue that st-st-st-st-stutters.

Who Should Win: Christopher Nolan, Inception – Despite the fact that there was so much exposition it could have been an instruction guide for an LCD TV, despite the fact that the concept was borrowed and re-interpreted from a Scrooge McDuck comic, Inception was still the most original film released this year. In a market of films mined from toys, comics, novels, video games, TV shows, songs, candy bars, underwear, and toilet paper, an original IP like Inception is a welcome breath of fresh air that will hopefully stoke the fires of originality before it’s too late and we end up having to sit through a “Candyland” movie.

Best Writing, Adapted

Who Will Win: Aaron Sorkin, The Social Network – Sorkin took the concept of a movie about the founding of Facebook, something intangible and innocuous, and turned it into a zeitgeist movie for the ages. It’s Pirates of Silicon Valley on cocaine; a rush of articulate, poignant, funny drama that is such a rare gift of perfection that it should be recognized not just as a brilliant script, but as a bar-raiser for screenwriters for years to come.

Who Should Win: Aaron Sorkin, The Social Network – Smartly (and thankfully) Sorkin’s take on college kids is smart, verbose, and thoughtful. So many actors between the ages of 18 and 25 are loathe to find work after success because they are routinely stuck with the same types of roles – high school kids, college kids, sex comedies, unoriginal horror, and the like. Here, we have that same group of actors relishing in scenes that are normally reserved for much older, classically trained actors. It proves that a nineteen-year-old actor is beyond dick and fart jokes if he wants to be; he just needs the script that will enable his talent. We have Aaron Sorkin to thank for hopefully starting this trend.

Don’t miss the 83rd Academy Awards on Sunday, February 27 at 8/7c on ABC

Want to share your take on the nominees and predict the winners? Post a comment!

Real Housewives of Atlanta Reunion Review: Sharks and Cats, Part 2

In The Real Housewives of Atlanta Reunion, Part 2, the sharks weren’t the only ones in waterworks.  As the questions and answers led the ladies to talk about their kids, tears fell, and for Kim Zolciak and NeNe Leakes, the cat claws came back out as Andy Cohen wrapped up his 18-hour reunion with the housemoms – oops, housewives!

Part 2 began on a lighter note with Andy initiating the discussion of sex with the “freak number” of Kandi Burruss. While Kandi had the erotic tips for the ladies during the season, Sheree Whitfield’s freak number was supposedly higher than Kandi’s as Kandi admitted that she was only passing along the tips and she had not tried all of them herself.  In response to a viewer’s question, she laughed out loud and denounced the possibility of her ever playing for the other team, saying that despite her close friendship with Kim, she would never have an intimate relationship with her or any other woman.  Phaedra confessed that the sugar suggestion is “delicious,” and as a married woman, she’ll try various sensual suggestions to keep her marriage fresh.  The entire conversation still repulsed NeNe, however.  NeNe is 43 (Phaedra Parks is 40, which means they would have been in high school together).  If she’s afraid to talk about aphrodisiacs, then we may have a clue as to why she and Greg grew apart.

Andy switched to Sheree’s story when she admitted that she never saw Dr. Tiy-E Muhammad’s transcript from graduate school, although she said she tried. Andy suggested, and Kim co-signed, that Sheree date one of the Falcons.  In the meantime, she’s still acting, and plugged her cameo on The Game, which aired Jan. 25, 2011 on BET.  One of the viewers asked why she keeps making big purchases when her car has been “repossessed.”  She clarified that she had an outstanding bill with her former attorney, and the judge used/took her car to pay the $80,000 outstanding bill.

With the exception of Phaedra, all of the ladies have been single moms.  Andy showed clips of the different ways that each of the ladies interacted, or planned to interact in Phaedra’s case, with their children. “That black parenting,” NeNe jokingly said, warranted her to not be her children’s “friends,” unlike Kim, who has admitted to being her children’s friend as well as mother.  However, word on the street is NeNe’s eldest son, Brice, might be an expectant father; nevertheless, NeNe did not want to discuss his personal business, although she does look forward to being a grandmother one day.  Kandi needed an usher or two when Andy directed the conversation to her and asked about the relationship her daughter, Raleigh, has with her father.  According to Kandi, Raleigh was more affectionate with AJ, Kandi’s late boyfriend, than she is with her natural father.  An emotional Sheree empathized with Kandi and Kim, who both have strained relationships with their kids’ fathers, as she admitted that she found out via text that her children’s father no longer lived in Atlanta and had moved back to L.A.  All of the women lauded and envied the relationship that Cynthia Bailey’s daughter, Noelle, has with her father, Leon.

Next, Andy moved onto the southern belle who commands attention: Phaedra Parks.  While she did not tell everyone else, Phaedra said she did know the due date of her son but chose not to reveal it — not because her mother is a minister, but because at no time during her pregnancy did she feel as if anyone was really concerned with her “as a person.”  Phaedra confessed that due to a negative amniocentesis and problems she and Apollo had had with fertility, she was not sure if the baby would be healthy and did not want their decisions regarding the subject to be on TV.  Did she not know that she would be filming a reality TV show while she was pregnant?  Maybe she should have thought of this before she signed on.  However, as the ladies had deduced earlier in the season, Phaedra admitted that she “might have been” a month and half pregnant before she got married.  I think that was news only to Phaedra.  Everyone else who passed 7^th grade biology and 8^th grade algebra knew that.  As for her better half, Phaedra explicitly revealed, again, that Apollo was convicted of the white collar crime of racketeering, which, according to legal definition, includes a number of illegal activities including bribery, embezzlement, fraud, obstruction of justice, money laundering, and bankruptcy fraud.  Phaedra, always ready to hold her own against NeNe, did admit that she had a problem with how NeNe harped on the fact that Apollo had been convicted of a crime, but after NeNe admitted that she actually liked Apollo, Phaedra dropped it.  Thank God.  Let the drama die down.  Phaedra cleared up the relationship that Apollo had with Sheree’s hair sylist, Lawrence, who is openly gay.  Lawrence’s best friend (who is a woman) and Apollo graduated from high school together, so hopefully that quells the rumors that Apollo is on the DL.

The white-hot elephant in the room: Kim can’t sing. However, when Andy asked the viewer’s question of why none of the ladies would stand up and tell her that, the cameras cut to each of the ladies either looking away or pushing away an invisible piece of lint from her dress.  Phaedra was the first to pipe in and admit that she did not think Kim was a vocalist, but she has some “curb appeal.”  Curb appeal?!  What the devil is curb appeal? Could Phaedra be implying that Kim’s vocal talent only appeals to the lowest members of our society???  Hmmm…

As for the business end of Kim’s music career, Kandi admitted that Kim’s lawyer just got in contact with her lawyer. Therefore, “The Ring Didn’t Mean a Thing” has not yet been released.  According to Kandi, “Tardy for the Party” has possibly earned $80,000 to $100,000.  Kim’s lawyer discouraged and admonished her not to cut Kandi money for the song because that’s not the way things were done.  At that point, Kandi explained through her tears that the principle of how Kim handled a business relationship with her friend is what upset her the most.  A clueless Kim avoided Andy’s question, “Do you think you were more valuable to this process than Kandi?” three times.  Finally, Cynthia cut the tension and provided the comic relief that she’d write a “friend contract” for Kim and Kandi in order to resolve the issue.  However, on a serious note, Andy suggested Phaedra handle the contract.

The notorious bus scene: NeNe got fired up because she doesn’t like “verbal abuse,” and when people start “hitting below the belt.”  She did not like being called “an intern,” or the “F – you, B—!”  Kim said she got fired up when NeNe called Sweetie “a slave.”  Kim and NeNe fought and talked over one another so much that it was too hard and frustrating keeping up with who said what and who was right or wrong, although no one really cared.  It was hard to believe these were two supposedly professional 33 and 43-year-old women at all, much less mothers.

Upcoming:

Sheree: She By Sheree (and possibly He By Sheree per Andy’s suggestion)

Phaedra: planning to purchase a funeral home

Kandi: thinking of getting her own line of sex toys

Cynthia: thinking of opening a modeling school

Kim: wig line is finally here and the baby is coming

NeNe: on the upcoming season of Celebrity Apprentice.

I am so glad this reunion episode and this season is over.  After reviewing the latter half of this season of Real Housewives of Atlanta, I have come to loathe reality TV shows.  Just give me a good ole’ fashioned plot, sub-plot, and some Hollywood or New York characters.

Season 3, Episode 18: Reunion, Part 2 (originally aired February 20, 2011)

Can’t get enough Housewives? Read Inisia Lewis’s recap of this episode.

There’s even more Poptimal coverage of The Real Housewives of Atlanta here.

Images courtesy of Wilford Harewood and Quantrell Colbert for Bravo.

Glee Review: Drinking is SO. MUCH. FUN.

I think this might be my favorite episode yet.  Leave it to Ryan Murphy & Crew to write a show that glamorizes teen substance abuse more than all the MTV’s Skins episodes put together.

How do I love this episode of Glee?  Let me count the ways . .

First, there was Finn’s awesome breakdown to Rachel of the various drunk archetypes.  Such a lesson is necessary after Rachel, in an attempt to live a little so she’ll have something to sing about besides her headband, decides to throw a party, complete with access to Mr. Berry’s liquor cabinet.  All of New Directions is invited, plus Kurt and Darren.  After the plastic red cups are distributed, it’s not long before everyone starts having crazy, weepy drunk fun, prompting Finn’s soliloquy on the inebriated.

There’s the weepy hysterical drunk, demonstrated by Santana; the angry girl drunk, exhibited by Lauren Zizes and Quinn; the girl who turns into a stripper drunk, Brittany; and then Mercedes and Tina, the happy girl drunks.  And then the last one, played by Rachel, the needy girl drunk.  Having at one time or another either partied with, held the hair of, or been one of these types, Finn’s speech rang true.  Upon hearing herself so aptly identified, Rachel takes a moment to remove her tentacles off Finn’s quarterback shoulders and start a game of spin-the-bottle.

Second way I love this episode? Spin the bottle!  It’s about time that Glee embraced this awesome teen show cliche.  I must ask, have you or anyone you know ever actually played spin the bottle?  Growing up watching John Hughes movies, I kept waiting for my spin the bottle rite of passage to arrive, and it never did.  But I grew up in Detroit; maybe it’s a white suburban thing?

Anyways, following a Brittany/Sam kiss, which is done despite Santana’s proclamation that she owns Sam’s “guppy mouth,” Rachel gets to kiss Darren.  Sparks fly, prompting a next-day sober Rachel to ask Darren out, much to Kurt’s dismay, who later warns her that Darren is “the first of a long line of conflicted men that you will date that will later turn out to be only the most flaming of homosexuals.”  Our determined musical theater ingenue decides to employ the ultimate gaydar — a surprise, sober kiss.

Third way I love this episode?  The performances were among my favorites.  First, there’s Rachel and Darren’s “Don’t You Want Me,” following their spin-the-bottle kiss, punctuated by reaction shots of everyone else at the party.  Well, really only Mercedes, whose goofy grin and lip syncing were priceless.  Everyone else was making out (except, surprisingly, Finn and Quinn.  Perhaps they know how annoying their names are together?) Not even Rachel’s inexplicable party wear (which I believe was last seen on Megan Follows on 1985′s CBC “Anne of Green Gables”) could take away the fun of this duet.

And then there was “Blame It On the Alcohol,” a song I’ve never really liked due to my general distaste for Jamie Foxx when he’s not playing real people.  Despite this episode’s title, I did not see this number coming, and it was a great discovery.  Buoyed by Bloody Marys, Artie, Puck, and Mercedes took the lead, and Mercedes and Puck in particular did some convincing hip hop vocals.  But seriously, how did Will not notice they were all drunk?

And what about Brittany’s killer performance of “Tik Tok” during McKinley’s Alcohol Awareness Week Assembly?  Maybe it was all the hair being tossed about, but I couldn’t take my eyes off of Heather Morris here.  I think she does a better job of “KeyDollarSignHa” than Ke$ha, who, as Brittany put it backstage, has been a “cultural icon for weeks.”

Last on this list is Will and Bieste’s duet of “One Bourbon, One Scotch, One Beer” which, while definitely describing my favorite Friday night snack at age 23, was the only number I didn’t want to rewind.  An accompanying Will/Bieste dance number would’ve done them good.

Fourth way?  “Santanny” and “Artcedes,” monikers used by Santana to describe who was on the line during a call to Puck.

Fifth way I I loved this episode?  Darren’s hangover post-party, and subsequent sleepover at Kurt’s, gave this show another awesome opportunity to showcase Burt Hummel.  I didn’t blame Kurt’s Dad one bit for being uncomfortable with impromptu sleepovers with potential sex partners.  I mean, duh.  But then the show took it a step further – when Burt said that he didn’t know what two guys do when they’re “together,” Kurt suggests that maybe he do some research, in case Kurt later has questions, as any son would.  A great exchange between these two.

Sixth way?  The sly dirty joke of Brittany sitting on the washing machine at Rachel’s party.  Ryan Murphy is really at his best when he lets his subversive freak flag fly.

I suppose I could deduct points for 1) Rachel’s cocktail of brandy, vermouth, port wine, scotch, Kool-Aid, and crumbled up Oreos and 2) the subsequent projectile vomiting of said cocktail by Brittany and Santana (of everyone, I totally would’ve thought these two would be the ones to handle their liquor).  Or 3) how Sue’s role in this episode was small and a bit tacked-on.  Yeah, I know she’s trying to make Will’s life miserable, but the sudden impromptu designation of alcoholic was totally random and clearly written to fit her into an otherwise cohesive episode. Sure, Will’s drunk dial was funny, but not really necessary.  But maybe I’m nitpicking?

Actually, if any points are to be taken away, it’s for the ending of the episode, with New Directions and Will signing a pledge to not drink until after Nationals, after their humiliating, near-Glee-ending Assembly performance.  I mean, I love drunk Glee.  But Will does bring up the excellent point that underage drinking is illegal.  He doesn’t add that if you wait, drinking is just that much more special later on.  (Maybe drinking can be the new virginity!)

And those are the ways I loved this episode of Glee.  Oh, I forgot to mention, that at the end of the episode, Rachel and Darren kiss.  Surprising absolutely no one, Darren’s sooooooo gay.

So what did y’all think?  Totally socially irresponsible episode? Or all in good, honest fun?  Was Sue necessary to advance the plot?   How awesome was Bieste lip-syncing to Ke$ha?  And shouldn’t Will and Bieste have line danced? Leave your opinions below!

For another opinion, read “Rachel Berry House Party Trainwreck Extravaganza” by Inisia Lewis.

Season 2, Episode 14: Blame It On The Alcohol (originally aired February 22, 2011)

Tuesdays at 8pm on Fox

Photographs courtesy of Fox and IMDb Pro.

I Am Number Four Review: Predictable, Yet Entertaining

When I saw the trailer for I Am Number Four, I was hooked immediately.  It reeled me in with the hint of suspense and the promise of  great special effects.  Was this guy a mutant like the X-Men, does he have “super powers,” what’s going on?  I was intrigued by the little I knew of the plot: someone or something is hunting this kid and those like him.  Three have been killed already, and he is number four.  Break out the popcorn, I’m ready.

Number Four (played by gorgeous newcomer Alex Pettyfer) is “John,” a young man from another planet who travels from city to city with his guardian Henri (Timothy Olyphant, A Perfect Getaway) as they dodge evil aliens known as “Mogadorians.” The Mogadorians have driven them from their home planet of Lorien and destroyed their people.  The movie’s strength is not in the back-story, which is muddled and somewhat unoriginal.  That’s ok, I’m not nitpicking; but the concept of evil aliens who have destroyed an entire people and/or home planet is nothing new, whether it’s been done in Transformers or Superman.  Perhaps I’d appreciate the back-story more if I’d been able to read the book on which the movie is based, because something felt lost in the adaptation.  The writers seemed to be making it up as they went along, maybe because they spilled out the details all at once and it just seemed contrived.  Luckily for them, what happens in the present is more important than what happened in our characters’ past.

The movie opens with John and Henri having to leave town after John’s secret identity is revealed.  His supernatural abilities include otherworldly agility, strength, and speed.  He also seems to have a blue light force within, somewhat reminiscent of Gambit from X-Men.  Every time one of his nine remaining brethren is killed he knows intuitively, and that means he is one step closer to being killed himself, as they are being hunted in order.  When another Lorien is killed, a symbol becomes painfully etched on his leg, one for each death.  When he gets his third brand, he knows that Number Three is dead, and since the secret is out that John isn’t “normal,” he and Henri must find a new town and new identities.  They arrive in the ironically named town of Paradise, Ohio and try to blend in without raising any suspicion.  Meanwhile, the Mogadorians are tracking their scent and will not rest until the six remaining Loriens have been eliminated.

When they settle in their new town, things are somewhat predictable, from a cinematic standpoint.  John is the proverbial fish out of water, The New Kid.  Then there is The Bully, who of course has beef with John because of The Girl, a popular and pretty blonde named Sarah.  This all looks familiar, but again – I don’t mind because Number Four is endearing and unassuming and I’m rooting for him.  Actress Dianna Agron (Glee) ably portrays Sarah as a calming new presence in John’s life, providing respite from the danger and solitude he usually deals with.  Making matters more interesting is the fact that another from Lorien is following him, along with the Mogadorians.  Eventually this stranger meets up with John, revealing that she is Number Six.  Her powers are similar to John’s, but a little different.  John has powers of tele-kinesis, while Number Six can resist flame, among other things.  Together they have a final showdown against the Mogadorians, as they try to save not only the residents of Paradise, but all of humanity.

I could see how some would dislike this movie.  There are better movies of this same type that have been done before; but I was entertained throughout, and I didn’t have many expectations beyond that.  Pettyfer in this role reminded me of Hayden Christensen’s turn in Jumper, which was similarly flawed but entertaining.  I Am Number Four set audiences up nicely for a sequel, and I enjoyed the special effects and action sequences as Number Four and Number Six battled it out.  If you like this genre, you won’t be disappointed.  I give it a solid B.

Images courtesy of IMDBPro.

The Amazing Race Review: Why Are We Doing This Again?

Season 18 of The Amazing Race aptly titled “Unfinished Business,” feels more like a patchwork quilt of the show’s previous seasons as “All-Star” contestants who failed to nab the million dollar prize in their respective years come together for one last hurray. And like the makings of a quilt in my oh-so-capable sewer’s hands, this season starts off disjointed, moves on to just awkward, and overall fails to keep you warm.

The eleven teams on this season of The Amazing Race are as follows: Amanda and Kris, engaged couple who lost their chance at winning Race at a U-turn in Siberia. Margie and Luke, the team that U-turned them are also here so this should prove to be interesting. I’m hoping somewhere down the line they’ll smack each other with frozen fish, but I’m not really holding out for it. Kent and Vyxsin are a dating Goth couple who self-destructed in the middle of the race; Jamie and Cara are NFL cheerleaders who missed out in the final challenge in Hawaii. Father/child team Mel and Mike and Gary and Mallory both found their exit points on the wrong side of a map, so I suspect getting lost this season is probably a recurring nightmare. Speaking of nightmares, Zev and Justin, best friends, are trying to make up for their lost passport debacle that got them kicked off last time. Father/daughter team Ron and Christina stumbled at the road block and brothers Jet and Cord were edged out of the competition when another team cut in front of them. And finally there’s Lakisha and Jennifer and Flight Time and Big Easy, who both encountered problems at the pit stop; the sisters took an unaccounted pee break that ended their run and the Globetrotters ran into a penalty for skipping a road block.

As a general rule, I don’t like All-Star editions, just because: 1) it confuses me; it’s a mixing bowl of all the seasons I’ve already watched, chopped into pieces and glued together. No, Flight Time does not belong in the same season as Kent/Vyxsin. 2) The “star” power of the contestants seems questionable when they’re all thrown together (for nothing, can I recall Amanda/Kris, although I’m pretty sure I didn’t like them), and you start to wonder “Why does this season even matter?” I’ve personally never really cared what happened to teams after The Amazing Race, and would have welcomed the opportunity to meet 22 new people I’d TV-stalk for 14 weeks and then never think of again. But that’s just me personally; obviously someone, somewhere wanted to see this. So, here we are.

The teams start off in Palm Springs, California where host Phil Keoghan greets them with the reminder that there’s “not a winner among any of you.” Great words of inspiration and as they contemplate the fact that most of them will end up two times a loser, Phil welcomes them back to the 12-leg race for a million dollars. And while all the contestants have intimate knowledge of the race, this season, Phil says, will be very different from anything they’ve done before. We also welcome back the express pass; granted to the winner of the first leg of the race the express pass will give the team the right to skip any task they don’t want to complete. This pass could be a game changer for any team who find themselves lagging behind.

As always, the teams have to work for their first clue as Phil tells them in order to begin the race they will have to search through a field of signs for the name of the airline that flies to Australia. The first eight teams to find the correct clue will be on the first flight into Queensland, Australia while the remaining three teams will be on the second flight landing 90 minutes later. For added incentive, Phil tells the teams that the last team to hand him the correct clue will receive an automatic U-turn. Ron and Christina figure out pretty quickly that the airline is Quantas airlines and they are on the flight along with Mel/Mike, Zev/Justin, and Jet/Cord… honestly it would be easier to say who’s not on the flight so, the three teams who are on the second flight are Lakisha/Jen, Gary/Mallory and Amanda/Kris who were the last ones to get the clue and have that future U-turn to look forward to. Because of a sick passenger on the first flight, eight teams have to wait out an emergency landing which switches it up as the second flight arrives to Queensland first and the first plane arrives last putting the eight teams in a race for last. Some teams don’t take this well, but I’m impressed with Big Easy’s show of compassion as he says that the most important thing is that the person is fine. It would have been so easy to gripe about the loss of time, but Big Easy’s bigger than that. No pun intended.

In Queensland, the teams take a ferry to Ocean World and must find a compass to decipher a message written in flags. Now, this is a super long message written in like a hundred flags so the fact that most teams seem to get it right is an accomplishment worthy of attention. Gary/Mallory are the first to make it through. Lakisha and Amanda struggle then decide to work together and successfully figure it out. Margie and the cheerleaders decide to work together as well, they’re used to working together after their season and this partnership seems natural to them. Unfortunately, it’s not fruitful this time as they get the wrong clue and have to try over again. Luckily, they meet help in the form of Ron/Christina and Mel/Mike who tell them the clue in exchange for leading them to the next stop. Mel/Margie pay it forward by helping Kent/Vyxsin with the clue; but that’s just because they want the weaker team to continue so they can beat them later on in the race. The Globetrotters get help from Zev and Justin, who they worked with on their season of Race. After a while Jet/Cord are the lone team left deciphering the flags, and at the end of the episode, while the other teams have checked in, they still haven’t managed to figure it out.

Here are the rankings:
1. Gary/Mallory, winning the easy pass
2. Amanda/Kris
3. Lakisha/Jen
4. Zev/Justin
5. Flight Time/Big Easy
6. Jamie/Cara
7. Margie/Luke
8. Ron/Christina
9. Mel/Mike
10. Kent/Vyxsin

As I said, Jet/Cord hadn’t managed to figure out the clue at the end of the episode. Their fate will be known next week although since they weren’t kicked off this week, I HIGHLY doubt that they’ll be kicked off at the beginning of next week. The teams that have checked into the pit stop were met with the unwelcome news that this leg of the race is not yet over. Phil gave each of them their next clue and the instruction to keep on running…

Next week, will the cowboys be sent packing? Will another turn at the Race be too much for one contestant? Answers: no and probably not.

Season 18, Episode 1: “Head Down and Hold On” (original airdate February 20, 2011.)

The Amazing Race airs Sundays at 8 p.m. on CBS.

Photos courtesy of Robert Voets and CBS.

Californication Review: The Recused

“That wasn’t sex. That was naked poetry,” Hank opines in jest after a roll in the hay with Abby, but he may as well be referring to “The Recused,” the strongest episode to date in the season four canon of Californication. Hank and Abby lay in bed, quite satisfied with themselves, but Abby is quick to recuse herself from Hank’s case, given the fact they’ve just conceived of a serious conflict of interest. Hank of course wants the best of both worlds, but Abby insists they have to choose, particularly because of the way she feels about him. Her mini-revelation does not make Hank pull back; in fact, he presses forward, wanting her just as much. It takes a serious, strong woman to stir Hank’s emotions and of all the women who have given Hank pause throughout the series, Carla Gugino’s Abby Rhodes is the most believable. Thankfully she is not just another mile-marker on Hank’s Road Map of Conquest, but a potential rival to Karen, even though we know deep down inside there will never really be such a thing.

Hank pays Karen (Natascha McElhone) a surprise visit at their old apartment that morning, where he finds Ben (Michael Ealy) lying in wait, causing him to immediately draw his own conclusions and insist he has “squatters rights over [Karen’s] vagina.” This scene, exploding with verbal tete-a-tetes, is funnier, better performed, and smarter than any previous episode in its entirety this season to date. It distills Californication down to its purest, uncut form and unapologetically reminds us why it’s such a great show. After getting unceremoniously ousted out of his old digs, he makes his way to the law firm to meet with his potential new representation, Lloyd Allan Phillips, Jr. (Alan Dale). Hank quickly nicknames him “The Fissure King” for reasons I’m sure you can piece together, and the threesome venture out to a golf excursion in the hopes of getting better acquainted with Lloyd. Instead, Hank’s mettle is tested by a buffoonish golfing wardrobe that is thrust upon him by the country club.

While Hank plays attorney round-robin, Stu and Marcy approach Charlie with a less-than-indecent proposal: a TV series based on Marcy’s celebrity waxing exploits. Charlie warms to the idea and in no time, the threesome is off to a pitch at (of course) Showtime. Back at the country club, a different threesome is taking care of business down at the links — Abby and Lloyd more so than Hank. The poor guy is completely out of his element, covered head-to-toe in clown-like golf clothes, and missing swings only to ask for “Houlihans.” Hank’s behavior is in reaction only to Lloyd, who is as dry and unforgiving as a sand trap. Tensions begin to rise as Hank’s complete lack of respect for golf rubs raw Lloyd’s utmost respect for the game, which spells the beginning of the end of their relationship. At Showtime headquarters, Stu and Marcy plan their pitch attack while Charlie calmly thumbs through a Hollywood Reporter. Stu is going through his ritual of indigestion and IBS, but is confident they have a winning show. Inside the conference room, Stu kicks off the pitch admirably, but his stomach gets the best of him and he quickly retreats to the restroom, passing the reins to Marcy.  A pro with the business end of Nicole Kidman, but lacking any experience in The Business proper, Marcy tries but fumbles the ball. Swallowing his pride, Charlie steps up and keeps the meeting alive and quickly has the room eating out of his hand.

Back on the golf course, Lloyd has had enough of Hank and he chases him down across the fairway, when the two of them ultimately tumble into a sand trap and wrestle before Abby finally breaks up the “fight.” Lloyd snaps out of his rage blackout and the two agree the relationship will never work. Hank wants Abby back as his representation, and she obliges. That night, they return to Chateau Marmont for one last night together before legalities consume their extra-curricular activities. The two really do like each other very much and they both agree to leave the door open to whatever might be after the trial. While a potential relationship hangs over Hank, it will always come second to his family, whom he greets at a small coffee house where Queens of Dogtown performs a brief acoustic set. Hank and Ben call a shaky truce, but Ben warns that he won’t stop trying for Karen. “If you did, you wouldn’t be good enough for her,” Hank jabs. But it’s true.

“The Recused” is an example of the very best that Californication has to offer. It is almost overwhelmingly hilarious and smart and draws the best out of its characters. Alan Dale is a welcome addition to the cast and will hopefully be around in future episodes, despite the quickness of his departure from the main story arc. Showrunner Tom Kapinos is at the top of his game, turning in a tight, funny script that rivals thirty minutes of any comedy film in theaters now. While the front end of the season seemed to quickly plateau, the last two episodes have pushed Californication to newer highs for Season 4, keeping expectations equally high for another solid year of television.

Season 4, Episode 7: “The Recused” (originally aired February 20, 2011)

Sink to Hank Moody’s level and catch Californication Sundays at 9ET/PT on Showtime.

Images courtesy of Jordin Althaus and Showtime

Chuck Review: Chuck vs. The Plot Development

Because straightforward recaps of generic drama-advancing emotion/extended horseback riding sequences (seriously, what was that?) is going to send me right back to the cold medicine, this week I give you a list of pros and cons, in alternating form:

Pro

Think of the plot developments after the last few standalone episodes! Vivian’s (Lauren Cohan) new awareness of/involvement in the shady side of Volkoff Industries; Morgan’s moving out; Sarah and Chuck didn’t pointlessly fight about their personal lives on the mission. Do I detect a hint of thematic unity?

Con

Those horseback riding scenes. Seriously. I half expected Shahrukh Khan to come riding out of the woods, shirt billowing in the wind.

Pro

Morgan is moving out.

Con

Why has Morgan been living with an engaged couple for a year? I feel like his relationship with Chuck is one we get told about a lot but the depth of their bond is never demonstrated beyond brief scenes of “I really care about you, man.” More often that not Morgan just comes across as weirdly fixated on Chuck, so this move feels less like a sad farewell to bromance and more like a long-overdue flight from the nest.

Pro

Casey had some lines! And a damn-near substantive plotline! Also, his face on walking into the living room was damn near priceless.

Con

Sexual energy rituals between Alex and Morgan? No. Just no. Ellie and Awesome haven’t had much to do ever since Chuck moved out, and this week’s plot (it’s hard to sleep with a newborn baby!) was no exception. We will, as per this column’s policy, not be mentioning any Jeff and Lester appearances this week

I know I’ve been fairly hard on this season, but I’m certainly not the only one.  At least there’s Archer for my spy-related entertainment.

For another opinion on this episode: Chuck Versus The V-Bomb by Desiree Neall.

Season 4, Episode 16: Chuck versus The Masquerade (original air date February 21, 2011)

Mondays at 8/7C on NBC

Images courtesy of Byron Cohen/NBC

Chuck Review: Chuck Versus The V-Bomb

It was double V-day on this week’s episode of Chuck. Double “V” meaning Valentine’s Day and Volkoff. Just when I thought both subjects had been done to death, they find a way to bring them both back up. I assumed the last two episodes prior were Valentine references but, I guess I was wrong as the show starts out with Chuck and Morgan’s elaborate schemes to woo their honeys with V-day activities at home. This does not go according to plan (surprise, surprise!).

In Chuck, you can never just have love in the air and have the rest of the free world be at ease. The dangerous Russian, Boris Kaminsky (David Lee), is on the hunt for a “key” that once belonged to Volkoff and has killed everyone close to the arms dealer who could have the piece, or just anyone with information to surrender it seems. The trail leads to a mysterious woman named Vivian, believed to be the successor to Volkoff Industries, and the team is off to England to bring her back to the Castle. The rest of Valentine’s Day is cancelled. It wasn’t a bad episode at all, I have to say, but it can be summed up pretty easily. As it turns out, Vivian (Lauren Cohan) is Alexei Volkoff’s daughter and all this time she’s had no clue that her father was the crazy man everyone’s painted him as. Actually, it was a surprising twist. I admit that I didn’t see that one coming, so good job, Chuck!

As the crazy Volkoff family saga unfolds, Morgan decides to develop a “poor me” complex and says it’s time to move on and move out of Chuck and Sarah’s love nest due to feeling like a constant third wheel. Chuck makes it overly clear that he wants Morgan to stay. Morgan is after all Chuck’s Chewy to his Han Solo, so to speak, and what good would Han be without his right-hand man? We’re left at the end of the episode not knowing whether Morgan will ultimately stay though.

In an attempt to keep Ellie and Devon’s less exciting storyline chugging along, we’re shown the hardships of becoming first time parents to a shrieking infant. It’s mostly the two of them walking around disheveled and staring at each other with the “what have we done?!” look periodically throughout the episode. Casey has a small side story, as well, where another agent, Jane (Robin Givens) tries to convince Casey to leave his team and reach his full potential with her own crew. I’m not really sure what she’s up to, but I’m keeping my eye on her…

Getting back to the main storyline, Vivian offers herself up as bait to lure Boris in and it turns out she has more Volkoff in her than she thought when she blows Boris away with a shotgun all by herself. The key that he was searching for turns out to be a charm that Vivian wears around her neck that her father gave her as a child. Now that a vacant Volkoff Industries belongs to her, she takes the charm/key to the building and plugs it into a statue on Volkoff’s desk which then opens a mysterious door….or window…or something with a lot of light coming from it. They never really show you at the end but more than likely it’s what Boris had been searching for. So we’re left with a major cliffhanger here. I have a feeling Vivian is not as innocent as she wants everyone to believe and it’s definitely not the last we’re going to hear from Volkoff Industries. Nice job, Chuck, on having some substance this week- now let’s keep the momentum going!

 

For opinion on the episode: Chuck vs. The Plot Development by Mallory Ellis

Season 4, Episode 16: Chuck versus The Masquerade (original air date February 21, 2011)

Mondays at 8/7C on NBC

Images courtesy of Byron Cohen/NBC

Gossip Girl Review: Friends are the Best Accessories

The theme of this week’s episode is Too Much Screentime for Lame Characters.

For some reason they feel the need to continue working with the Eric (Connor Paolo) and Damien (Kevin Zegers) blackmail in exchange for running drugs story, even though I couldn’t care less if Damien killed Eric, dumped him in the East River, and left town with a gaggle of Russian hookers never to be heard from again.

This week Eric confides his brilliant decision to tell Damien about their mother’s part in Ben’s imprisonment, as well as his plans to do this one last job in order to get out from under his thumb. Serena (Blake Lively) suggests they run the situation by Blair before making any decisions.

Blair (Leighton Meester) is having a hard enough time keeping up with her own commitments. According to S, Blair’s been sleeping less than 3 hours a night while trying to juggle school and her new job at W. Since she learned Chuck’s feelings for Raina (Tika Sumpter) were real, she’s feeling the pressure to establish herself and get back to Chuck (Ed Westwick) before she loses him for good. She’s taken on too much, though, and instead of succeeding at one thing she’s failing at everything. Gifts are mixed up, she fails a test because her minions turn it in for the wrong class, she forgets to post a blog on schedule, and her plan to help S and Eric with the whole drug delivery is screwed up. She’s even forced to ask Dan (Penn Badgley) for help as a “peer and not as an underling.”

Lily (Kelly Rutherford), Rufus (Matthew Settle), and Chuck are embroiled in yet another scheme to foil Russell Thorpe’s takeover of Bass Industries. Chuck and Lily play out a fake argument in front of him at a restaurant, reinforcing his belief that he’s managed to drive a wedge between Chuck and his support system. Later Lily distracts Russell (Michael Boatman) with her old stand by of extra marital flirtation while Chuck breaks into Thorpe’s office to find out who is backing the takeover of his father’s company. Once he has the information, Chuck invites the man to hear his side of the story, which includes the belief that breaking up Bass Industries is not the most profitable route to take. The exchange of information goes down at Eric’s birthday party, and even when Thorpe realizes he’s been played he can’t convince his financial partner to ignore Chuck’s claims. Score one for our side, but I doubt this is going to be the end of the Bass/Thorpe battle for NYC dominance.

Raina is also kept busy by one of Chuck’s schemes, but it looks like this one might backfire. He talks Nate (Chace Crawford) into keeping her busy, but he does his job a bit too well. They spend the day together relaxing, having fun, and letting the daddy’s girl just do what she wants for once. The idea of a life like that (with a boy like Nate) seems to appeal to her, and Chuck may have shot himself in the foot by showing her what relationships can be like when they’re not rooted in competition. Poor Nate looks like he’s finally going to get a storyline, but it’s nothing more than another romance. He’s good for nothing except being pretty and giving up the sex.

Serena and Ben (David Call) are forced to face the elephant in the room – her mother – when S is willing to help get rid of Damien in order to keep her secret. She’s caught in a tough place, but it’s one she puts herself in time after time and she never learns. Ben threatens Damien at the end of the episode, getting the Van Der Woodsen/ Humphrey blackmail payment back with a threatening reminder that what he did to the Captain (Sam Robards) in prison could be arranged just as easily outside the prison if Damien doesn’t leave Serena and her family alone. Damien returns the check, but goes immediately to Russell Thorpe to hatch a new scheme.

Oh yeah. The unfortunate march of characters I don’t care about continues with the appearance of Vanessa (Jessica Szohr), who comes back to try to apologize to Serena and Dan but ends up overhearing what Ben did to Nate’s father in prison instead. She tries to rat him out to S, but the call is ignored because S and Ben are getting it on. Oops. Too late.

Blair ends up fired from W, not because they think she’s not capable of the job but because she’s not able to do it well while she still has so many other obligations. She winds up in Brooklyn, thanks Dan for all of his help, and stays for pizza and a movie. This time they watch The Philadelphia Story (one of my all time favorites), and the line that plays as she falls asleep on his shoulder is, “you’re the worst kind of snob, an intellectual snob.” So perfectly descriptive of Dan and Blair’s budding…friendship? More?

It looks like this storyline is going to continue next week, and maybe it’s going to be Chuck’s turn to feel pain as he watches Blair start to care for someone new. We’ll just have to wait and see.

XOXO.

Season 4, Episode 16 “While You Weren’t Sleeping” (original air date February 21, 2011)

Gossip Girl airs Monday nights at 9/8c on The CW.

Photos courtesy of Giovanni Rufino and The CW

Being Human Review: Nina/Nora Can Stay

Last night’s episode of Being Human, “It Takes Two to Make a Thing Go Wrong”, continued the path of retreading ground. While I enjoy the way the creators have incorporated the familiar plots, I was excited to see the return of Josh’s sister, his first date with Nora, and a new potential ghost friend for Sally.

This week’s philosophical Aidan (Sam Witwer) voiceover explores the question of what separates human from monster, as we see Josh (Sam Huntington) being followed by a suited figure and Rebecca (Sarah Allen) filming an intimate encounter with a victim.

Danny (Gianpaolo Venuta) throws Sally’s (Meaghan Rath) engagement ring out into the water, which mysteriously leads to the ring falling back down the stairs to Sally in the apartment. Sally and Aidan discuss how it’s possible she can touch the ring and how it got there, a question to which neither has the answer.

Josh enters the kitchen, ready for a big day, and fields remarks from his roommates about a new shirt and cologne while Aidan gets a mysterious DVD in the mail. Turns out it’s Rebecca’s aforementioned vampire snuff film. As Sally and Josh quickly go from intrigued to disgusted, Aidan’s eyes darken, revealing his inner shark. They question the nature of the video and if this is something vampires do to excite each other, but Aidan denies being into it. When left alone, he rewinds and watches the video again.

At the hospital, Josh and Nora (Kristen Hager) go through some small talk in an awkward, flirty manner. He manages to ask her out and she agrees to eat with him sometime. Aidan heads to the funeral home where Rebecca waits with Marcus. They offer to destroy the DVD if Aidan gives it back, but he hasn’t got it with him. Back at the hospital, Josh and Aidan discuss whether Nora’s agreement is actually a date, Aidan showing surprise that Nora’s even speaking to Josh. Josh’s sister Emily interrupts in tears. She tells them she and Jackie broke up and that she’s basically homeless and needs to stay with them.

At the apartment, Sally plays with the ring and manages to open the door when Danny arrives. He’s there to fix the sink, but Aidan attacks him while Sally watches, telling him to “Make it hurt.”

It’s all just a fantasy sequence. Really Sally shakes the house, as disgruntled spirits do, and flashes the lights. Josh and Aidan rush in front of Emily to de-monster the fridge and the rest of the house. They try to calm an excited Sally down, but Emily seems unphased by the shaking apartment, which Josh writes off as a passing train.

During bonding time on the porch, Emily remarks how hot Aidan is and starts asking Josh about his life and if he’s doing okay. She lets slip that she’s told their parents she’s seen him. She tells him they’re worried and didn’t even know if he was alive. Josh tells her about the Nora situation. Emily goes inside to get more beer when Josh notices a man in a suit watching him from the building across the street.

The next morning, Sally’s watching Emily have breakfast and having a one-sided conversation about their problems. Meaghan Rath really brings out the humor for Sally in these moments, managing to deliver on both ends of the conversation with herself. Aidan comes downstairs and tries to talk to Sally about letting go of the ring in hopes of moving on, trying to convince her she’s fixating on it unconsciously. She starts to let on just how interested she is in revenge when she teleports out and over to Danny’s, dropping the ring on the counter in front of him.

In the hospital cafeteria, Josh ambushes Nora and tries awkwardly to bring up the potential date while paying for her coffee. He invites her over for dinner later that night. Back at Danny’s, Bridget (Angela Galuppo) comes home and finds him out of sorts, accusing her of planting Sally’s ring.

In his bedroom, Aidan watches Rebecca’s video again on his laptop, slowing it down to moments of her human face. Sally pops in and interrupts, confessing her deep satisfaction over messing with Danny and her ring. Aidan warns her he doesn’t want to see her get too caught up in revenge. Sally asks him if he’s in love with Rebecca, whom she casually refers to as Elvira. He says he feels responsible for her.

Later that evening, Josh comes home with food and flowers. Emily has finished a bottle of vodka, while Sally and Aidan keep mostly to themselves. He suggests they go out and tells them Nora’s on her way over for a date. Aidan offers to take Emily out for the night. A drunken Emily rushes to the door to let Nora in, followed closely by Sally. Sally makes some off the cuff compliments about Nora and Emily offers her a vodka shot, which she accepts.

Emily and Aidan head to a bar, followed by Sally who had to teleport her way over. Sally ends up running into another ghost, a young woman who died of an aneurysm named Lindsey. Sally tells her about Danny, and Lindsey seems to be up for a little revenge.

Rebecca shows up and catches both Aidan’s and Emily’s attention. Emily heads out to leave them alone. Rebecca tells Aidan the vampires sent him the DVD because they think she affects him, and admits she spends her time trying to get over him too.

Back at home, Nora’s eating dessert on the couch with Josh, who accidentally drops the ex-fiancée bomb. She asks what happened and he gives her the CliffsNotes version, prompting her to inform him he answers questions like an escaped convict - mysterious and without much detail. Josh and Nora are cleaning up when he tells her, in a moment of too subtle but not entirely unsatisfying revelation, how he met Aidan, leading her to kiss him.

Back at the bar, Rebecca admits she’s afraid to go against Bishop (Mark Pellegrino). Marcus is also at the bar, and follows Emily outside into the alley.

Lindsey says stalking Bill, the guy she left behind, has filled the two decades of her ghostly existence. She shows Sally how she haunts him nightly, telling her she can make him think things are happening that aren’t. She tells Sally being a ghost is boring, but being a poltergeist is seriously where it’s at. Sally asks her about her door, which she’s never heard of, and Lindsey tells her she’s got to go take care of Bill.

Josh and Nora make out in the kitchen until the doorbell interrupts. It’s Bridget, come to return Sally’s ring, referring to Josh as “the boyfriend.” I honestly thought there would’ve been more gay roommate jokes at this point, but they’ve kept it tasteful in that department. Sally starts to lose control, shaking the house again, especially after she spots a bruise on Bridget’s arm where Danny grabbed her earlier.

Rebecca and Aidan are making out in the alley, but Aiden breaks it off when he realizes he’s lost Emily. Rebecca’s not taking no for an answer, but Aidan’s staying the course, trying to avoid her slutty vampire temptation.

Back at the apartment, Nora gets ready to leave for the night when a bloody Emily stumbles in. Nora and Josh rush her to the hospital while Sally watches from the stairs. Aidan gets home and can smell the blood, running at vamp speed once Sally tells him what happened.

It looks like dating is just as complicated for the members of the paranormal community. Aidan can’t seem to keep all his impulses in check and lets Emily get jumped, presumably, outside the bar while he’s fooling around with Rebecca. Even Josh, who gets to explore more than just his depressed side in this episode, can’t finish a good date on a high note.

I know I’ve said in the past how happy I’ve been with the translation of storylines from original to remake, but I’m actually quite excited to see some solid new ground laid next week with a visit from Josh’s family. I’m wondering just how explosive a werewolf bomb he’ll drop…and who might actually believe him.

Season 1, Episode 6 “It Takes Two to Make a Thing Go Wrong” (original air date Feb. 21, 2011)

Being Human airs Mondays at 9/8c on Syfy.

Images courtesy of Phillipe Bosse and SyFy.

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