And the culling of Boardwalk Empire's cast continues.

Following three major deaths in its second season, Boardwalk Empire has cut another character in the infamous Lucy Danziger, according to TVLine. When we last saw Nucky's former mistress, she had given birth to Agent Van Alden's child after a one night stand, an event that found the young woman lonely, confused, and increasingly claustrophobic in her tiny apartment. Toward the middle of the season, Lucy went on a formula run and never came back, leaving her child (later named Abigail) with Van Alden (joined later by a young nanny).

Model/actress Paz de la Huerta has made a name for herself with her erratic off-screen behavior, including having a drunken night immortalized in a Lana del Rey video. She's previously appeared in the likes of A Walk to Remember, Choke, and episodes of The Practice, X Femmes, and Law & Order.

Boardwalk Empire may not have picked up de la Huerta's contract option for a third season, but they've already been adding new characters to the scenic Atlantic City landscape. Notably, Tony nominee Bobby Canavale will be joining season three as a new rival to Nucky, but I wouldn't be surprised if at least one or two more additions are made between now and fall.

The show recently picked up two SAG Awards, repeating its wins last year for Outstanding Performance by an Ensemble in a Drama Series and Outstanding Performance by a Male Actor in a Drama Series for leading man Steve Buscemi.

Boardwalk Empire returns for its third season this fall. Season one recently came out on DVD, with season two currently available for pre-order.

Are you sad to see Lucy get written out? Do you think Boardwalk Empire should get rid of any more characters? Did the end of season 2 make you more excited for season 3?

Boardwalk Empire: Paz de la Huerta Not Returning

Luck races out its series premiere on HBO tonight, from Deadwood creator David Milch and acclaimed director /executive producer Michael Mann, starring Dustin Hoffman as the newly-released from prison Chester "Aces" Bernstein.  With its incredible acclaim, Luck has all the potential to be HBO's next great drama so long as audiences can get through its difficult pilot.

I’ve been through a lot of other reviews of HBO’s new horse-racing drama Luck, trying to organize my thoughts and put together something coherent to say.  Most of the critical consensus seems to be that Luck presents an incredibly rich, and dense character drama for creator David Milch and executive producer/ director Michael Mann, albeit one that might be difficult to grasp.  HBO had the foresight of sending out at least nine episodes, perhaps the entire season, though I’ve only yet watched the first.  Most reviews are quick to point out that the series picks up spectacularly around its fourth hour, But I’m a firm believer that any series has exactly one episode to get its point across.

During its second season I also handled the reviews for HBO’s Boardwalk Empire, though I confess to feeling somewhat underqualified for the task.  Before 2011 I never watched much HBO, and wasn’t used to the incredible artistic acclaim they’ve racked up over the years with series like The Sopranos and Deadwood (Milch’s previous effort).  Then along came Boardwalk Empire, which I only caught up with before the start of the second season.  When a series carries with it such incredible prestige and royalty, the kind of TV award shows endlessly hurl statues at, I’m almost at a loss to think what I could have to say about a show that carries the names Dustin Hoffman, Michael Mann, or David Milch.  I’ve never seen Deadwood, nor would I consider myself intimately familiar with the works of Michael Mann.

Luck is also something of a unique show for HBO in that it lacks the more fantastic conceptual identity  we’ve come to associate with the network, which makes millions of showing people gangsters, vampires, cowboys, or even ironclad games of a throne-like variety.  I couldn’t look at Luck’s striking posters all around my city, and cultivate any impression beyond “so it has Dustin Hoffman, and horses.”  And now, having seen the pilot…that’s more or less still the case.

As I mentioned, most reports indicate that Luck takes a few episodes in establishing its sandbox before delving into any real play, and its pilot basically throws the audience into this world of competitive horse-racing with very little to grasp.  And don’t be deceived, you’ll barely even see Dustin Hoffman over the course of the hour, whose Chester “Ace” Bernstein gets out of prison, shares a few meetings driven around by his driver Gus (Dennis Farina) and retires to his hotel.  At this point, I should also mention that HBO sent out a glossary of horse-racing terms along with the DVDs, so the casual viewer might have some difficulty in keeping up with the lingo.

There’s certainly a lot happening within the pilot as well, drifting from Nick Nolte’s horse-whispering type Walter Smith, trainer Turo Escalante (John Ortiz) and his manic agent Joey Rathburn (Richard Kind), to quartet of gamblers Marcus (Kevin Dunn), Lonnie (Ian Hart), Jerry (Jason Gedrick), and Renzo (Ritchie Coster working on a big score from the race.  Beyond that, I couldn’t really tell you what works, or doesn’t work about the pilot.  There are no big character moments, or truly dramatic action outside the actual races, instead feeling like a well-stylized mish-mash of plotlines.

Luck is beautifully shot and directed by Michael Mann however, who effortlessly captures the intensity of races before during and after, so even if you’re left feeling rather lost by the pilot, it’ll still look pretty.  I have no doubt that the next few episodes of Luck will offer a lot more to sink my teeth into, but for now I’m mostly indifferent to the series.

And Another Thing…

• Luck is actually the first HBO series I’ve been with from the beginning, so I can’t help wondering if I might have felt this way about other major series as well.

• …did they really kill that horse right there on the track for breaking its leg?  Is that a real thing?

What did YOU think?

Luck 1.01 "Pilot" Series Premiere Review

Finally, we have a date for our return to Westeros. Game of Thrones season 2 will premiere on April 1, 2012, according to HBO. The second season of HBO's popular fantasy series has been in production since July, though this is the first time we've gotten to mark our calendars for its highly-anticipated debut.

The most interesting aspect of what we know about season 2 so far (and we know a lot) is the fact that quite a few new major characters are being introduced. Stephen Dillane will portray Stannis Baratheon, brother of the late King Robert, with Carice van Houten playing his dangerous advisor, the sorceress Melisandre. Liam Cunningham will portray his right-hand man Davos Seaworth. Newcomer Gwendoline Christie will play Renly Baratheon's bodyguard Brienne. Theon Greyjoy's father, Balon, will be portrayed by Patrick Malahide, and his sister Yara by Gemma Whelan... And that's only a fraction of the show's newcomers.

Several trailers for the second season have been released. "The Night Is Dark and Full of Terrors" was the first, while "The Cold Winds Are Rising" was the much longer second trailer. Behind-the-scenes looks at season 2 can be found here and here. Game of Thrones: The Complete First Season will be released on DVD and Blu-ray March 20.

Are you excited for the return to the Game of Thrones? We certainly are! We'll keep you posted on any more Westeros-related news as it occurs.

Game of Thrones season 2 will premiere April 1, 2012, on HBO.

Game of Thrones Season 2 Premiere Set for April 1

It may not be spring yet, but HBO has apparently decided to clean house in their comedy department, as three shows have been given the ax. The network has gotten rid of cult comedy triumvirate Hung, Bored to Death, and How to Make It in America, all three recently having wrapped up their respective seasons.

However, it's not all doom and gloom, as the Laura Dern-Mike White critical favorite Enlightened has been granted a second 10 episode season following two Golden Globe nominations. Enlightened has also been making several appearances on TV critic top 10 lists, something none of the other three had been able to do. Though it's been the lowest rated of the four comedies in first airing ratings, the show made up for it through other means of watching (HBO Go, On Demand, etc.) and the buzz around it put it over the top.

Enlightened tells the story of Amy Jellicoe (Dern, Rambling Rose), an executive in corporate America that has a breakdown and is suddenly admitted to a rehabilitation center in Hawaii. Once she returns with clear eyes and amplified ambition, she has to come to terms with her past and try to steer herself into an ideal future. The show features White (School of Rock) as Amy's co-worker/friend Tyler, Luke Wilson (Old School) as Amy's ex Levi, and Diane Ladd (Wild at Heart) as Amy's mother Helen.

Enlightened joins Curb Your Enthusiasm as the only live-action comedies currently on HBO, but don't fret fans of pay-cable comedy. The network will be premiering several new shows in the coming months, including the latest from Summer Heights High's Chris Lilley (Angry Boys), another Ricky Gervais/Stephen Merchant collaboration (Life's Too Short), and projects led by Julia-Louis Dreyfus (Veep) and Judd Apatow (Girls).

Do you think HBO made the right decision in their renewals and cancellations? Which new comedy are you most looking forward to? Will you miss any of the three canceled shows?

HBO Renews Enlightened But Cancels 3 Other Comedies

HBO has secured the rights to the Leonardo DiCaprio drama Beat the Reaper. The series, based on the Josh Bazell book of the same name, was acquired by the network in a "competitive situation," according to Deadline.

The series, if it follows the novel, will follow, as Deadline puts it, "a young ER doctor whose life is upended when a patient comes through his ward that recognizes the internist from his old life — when he used to work for a notorious crime family. As his past comes crashing back and his enemies from his old life try to destroy him, he tries to hold his new life together while discovering that everything he knew about his past may have been wrong."

It's not clear whether or not it will be a miniseries or expand beyond the book and become a longer-running series.

DiCaprio will serve as executive producer for the series, which has no stars attached. Brian Koppelman and David Levien (Ocean’s Thirteen) will serve as head writers. Four networks had shown interest in the series prior to HBO making the highest bid.

I first read Beat the Reaper about two years ago, and thoroughly enjoyed it. The book certainly would have had a difficult time fitting in at any other network than HBO; the most memorable scene of the book features a grisly improvised weapon concocted by a man trapped in a walk-in freezer. It's nasty, lurid, pulse-pounding fun, and I can't wait to see it adapted onto the small screen.

No premiere date has been set for Beat the Reaper.

HBO Grabs Leonardo DiCaprio Drama 'Beat the Reaper'

TV Line is reporting that Aaron Sorkin's upcoming HBO drama Newsroom may have just landed its biggest get yet. After expressing a desire to head to cable thanks to its edgy writing, Jane Fonda (Coming Home) will be joining the backstage look at cable news program "News Night" as Leona Lansing, ruthless CEO of the show's parent company. We'll learn more about her character the closer it gets to Newsroom's debut, which is currently to be determined.

It'll be two-time Oscar winner Fonda's first TV appearance since 1984's The Dollmaker (a TV movie) and first series appearance since 1982's Nine to Five. Fonda retired from the cinema in 1991 after a highly successful 30 year career before returning to acting in 2005. She eventually earned a Tony nomination in 2009 while penning a second memoir and releasing another exercise video since that time. Fonda most recently appeared in this year's Peace, Love, & Misunderstanding with Jeffrey Dean Morgan (Watchmen) and Elizabeth Olsen (Martha Marcy May Marlene).

Fonda joins a pretty remarkable cast for fellow Oscar winner Aaron Sorkin's return to TV, as Newsroom includes the likes of Jeff Daniels (The Squid and the Whale), Alison Pill (Milk), Dev Patel (Slumdog Millionaire), Emily Mortimer (Lars and the Real Girl), and Sam Waterston (Law & Order). However, her status is currently as "recurring", so she may not appear in every installment of the show's 10 episode first season. Finally, and perhaps more importantly, she adds another prestigious name to the list of post-40 actresses currently enjoying plum roles on TV, including fellow Oscar winner (and 2012 SAG nominee) Jessica Lange, Laura Dern, Laura Linney, Dana Delany, Mary-Louise Parker, Kathy Bates, and Glenn Close, among others.

How do you think Fonda will do on A) TV and B) a cable show? Does her casting make you look forward to Newsroom more? When do you think the show should make its debut?

Jane Fonda Joins Aaron Sorkin's Newsroom as...

Before I get into previewing the season (series?) finale of HBO's Enlightened, can I just say that last week's episode, "Consider Helen", was one of the best episodes of TV I've seen this year? It was fascinating, transcendent, and utterly heartbreaking, and I loved every second of it.

But we're not here to preview last week's penultimate episode; it's time for the 10th and last episode of Enlightened, an episode that looks to combine both Amy's personal and professional lives for the first time in a little while. Typically, Enlightened takes an either/or approach to telling the story of Amy Jellicoe, but in "Burn It Down", we get to check out her progress in both fields one final time this season.

On the personal front, Levi's not happy and judging by his body language in the preview below, he may have reached his breaking point with the drugs and alcohol. As much as he complains about Amy and how she won't ever truly leave him alone, despite their understanding in "The Weekend", he needs that empathetic side of Amy now more than ever and since we know she's not fully over Levi yet, I'd say she'll be happy to take care of him. Professionally, Amy finally scores an appointment with Damon and the top brass at work to present the research she's been doing all season. Of all the variant reactions to Amy, I'm most surprised at Damon, as he went from threatening her in the pilot to coming through for her in the finale. We've not seen much of him this season, but it's ironic that Amy has spent her time railing against corporations and executives, yet an executive at her own company may be the one to give her her big opportunity to shine.

Of course, Dougie won't make that easy, as there are still sore feelings from their night at Bank and the subsequent reprimanding he took from Judy over his actions. However, as much as she can shoot herself in the foot sometimes, I have a feeling that Amy Jellicoe may finally get to be the agent of change she's so desperately wanted to be all season, Dougie or no Dougie.

Enlightened airs tonight at 9:30 on HBO.

Tonight on Enlightened: Burn It Down

Boardwalk Empire season 2 pours its last drink with Sunday’s “To the Lost,” which sees Jimmy Darmody trying to make amends with Nucky for his past transgressions, while Nucky faces the first trial of his indictment, and Margaret faces a difficult decision about her testimony.  "To the Lost" doesn't move quite as quickly as last week's "Under God's Power She Flourishes," but offers up one hell of a game-changing finale that will undoubtedly go down in TV history for its shocking character death.

Well…shit.

I must have sat in disbelief for a solid twenty minutes at the end of Boardwalk Empire’s “To the Lost,” wondering just why on Earth showrunner Terence Winter would dare kill off the show’s second leading character, and likely most empathized with, after only two seasons.

How can you kill off your young lead, your best tool for storytelling, and expect to have a show to come back to next fall?  It’d be like Breaking Bad killing off Jesse Pinkman (a likely outcome, depending on who you talk to) and asking us to re-focus all our investment in Walter White’s journey.  Sure there’s shock value, and storytelling challenges created by Jimmy Darmody’s death, but when the strength and discourse of a show lie in the relationship between two characters, how can we simply throw that away?

It certainly helps to be able to hear the words of showrunner Terence Winter himself, who assures us that the decision to kill Jimmy didn’t come about lightly or without attempt at reprieve.  Sometimes we forget how much of TV writing relies on introducing challenges within a maintainable status quo, that change means effort, money, and creativity.  The boldest of TV series follow through on their arcs, and wouldn’t have felt a need to give Jimmy a last-second reprieve, or create a quick and easy solution to get Michael Shannon back to his post-office law enforcement, and for that we should be grateful.  Some TV fans would be content to pop Ned Stark (Game of Thrones)’s head right back on his shoulders, and pretend like nothing happened.

Jimmy made his bed with his season-long betrayal of Nucky, and an episode’s worth of “I’m sorrys” and repentance weren’t going to undo the damage caused by the Nucky-Jimmy rift.  The writers know it,  Nucky knows it, Jimmy knows it, and there was no other way for it to end than for Nucky to have to eliminate his unstable, if repentant surrogate son.  With time, and a little reflection, we’ll come to see that as clearly as Jimmy did, even with the sky crashing down around him.

Of course, acceptance doesn’t answer the millions of questions Boardwalk Empire’s writers now have to answer before next season, not only how to write without Jimmy, but also what becomes of the characters tied to him.  We may revile Gillian Darmody for all the psychological trauma she inflicted upon Jimmy, but she’s not going to take his murder lightly, particularly with Jimmy’s son, or all the resources of the late Commodore now at her disposal.

And what of Richard , who lost both his strongest tethers to life in both Angela and Jimmy?  Will he transfer his loyalty to Gillian, strike out on his own, or rather opt out altogether, in spite of his last words to Jimmy?  I can’t imagine Ceander Whitlock (Dominic Chianese) and his council of elderly white rich folk reacting to the news all-that-well either.  Winter mentions in the interview that it’s these kind of storytelling challenges that envigorate TV writing staffs despite the difficulty they pose, and even dead I imagine Jimmy’s shadow to loom over Boardwalk Empire for quite some time

And that’s not even taking into account all the other stories to be mined from the next season of Boardwalk Empire, like Lucky Luciano and Meyer Lansky opting to cut Rothstein in on the heroin trade rather than usurp him, Van Alden’s re-location to Cicero*  as “Mr. Mueller,” or Margaret deciding to transfer Nucky’s land ownership to the church.  We’re only given the briefest tastes of these season 3 storylines, instead devoting much of “To the Lost” to Jimmy’s heartbreaking final days.  Not to mention Chalky!  We could always use more Chalky.

(*) As Winter mentions in the interview, the significance of Van Alden and his Swedish nurse (now mistress?) relocating to Cicero, Illinois will be lost on 90% of the viewers (myself included), Cicero having been a hub for Al Capone’s mob activity in the 1920s. 

Likely the biggest theme running through Boardwalk Empire’s “To the Lost” is that of honesty, and how the concept can be stretched and re-appropriated for one’s own use.  Honesty is what saves Nucky from prison by winning over Margaret enough to marry him, and yet damns him, as his immediate return to lying finally incenses Margaret to take direct actions against her new husband, signing away his land.  Honesty is what Jimmy uses to repair his relationship with Nucky, even if it means resigning himself to his death.  And honesty is something that Eli and Nucky will likely never share, and equally likely lead to the former’s undoing.

Some of the complaints lobbied at Boardwalk Empire insist that with a cast of characters as broad as the series maintains, there isn’t time to give everyone their just due every season.  We’ve barely seen Chalky White at all this season, Lucy has retreated to who knows where, Van Alden finds a quieter life out of state, and we didn’t even see Al Capone through any of “To the Lost."  Winter assures us they’ll all be back however, as we navigate the waters of heroin, Esther Randolph’s second attempt to take Nucky to trial, and the fallout of Jimmy’s death  Perhaps with the death toll this season, it won’t be quite as hard to make room for everyone.

Directed by longtime Boardwalk and Sopranos staple Tim Van Patten, there’s a lot to be said for the direction of “To the Lost,” as well.  Most will clamor the virtue of the Godfather-esque montage cutting between Esther’s rehearsal  of her arguments and Nucky’s wedding to Margaret, but there are some very interesting choices in other direction and sound design as well.  I particularly like the way sounds like ringing phones, boiling kettles, or Eddie’s footsteps intrude into the scenes, as if to say that the pressures of the outside world continually bear down on these characters, leading them to their inevitable ends.  Those with an eye for directing will also appreciate some gorgeous shots like Jimmy and Richard’s ride into the KKK camp, or Jimmy’s pensive gaze out the portal as Nucky arrives at his home.

As I mentioned before, I’m unaccustomed to TV so game-changing as what happened to Jimmy tonihght, perhaps owing to the fact that I’ve never completely gone through The Sopranos.  In it’s heyday I would always overhear the shocked outcry of its various character deaths, never appreciating how drastic and pivotal these events Terence Winter created were to the series at large.  We (and likely Winter as well) have no way of knowing how Boardwalk Empire will bounce back from such an incredible turn as Jimmy's death, but at the very least I more than appreciate the bravado it took to go there.

Poor one out for Boardwalk Empire’s second season and  Jimmy Darmody, y’all, and drink up.  To the lost.

And Another Thing…

• I’m very much looking forward to more of Mickey Doyle next season, whom Paul Sparks is already playing with a much stronger backbone in recent episodes.
• With Margaret, Sleater, and Katy’s mutual secrets still going unaddressed, surely we can look forward to that next season as well.
• Interesting that they brought up The Commodore’s former maid as the recipient of his estate in the will, only quickly tear it up and forgo clarifying her, or Nucky’s involvement in the arsenic plot.
• Good gravy, I thought the man giving pony rides had to be wearing a mask, he looked so rubbery.  Yeesh.
• Lots of great quotes tonight, but I especially like Arnold Rothstein (Michael Stuhlbarg)’s advice to Nucky, “Flip a coin.  When it’s in the air, you’ll know which side you’re hoping for.”

What did YOU think?

Boardwalk Empire 2.12 "To The Lost" Review

TVNewser is reporting that HBO's upcoming cable news drama from Aaron Sorkin has been given a new name. Formerly titled More as The Story Develops, the show will now be known as Newsroom when it debuts sometime next year. In September, the show was picked up for a 10 episode first season.

Newsroom follows the production of "News Night", a show on the fictional UBS Network anchored by popular talking head Will McAllister (Jeff Daniels). Newsroom will also be featuring the team that makes "News Night" what it is, including producers (Emily Mortimer) and staff (Allison Pill, Dev Patel, Olivia Munn, etc.). Additional members of the cast include John Gallagher, Jr. and Thomas Sadoski as two members of the staff and Sam Waterston as the boss.

Aaron Sorkin is best known to TV fans as the man behind another political drama, NBC's The West Wing, though he's also responsible for cult favorite Sports Night and one-season disappointment Studio 60 on the Sunset Strip. The latter took a look at the behind-the-scenes drama of a sketch comedy show before being canceled in 2007. Sorkin recently wrote the Brad Pitt movie Moneyball, a year after winning an Oscar for penning The Social Network, and will next be penning the big screen adaptation of Sondheim's Follies.

If you're excited for the prospect of cable-style walk-and-talk, TVNewser had a look at the pilot script and points out a few ripped-from-the-headlines aspects that will be familiar to any news follower. Newsroom will be the second big drama debut of the new year for HBO, as the network will be unveiling the latest creation from David Milch (Deadwood), horse racing drama Luck, this January.

How do you think the return of Aaron Sorkin to television will go? Does the impressive cast make you more excited to see the show? Will you be watching Newsroom when it premieres next year?

Aaron Sorkin Returns to TV in Newly Titled Newsroom

Boardwalk Empire season 2 pours its penultimate drink with Sunday’s “Under God's Power, She Flourishes,” which sees Jimmy Darmody struggling to cope with the loss of Angela by drowning himself in memories and heroin, Van Alden's sins come back to haunt him, and Margaret faces a difficult decision about Nucky's impending trial.  "Under God's Power, She Flourishes" brings just about every skeleton under the closet, an intense and conflict packed hour that more than primes for the second season finale.

As I did a marathon catch-up of the first season of Boardwalk Empire to prepare myself for the second season premiere, I remember feeling that there hadn’t been much of a climax.  Sure Jimmy drunkenly laid it all on the line for Nucky, the Commodore revealed his plans against the Atlantic City treasurer, and Van Alden’s indiscretion came back to haunt him, but there wasn’t much in the way of fireworks, leading many to level a lack of action against the series.  To its credit, Boardwalk Empire carries the clout of Martin Scorcese, Steve Buscemi and The Sopranos’ Terrence Winter behind it, making it near impervious to critiques of lacking excitement, but truthfully I felt underwhelmed.

“Under God’s Power, She Flourishes” will likely annihilate any viewer’s fears of the series lacking payoff, one of Boardwalk Empire’s most intense hours to date.  I can hardly keep track of all the historic moments in Boardwalk Empire significance, be they Jimmy’s history at Princeton, his (brief) affair with his own mother, the death of the Commodore at a heroin-soaked Jimmy’s hands, Van Alden’s murder of Agent Sebso coming to light, making him a fugitive from the law, or even Margaret nearly spilling to Nucky her affair with Owen Sleater, which thanks to Katy may come out sooner rather than later anyway.  One always expects secrets to come out and conflicts boling over toward the end of the season, but “Under God’s Grace" packs a great deal into a lone hour, even if its delivery method feels somewhat hampered.

Perhaps series like LOST have spoiled viewers on the flashback as a narrative device, usually employing some kind of alert or non-diegetic shift to separate present from past sequences.  Boardwalk Empire takes a different approach to intercutting scenes of Jimmy’s Princeton days with present-day Atlantic City, cutting back and forth between them unannounced.  I can appreciate Boardwalk Empire’s boldness in forgoing such a device, and even the message sent that the Princeton scenes pose such significance to modern day that they needn’t be separate at all, but will admit to the initial confusion somewhat hampering the episode’s effectiveness, if only at first.

The scenes provide an incredible window into who Jimmy has been since that one night with his mother, and subsequent enlistment in the war, and for that the story is well-worth a bit of confusion.  The entire series we’ve seen Jimmy Darmody struggle to become someone he isn’t, and here we see that his self-loathing and disgust goes all the way back to his school days, wherein he tries to literally become someone else by stealing family stories in lieu of his own.

Few stones go unturned by the end of “Under God’s Power, She Flourishes," and I’d expect that Angela Darmody and The Commodore won’t be the only casualties by season’s end.  One must wonder what fate could befall Michael Shannon, with Van Alden’s authority all but destroyed over the course of the season.  Shannon has been in increased demand in Hollywood over the past few years, with no signs of slowing down, so it’s very possible we won’t see Van Alden as a fugitive from justice next season, promising an idea as it sounds.  Thematically it might be interesting to see Van Alden reduced to his same standings as childhood, forced to give up everything, and hiding out in a tent somewhere until a figurative “second coming.”

Religion, as it always has been with Boardwalk Empire, offers up one of the more prevalent themes of the night, specifically that of divine retribution and inevitability.  Much as Peg remains convinced that Emily’s affliction arrived as a form of punishment for her own moral bankruptcy with Nucky, so too do Van Alden’s missteps with faith come back to haunt him, and even Jimmy plays his inevitable Oedipal part by finally taking his father’s life, many years after having lain with his mother.  We all have our parts to play, it seems, in this deep-seated tale of woe.

Truthfully, I had never expected an episode as dense or revelatory as “Under God’s Power She Flourishes,” and I can understand HBO’s move in not releasing the final two Boardwalk Empire episodes to critics.  What then, could we be in store for in next week’s “To the Lost?”  We might all need a drink if these conflicts keep boiling over the way they do.

What do you think?  Any guesses on who’s for the chopping block?

And Another Thing…

• An altogether sweet, if cruel way to reuse Angela’s reading of “I have to go, Jimmy” at both episode’s beginning and end.
• “Why couldn’t they just hold the spoons higher on the handle?”
• Great, great understated work from Jack Huston as Richard Harrow this week, in his reactions to Angela’s death.
• Does Gillian really have the right to describe another woman as “underfed?”
• So, I’ve seen differing opinions on the subject, but do we know exactly how far Jimmy went with his mother?  Should we assume all the way, or only what we were shown?
• I still maintain the flashback device served to confuse a bit, but I did like the stream of consciousness fading in and out of scenes from a strung-out Jimmy’s perspective.

What did YOU think?

Boardwalk Empire 2.11 "Under God's Power, She Flourishes" Review

On last week's episode of Enlightened, Amy Jellicoe scored arguably her first break of the series by managing to keep her job after being confronted by HR. While she managed to keep her job (and stick it to Dougie for his abhorrent behavior at Bank), Amy has seemingly lost two personal connections in Tyler and Krista, the first of which being her only real friend at the time. Now that we're back to square one going into the second to last episode of the season, where does Enlightened go from here?

By the looks of the preview below, Enlightened will be giving the spotlight to Helen, a character that hasn't gotten a chance to do that much so far. Specifically, we'll be getting to see Amy's mother become a little more introspective about her own life, including her deceased husband and what happened to her daughter. All of this is spurred on by one of those awkward, random run-ins with an old friend that seems to shine a light on everything wrong in your life as opposed to bringing a little joy. Most importantly, though, is that Helen gets into it with Levi over who failed Amy in terms of giving love and the role that Helen played in the divorce.

It's an exciting proposition for an episode of Enlightened because of how much we could learn without even talking to Amy that much. The show has been so heavily focused on working toward the future and Amy learning to live more in the present that past exploits have been little more than footnotes; granted, they've been extremely important whenever they've been revealed, which "Consider Helen" seems to be following up on. In "The Weekend", the end of Amy's marriage was (painfully) explored, with knowledge of her miscarriage (and subsequent partying, loneliness, and breakdown) being introduced for the first time. Some five episodes later, that'll be likely expanded on and we can continue to piece together the complex puzzle that is Amy Jellicoe.

Enlightened airs tonight at 9:30 on HBO.

Tonight on Enlightened: Consider Helen

Bored to Death season 3 comes to a close with its latest "Nothing I Can't Handle By Running Away,” the second half of a guest-star packed close that sees Jonathan (Jason Schwartzman) coming to terms with the truth of his biological father, while George (Ted Danson) offers to host his daughter's wedding and Ray (Zach Galifianakis) finds comfort in a legion of fans obsessed with his comic books.  The momentum from last week mostly fizzles, but is this the last we'll see of Bored to Death?

There’s talk going around of this being Bored to Death’s last season, thereby making “Nothing I Can’t Handle By Running Away” its last episode, owing largely to meager ratings and the increasingly pressed career of its three leads.  That being the case, “Nothing I Can’t Handle By Running Away" certainly leaves us with a rather bizarre note of selfish behavior to never see properly addressed.

Last week we learned the rather surprising twist of Jonathan’s new lady-friend Rose being his (presumably) half-sister, owing to their mutual father Harrison Bergeron (Stacey Keach) providing all the sperm samples at the clinic himself.  That being said, Jonathan wouldn’t be Jonathan if he didn’t wrestle a bit with keeping the relationship even after learning this news, but “Nothing I Can’t Handle By Running Away” can’t help coming off a little creepily by having Jonathan ultimately choose to keep the secret to himself, dancing with his blissfully ignorant sister and George’s daughter Emily’s wedding.

Surely the Bored to Death writers knew of the possibility of this being the last season, would they really want to risk Bored to Death’s legacy becoming that of a ne’er-do-well detective knowingly carrying on a relationship with his own sister?  I wouldn’t have expected a tidy, perfectly packaged wrap-up, but that’s a bizarre thread to leave dangling between seasons, let alone a potential series ending.

Otherwise, “Nothing I Can’t Handle By Running Away” felt like something of a trite and clichéd tale, most of its narrative momentum spent by last week’s “Forget the Herring.”  With Jonathan shocked to be finally reunited with his father, must we really introduce three forgettable bookie thugs to threaten Harrison, and ultimately toy with the man’s character by highlighting the delay in which he (possibly) retrieves the money to save his son from dying in his place?  Harrison had already been very much an absentee father, what did it add to show him immediately sacrificing his son, only to show up later as an afterthought?

Overall, not much seemed to really happen during “Nothing I Can’t Handle By Running Away,” not that Bored to Death overflows with action on regularity.  Ray grew predictably despondent over his final split with Lea, and sought comfort in both his infant son and a new “League of Rays” made up of his doting fans (including The Office's resident creep Zach Woods), George stumbled but ultimately saved his daughter’s wedding to Bernard, and Jonathan managed to escape his captors with a little help from his friends.  Perhaps the climax of the story might have scored more of a home run in its dash around the bases were there to be a real sense of danger present.

I don’t know if Bored to Death might ever be so bold as to actually kill, or even shoot characters on screen, but stakes would certainly have risen if the bookie group actually shot at the League of Rays, or even Jonathan, rather than firing into the air to scare them.  They were certainly willing to kill Jonathan, why risk being foiled by one of the lunatics in yellow costumes charging them?  Even Jonathan manages to score perfect disarming shots thanks to his firing range training, never once spilling even a drop of blood.

In the end it’s all as cute and funny as Bored to Death tends to be, its three leads focused mainly on their own selfish neuroses, with a hint of emotional growth in between, but not enough really happens to be looked at as a season finale, a criticism I’ve admittedly noted about last season as well.  Of the relationships created and forged, we’re left really only rooting for George, who manages to deliver a heartfelt toast to his daughter, and keep his relationship to Josephine (Mary Steenburgen) through direct honesty.

I certainly hope this won’t be the last we see of the consistently charming Bored to Death, on the whole they’ve had a strong season by maintaining real plot threads that grow and develop over the course of the season.  The series could have plenty more to mine as well, provided it doesn’t get bogged in guest stars, and keeps a driving goal in mind.  Naturally this wouldn’t’ be the last we see of Isla Fisher’s Rose either, who doesn’t really have any material to play this time out.

An amusing, if not terribly enthralling season-ender.

And Another Thing…

• I might be looking too deeply, but I’m still not sold on the fact that either Harrison is indeed Jonathan’s father, or Rose his sister.  I keep looking for a deeper significance behind the use of the word “herring,” last week’s episode title telling us to “forget the herring,” while this week Jonathan protects his sister from the truth by describing his meeting with Harrison as “a red herring.”  Could I be looking too deeply in to the word’s prevalence, and Isla Fisher’s fiery red hair?
• Continued usage of jokes that go hilariously unspoken, Jonathan’s zigzag attempt to chase the golfcart while still hiding for brief instances.
• Playing a eukele, we can confirm that yes, Mary Steenburgen is still hot.

What did YOU think?

Bored to Death 3.08 "Nothing I Can't Handle By Running Away" Review

Boardwalk Empire season 2 keeps dripping toward its finale with Sunday’s “Georgia Peaches,” which sees Jimmy Darmody struggling to take control of his new empire as Nucky's Irish liquor floods the town, Chalky White's labor strike continues, and Margaret faces the harsh reality of Emily's polio.  "Georgia Peaches" fires the opening salvos of what's sure to be an epic Boardwalk Empire finale, but one wonders if certain plot threads might have to wait until next year.

Boy, Sunday really was a night for heartbreaking TV, wasn’t it?  If it wasn’t the shocking conclusion of The Walking Dead’s mid-season finale “Pretty Much Dead Already,” or the pathetically predictable twist of Dexter’s “Get Gellar,” and now poor Angela Darmody?  Likely one of the most innocent of Boardwalk Empire’s characters beside the children (ignoring her extramarital affairs, but let’s just say sexuality in the early 20^th century wasn’t quite as smooth sailing), Angela Darmody deserved death the least.  Then again, “Georgia Peaches” makes a point of chaos beyond our control, and some people are just in the wrong place at the wrong time.  Or at least married to the wrong people.

A few themes prevail Sunday’s “Georgia Peaches” that had me thinking about the larger explorations Boardwalk Empire visits on a week to week basis, and a few other series as well.  Boardwalk Empire has always been about the struggle for control and power, here exemplified through poor Emily Schroder’s permanent paralysis, and Jimmy’s inability to resolve conflicts in his new position wearing Nucky’s shoes.  The shoes fit tighter than Jimmy anticipated, and it’s fascinating to watch Michael Pitt revel in Jimmy’s failure to appease Manny Horvitz (William Forsythe), resolve the black labor strike, or even distribute his newfound wealth of medicinal alcohol after Nucky’s productive trip to Ireland in “Battle of the Century.”

I found myself reminded of Breaking Bad’s unstoppable geriatric hitman Mike, who told Walter White in words of wisdom that occasions arise wherein one wishes they’d taken a full measure, rather than a half-measure that creates unforeseen consequences.  Jimmy Darmody seems only capable of half-measures, following up on neither attempt to kill Manny or Nucky, or unable to successfully end the strike with Chalky, all of which end up costing him dearly.  Only two episodes remain in Boardwalk Empire’s second season, and with Jimmy off in Princeton selling Remus’ liquor, I’d imagine that the consequences of his half-measure may escape him for the time being, Gillian Darmody likely to discover Angela before her son.  Either way, with both Manny, and even his partners nipping at his heels, Boardwalk Empire has poised Jimmy for one hell of a finish this season.

Manny Horowitz’ last words to Angela before the brutal shooting also neatly tied together another running theme of “Georgia Peaches,” that of the importance of health.  Both Angela and Margaret Schroeder look to throw money at the root of their troubles, rather than realizing the value inherent in life itself.  Poor Angela would have said anything in those last moments of life to stall Manny’s hand, but it’s Margaret who first seeks religious counsel, offers money to the doctors, and ultimately to God Himself, rather than simply be there for her crippled daughter.  Even the Irish distillery owner from last week’s “Battle of the Century” imparted to Nucky that the IRA and financial troubles mattered little so long as he had his health and his family, values that inexorably escape Boardwalk Empire’s leads.

It’s about that time of the season where everybody turns on one another, and we can scarcely see any Boardwalk Empire characters that aren’t betraying one another in some form or another.  Jimmy has Ceander Whitlock (Dominic Chianese), Manny Horvitz, his own (recovering) father The Commodore against him, as well as mounting tensions with Al Capone, Lucky Luciano, and even to some extent Richard Harrow.  Eli’s Deputy Raymond Halloran fingers him on the Hans Schroeder murder, and now Eli will likely testify against Nucky for his indictment.  The board is set and the pieces are moving, and we should be in for one bloody finish this season.

Of course, other reviews have pointed out that many juggled threads have risen to the surface this season, so much so that we may not actually see a resolution to all of them, rather pouring into Boardwalk Empire’s eventual (confirmed) third season.  After all could two episodes really bring the scope of Nucky’s trial, or the New York boys’ increasing pressure to involve their gang in the heroin trade?  Even Margaret offered a bit of foreshadowing by reminding Nucky to keep her son’s fingers out of his nose, “a vile habit,” which seems to suggest heroin might loom just a little larger than we yet have room for this season.

Either way, “Georgia Peaches” has the opening shots fired eloquently, and thoughtfully, and we’ll all be primed and ready for the inevitable showdowns to follow.

And Another Thing…

• Apologies for the tardiness of this review, but I should point out that HBO declined to send advance copies of the final 2 episodes this season, so those likely won’t go up until a day or so after either.
• Admittedly, I’m a young guy, only some 200-years old, but I couldn’t have been the only one shouting “Fee-hee-hee-HEENAY” at the crates of Irish whiskey, nay, “oats” being shipped into Atlantic City.
• Once more, I’d be fascinated to learn some actual historical background to Chalky’s strike, or what other specific incidents Boardwalk Empire finds itself drawing from.
• Between Van Alden’s new nanny and Hell on Wheels, I’m overdosing on Swedish accents.  Actually, scratch that.  I could laugh at those all day.
• Because I’m also a terrible person, I should mention that I burst out laughing when Margaret slapped her child for faking polio.  Just me?
• There are some really great moments for both Nucky and Margaret this episode, Nucky in how he lies to comfort the boy, and Margaret in how she becomes increasingly self-involved about Emily’s polio.
• Did I miss something?  Where did the title "Georgia Peaches" come from?

What did YOU think?

Boardwalk Empire 2.10 "Georgia Peaches" Review

The entire run of Enlightened thus far, Amy has spent her time alternating between drawing sympathy from her co-workers and annoying the hell out of them with her brand of new age-y activism. Try as she might, our heroine can't seem to raise the excitement level at Abaddon (which means "a place of destruction") any higher than a "meh" and has went out of her way to talk about her new beliefs with anyone that will listen. It's that type of determination and guile that has kept her employed this far, seeing as how the execs wanted rid of her, but it comes at a price.

In "Comrades Unite!", potentially the third exemplary episode of Enlightened in a row, Amy finally has to pay the piper for her proselytizing, as she's been reported to HR for personality clashes in her department. The last episode of the show saw Dougie inappropriately touch Amy at the club and it seemed inevitable for him to make a play like this; the two had been clashing lately, with Amy's low productivity and constant tardiness, and perhaps this was the kick in Dougie's butt that gets him to move Amy from Cogentiva.

The saddest thing is that Tyler, Amy's one real friend, won't speak up for her; Amy may be losing both her job and her sense of connection to other people all due to Dougie's douchiness.

She won't take this lying down, of course; if we've learned anything from the first seven episodes of Enlightened, it's that Amy's treatment gave her backbone and a lot of courage, even if she sometimes misuses both. She goes to Krista to see about getting new placement in the company, but that'll have to go through Damon, who has all but told Amy that he wants her to leave the company.

Amy Jellicoe has accomplished some amazing things in her time since treatment, but she may have met her match in the one thing she used to love: corporate America.

Enlightened airs Monday nights at 9:30 on HBO, following Bored to Death.

Tonight on Enlightened: Comrades Unite!

Ewan McGregor has signed on to HBO's adaptation of Jonathan Franzen's best-seller The Corrections, joining Chris Cooper and Dianne Wiest in the highly anticipated project.

The novel follows the Lamberts; an elderly Midwestern couple (Cooper and Wiest) and their three children as they spend one final Christmas together and look back on their lives. McGregor is playing the middle child Chip in this family set up and the other two siblings are yet to be confirmed. This isn't a simple case of happy families as secrets and failures are inevitably revealed.

Greenberg director Noah Baumbach is co-writing the project with author Jonathan Franzen and Baumbach will also be directing the pilot. Scott Rudin, who optioned the film rights to the book back when it was published in 2001, will be producing the drama.

This will be Ewan McGregor's first dramatic television performance since his guest appearance in one of my favourite episodes of ER back in 1997 (in one of the rare going outside of the hospital episodes, McGregor's character takes part in a convenience store robbery that turns into a hostage situation). McGregor has also starred in two documentary series; Long Way Round and Long Way Down that followed him and fellow actor Charlie Boorman as they navigated the globe on motorbikes.

You can currently catch McGregor in the wonderful film Beginners which has just been released on DVD, and his forthcoming films include Salmon Fishing in Yemen and Bryan Singer's Jack the Giant Killer, which fits well with the current trend of fairytale reimaginings.

Who would you cast as the other two siblings? Are you looking forward to The Corrections?

Ewan McGregor Joins HBO's The Corrections Pilot

Bored to Death season 3 keeps digging deeper with its latest “Forget the Herring,” another guest-star packed half-hour that sees Jonathan (Jason Schwartzman) investigating a new lead in the search for his father, while George (Ted Danson) and Ray (Zach Galifianakis) make desperate gambles of their relationship troubles.  But with only one episode of the season remaining, is this the last we'll see of Bored to Death?

Lately it feels like we have two different kinds of Bored to Death episodes, those heavy with celebrity guest appearances, and those focusing on the interpersonal dynamic of its three leads.  “Forget the Herring” falls into the former, though that’s not any kind of level at the show’s humor, only a minor distracting in an otherwise engaging story.

Two weeks ago with “I Keep Taking Baths Like Lady Macbeth” it was Sarah Silverman, Mary Steenburgen, and even Patton Oswalt, while “Forget the Herring" throws at us in rapid succession Isla Fisher, Chris Elliot, and the always watchable Stacy Keach as a man with clues to Jonathan’s sperm bank past who eventually turns out to be his father himself.  But more on that later.

One of the things so consistently funny about Bored to Death is its complete willingness to ignore the normal society around it, and simply wander off in favor of exploring personal relationships.  Much as Jonathan and Rose nearly abandon the search for their respective parents in favor of a ferris wheel (they later do), so to do Ray and George simply wander off, mid-performance of George’s musical revue to right their unwritable wrongs, repairing the relationships with those they love.  George proves successful in reuniting with his daughter and Bernard (though really, who wouldn’t love Ted Danson serenading them in a Don Quixote costume) but Ray (along with the audience) gets their heart broken when his impromptu proposal, and the relationship itself goes down in flames.

We’ve seen the Ray and Leah broken up before, but something about Ray’s dejected “I’ll miss you” lets the audience know this one will likely last, especially considering the uncertain future of a fourth season for Bored to Death.  The real development of “Forget the Herring” lies in its closing moments, as we learn that not only had “Donald Stark” (Keach) lied about the sperm bank records having burned, but that he provided all the samples himself, making him both Jonathan’s AND Rose’s real father!  I think we knew things felt just a little too perfect to have Jonathan fall for and bed a beautiful (and appropriately sized) woman with a keen detective’s mind, but leave it to Bored to Death to have that woman turn out to be his half-sister.

Of course, the title “Forget the Herring,” along with the episode’s myriad of literary references (I myself only caught "Harrison Bergeron," but I’ll assume the other aliases were literary characters as well) suggests that we all might be following a red herring in having Stacy Keach turn out to be Jonathan’s real father, but we’ve got another first in a Bored to Death “To Be Continued…” that should wrap things up conclusively next week.

Bored to Death wouldn’t be Bored to Death without its inconsequential humor, and I particularly like George’s infantilizing Ray, or the smaller jokes like Jonathan and Don’s “depends who’s asking” conversation, or Rose’s character assessment based on Jonathan’s “closed crotch” sitting.

It’d be shame of this turns out to be the last season of Bored to Death, because “Forget the Herring,” while a little lighter on the laughs than usual, certainly moves the season’s arc ahead in an intriguing way that should make for a good finale next week.

And Another Thing…

• It took me a few minutes to remember that Jason Schwartzman and Isla Fisher aren’t a couple in real life, as she’s actually married to Sasha Baron Cohen, a man of a much less comparable size.
• Seen, but not heard at the musical revue, we had the Tin Man, Teyve from Fiddler on the Roof, and of course, from everybody’s favorite musical, Spider-Man!
• “I want melty chocolate!”  I want either a running tally, or a drinking game based around how often a character mentions something, that George than immediately claims he wants for himself.

What did YOU think?

Bored to Death 3.07 "Forget the Herring" Review

Boardwalk Empire season 2 keeps fighting toward its finale with last night’s “Battle of the Century,” which sees Nucky Thompson looking to make a deal with the IRA in Sinn Fein, as Jimmy struggles for personal and professional respect in his new role as the king, and Margaret faces a personal tragedy at home. "Battle of the Century" gives us an entertaining springboard into the final episodes, but we wouldn't really call it anything "of the century."

“Battle of the Century” proves to be a rather fitting title for last night’s Boardwalk Empire, in more ways than one.  The show’s main conflicts begin erupting across the board, but like the offscreen Dempsey-Carpentier fight, we’re not quite privy to the action just yet.  Board knows (get it?) that Manny (William Forsythe) will be out for blood after Jimmy fails to have the Jewish butcher assassinated at the behest of Waxy Gordon, and Nucky’s successful deal with the Irish should flood the streets of Atlantic City with more blood and booze than people know what to do with.  We’ve nothing in the way of development on Van Alden or Nucky’s case, but either way the opening salvos of “Battle of the Century” have us primed for the final episodes of the season.

The crux of the trouble from “Battle of the Century” lies with the men in power failing to keep hold of it, in and of itself a running theme for the show.  Even in Ireland Nucky can’t find a man to deal with to keep supplying Atlantic City with uninterrupted liquor, John McGarrigle (Ted Rooney) and the IRA looking to prevent further bloodshed, of course until McGarrigle’s own power loses sway and his men coldly execute him in the street.

Jimmy isn’t taking well to his new position as the “King” of Atlantic city either, with Manny still nipping at his heels and even Richard starting to question him.  And while Chalky barely shares any screentime this week, the previously seen Dunn Purnsley (Eric LaRay Harvey) steps up to challenge the employers of Atlantic City, with his bretheren behind him.  I’m not terribly familiar with any of the historical accuracy behind these events, if any, but it certainly makes for a turbulent landscape for Nucky to return to, even with it being his idea in the first place.

Continuing along the lines of powerlessness toward a more personal level, Margaret Schroeder’s young daughter Emily finds herself likely stricken with Polio, and losing the use of her legs to her mother’s horror.  While I like that Margaret continues to struggle with the dubious morality of her lifestyle, and undoubtedly finds Emily’s affliction to be punishment from God for her mother’s own choices, I couldn’t help wondering if there might be more direct ways to tie Margaret into the storyline.  So far this season we’ve seen her reconnecting with her family in “Peg of Old,” and now hit with another personal blow, but the thread feels disconnected from Nucky himself, and the conflicts that have put Emily or Margaret in harm’s way in the first place.

Dunn Purnsley makes an apt analysis of the situation, nothing that conflicts for the kitchen workers and Boardwalk Empire’s second season alike remain simmering, but not quite ready to boil over.  We’re given a taste by the end of “Battle of the Century,” Nucky and Sleater uncovering a telegram that alerts them to Emily’s polio, or Esther Randolph (Julianne Nicholson) potentially finding a new informant in Eli’s underling, but nothing quite erupts just yet.  Like the fight behind the episode’s namesake, things feel just off in the distance, their outcome not due to arrive just yet.

And Another Thing…

• Wow, Nucky got to Ireland quickly.  Guess it pays to be able to afford better travel than Margaret’s first immigration.
• Glad to see Mickey survived his fall!  I know most aren’t fans of the character, but he makes a great punching bag.
• Obviously lots of people could draw parallels to Sons of Anarchy’s third season trips to Ireland, but hey, it’s a great well for stories!
• Anyone else counting on Richard betraying Jimmy, even after the pretty girl in his lap?

What did YOU think?

Boardwalk Empire 2.09 "Battle of the Century" Review

Bored to Death season 3 keeps investigating with its latest “Two Large Pearls and a Bar of Gold,” another fun and fast-paced half-hour that sees Jonathan (Jason Schwartzman) reconnecting with an old flame and enlisting Ray and George in an effort to protect her valuable jewelery.  But all the zaniness aside, does the latest caper add up to a fulfilling episode?

As much as I enjoyed last week’s equally awkwardly named “I Keep Taking Baths Like Lady Macbeth,” and all its madcap energy, there’s a simpler way of delivering laughs that “Two Large Pearls and a Bar of Gold” utilizes much more effectively.  Free of (most) of the extensive guest stars and in-fighting, Bored to Death proves far more effective by stepping aside, and letting its leads exercise their sociopathic, if earnest chemistry.

It also helps to have a third act as rousing as Jonathan engaging in a prolonged fencing match with a jewel thief (later revealed to be Patty's father, played by Star Trek: Deep Space Nine's Rene Auberjonois) while George attempts to impale him with an American flag, but even mundane scenes of Zach Galifianakis, Ted Danson and Jason Schwartzman discussing their sex lives over a game of war have me in stitches.

I use the word “sociopathic” loosely, tiptoeing around more psychologically accurate diagnoses, but Bored to Death creates a very unique method of presenting its deranged, and oblivious characters.  Rather than the harmful, downright uncaring characters permeating It’s Always Sunny in Philadelphia, or even Seinfeld before it, George , Ray and Jonathan remain painfully aware of their emotional shortcomings, and often attempt to make up for them.  That earnest sweetness creates trouble as often as it creates sympathy, but in the case of “Two Large Pearls” makes for wonderfully pathetic character moments, as the three take comfort in their male bonding while trying to distract one another from their problems by bringing up their own.

It also helps Bored to Death to have a stronger, more externally driven plot than the petty squabbles of Richard Antrem or Louis Green, as here we see Jonathan’s old girlfriend Patty (Casey Wilson) and her father recruiting him (and by proxy his friends) to protect a diamond necklace on the eve of her wedding, though Patty has far more carnal intentions.

Patty herself doesn’t feel entirely believable, a beautiful woman trying desperately to cash in on a decade-old pact to have one last romp with Jonathan before marriage, but “Two Large Pearls” earns the price of admission alone for its absurd fencing heist, and its (somewhat predictable) resolution.  Hopefully we’ve not seen the last of Patty and strangely cavalier sexual practices even after her wedding, but I wouldn’t bet on it with only two episodes remaining, and however long until the next season.  And whatever happened to Jonathan’s old girlfriend Suzanne (Olivia Thirilby)?

Elsewhere, we’ve even got movement on the search for Jonathan’s father, as despite a dead end bit at a fur store next to the burned down sperm clinic, Jonathan receives a mysterious call by episode’s end of a woman claiming to have information on the subject.  Belinda (Olympia Dukakis) has apparently been whisked away offscreen to an upstate convent, and despite coming around on Bernard (David Rasche), George still apparently views his daughter’s wedding as “a very dark affair.”  Ray moving in with George feels like a lumping together of the weaker storylines, but “Two Large Pearls” picks up more than enough steam to compensate.

Bored to Death could easily coast by on the charismatic chemistry between its three leads, but thankfully the more entertaining “calamities” haven’t disappointed of late.

And Another Thing…

• For the third week in a row now the episode’s title has come from Ray’s interactions with Belinda, and only vaguely connect to the plot…
• Was the sequence of Jonathan driving into Fairlawn a riff on The Sopranos' opening credits?  I’ve not seen them enough to be sure.
• “I don’t like German cars, I’m a survivor.”  “It’s a friend’s car, you’re a Holocaust survivor?”  “No, in general I’m a survivor.  I haven’t had it easy.”
• I know I said this last week, but good gravy is Mary Steenburgen still hot.
• This marks the second time I’ve mentally connected Jason Schwartzman with “j’accuse! “, the first time being when Wallace Wells says it to Scott Pilgrim in Scott Pilgrim’s Finest Hour, though I realize Schwartzman neither played the character, nor did the line appear in the film.

What did YOU think?

Bored to Death 3.06 "Two Large Pearls and a Bar of Gold" Review

Boardwalk Empire season 2 sails along toward its finale with last night’s “Two Boats and a Lifeguard,” which sees Nucky Thompson re-evaluating his options in the wake of his shooting, as Jimmy struggles for personal and professional respect in a changing landscape. "Two Boats and a Lifeguard" adequately sets up the endgame for Boardwalk Empire season 2's plot, provided one doesn't get lost in all the symbolism.

There’s an oddly telling moment at the midpoint of Boardwalk Empire’s “Two Boats and a Lifeguard, wherein Angela Darmody’s new friend Louise casually remarks that “not everything has to make sense” when describing an abstract sand sculpture, which puts an odd sort of comfort into reviewing the episode.  Directed by showrunner Terence Winter, “Two Boats” features a plethora of dream imagery and interpretive visuals, but one that Louise’s statement reminds us need not be the deep ocean of metaphor we wish it to be.

Around the time I started overanalyzing the episode’s apparent obsession with food, from “daddy eats first,” to Nucky compared to an onion and an artichoke, Van Alden making a stink about following procedure only to skip out on his meal’s check, or Jimmy and Manny discussing the finer aspects of butchering venizen, I realize that we can lose ourselves looking for symbolism.

Some morals are more immediate, the way mortality presses on those in the business of life and death.  Not only must Nucky face his own mortality in the wake of the failed shooting, but from his father as well, and the generations beneath.  The son becomes the father, as Nucky finally gets around to requesting Margaret’s children call him “Dad,” just as the old men in power note that their pups have grown fangs, which seem to eat away at their time left in power on this Earth.

Nucky however is the shark that never stops swimming, or rather the drowning man who never gives up, as even gunshots and a step down from office brings new opportunities to make friends with the IRA, or stall the takeover with Chalky’s strike.  Perhaps “Two Boats” preoccupation with food strikes a resonant chord with the themes of mortality after all, the way food forces us to confront our dependent natures and the brevity of existence beyond our more basic needs.  It’s a wonderfully reserved, but heartbreaking scene when Nucky finally breaks down crying over his father from something as simple as untied shoelaces; for we are all of us at the precipice of death, and  dignified ends can be undone by something as simple as a careless funeral parlor.

Of course the “pups” don’t quite have everything figured out either, as we find all four conspirators Jimmy, Al Capone, Lucky Luciano and Meyer Lansky all still under the thumb of their employers, condescendingly chided for their failure to deliver on their promises.  Even Jimmy, now crowned “Prince James” in the wake of Nucky’s resignation, ends up no closer to becoming the man in charge he’d like to be, while Eli reminds him of Nucky’s intelligence or Manny hounds him for unfulfilled liquor that Jimmy only claims to know where to obtain.  It’ll be interesting to see where “Prince James” goes from here with his own unique vision of his father’s kingdom, after sending a clear message to Manny and the other partygoers that he still demands their respect, hurling poor Mickey (Paul Sparks) over a balcony.

Plenty of future Boardwalk Empire developments are set in motion by “Two Boats and a Lifeguard, and I’ll be especially curious to see what business Nucky conducts in Ireland, and how his closer relationship with Sleater will bring out his tryst with Margaret in last week’s “Peg of Old.”  The writers are certainly working to push Jimmy to his breaking point even with his gradual ascent to the throne of Atlantic City, and provided Nucky’s adventures in Ireland don’t take him out of the equation for too long, we’re in for a hell of a showdown.  I’m not entirely sure how Van Alden’s continued corruption will fit into the larger story this season, but perhaps Esther Randolph (Julianne Nicholson) will provide the bridge needed to really bring Michael Shannon back into the narrative.

Definitely a quieter entry than last week’s “Peg of Old,” but a lot more momentum building toward the final episodes of the season.

And Another Thing…

• So we’ve got a whistling bellhop, a fight that hasn’t happened, a baseball glove,  young Nucky with a gunshot wound, and a shot deer struggling to move, as adult Nucky reminds himself “Daddy eats first,” before shooting himself.  Sheesh.  Any takers, dream analysts?
• Certainly a lot of ground gained for Angela, taking a new lesbian lover as well as casually brushing off her marriage with Jimmy during his honest confession.
• Ooooooooo, Katy (Heather Lind) got DISSED, yo!  Sleater’s only got eyes for “mom,” now, and that sounds much grosser than it really is.
• “Success has many fathers.  Failure is an orphan.”  A little on the nose, after Nucky’s father died, no?
• “Your move, Dad.”  “Yes.  It is.”
• Jimmy makes a nice effort to comfort Richard amidst all the celebration and transition, but I’m wondering if even that relationship fractures by season’s end.

What did YOU think?

Boardwalk Empire 2.08 "Two Boats and a Lifeguard" Review

After years of partying and promiscuity, Amy Jellicoe had had enough, unleashing all the pent up anger that she had from years with a drug addicted ex-husband, a dismissive mother, and a douchebag boss that failed to acknowledge her existence, even despite their torrid affair. Normally someone finally letting go of their frustrations would be a good, healthy thing, but Amy took it a step too far, having a near-nervous breakdown at work and threatening more than one person in the process. As a result, the corporate buyer took a respite in Hawaii and learned the power of positive thinking, ultimately returning a more driven, socially conscious individual.

But how would she be accepted back into her world? Or, for that matter, would she be accepted at all?

Such is the dilemma that Enlightened's heroine faces, as the newest HBO comedy follows Amy's journey toward self-discovery and, eventually, fulfillment. Aside from a character study of a woman trying to pull herself from the brink of insanity, Enlightened just so happens to be the best show you're not watching.

Why is it so good, you ask?

For one, Enlightened is highly unique, which could possibly explain its low viewership. Most American comedy these days tends to favor either the dark, raunchy side of the genre or the family-oriented half hour side, but Enlightened chooses a third path, a path that hasn't been traveled all that much. Enlightened is a comedy simultaneously built on sadness and hope, which makes for a fairly interesting blend each week. Amy is a character seeping with regret and loneliness, especially now that she's back from her retreat, and she lets out that negativity in the show's truly beautiful voiceovers. But while Ms. Jellicoe has been running into various obstacles in her pursuit of happiness, she never seems to give up hope that one day, things will change. As much as she may like to take certain aspects of her past back, Amy's no longer running, which is inspiring, to say the least.

A major reason to watch Enlightened is just to marvel at how good Laura Dern is. The supporting cast (Luke Wilson, Diane Ladd, Mike White, etc.) is all quite strong and each bring out a certain element in the show (and in Amy), but Dern's performance is one of my favorites to watch each week. When I saw that HBO was doing a series with Dern, I was excited, but I thought it would turn out to be in a similar vein to Showtime's troubled-middle-aged-ladies brand of dramedy; Dern would have a secret to hide or she'd be on the run from the law a majority of the time or she'd have three heads or something. It'd be gruff, dryly funny, and possess a fair amount of edge, a pretty fun time, to say the least. However, what I got was a show that's decidedly soft and whimsical, bringing out a whole lot of vulnerability in Dern's performance. She's a Swiss army knife of emotion, most impressive when she lets down Amy's defenses and into the wounded heart of someone still recovering from a trying ordeal, but capable of producing a variety of control, optimism, and earnestness whenever the moment calls for it. It's not a show-y performance, but in the first four episodes, Dern has made impressively subtle choices showcase how much Amy has grown and how far she still has to go.

But the main reason I've enjoyed Enlightened so much in its short existence? It makes me happy. Even though a majority of the action is due to Amy's search for acceptance and the continual rejection she faces from those close to her, there's something about the gentleness of the show that suckers me in every time. The smooth fade-outs at the end of every episode, the warm imagery that's stayed in the aquatic realm, Amy's seemingly unrelenting positivity - it's all such a calming influence whenever I watch an episode. It may be where I'm a pessimistic person by nature that relates to how lost Amy feels in terms of her direction in life, a lost-ness gained from the circumstances of every day life, but to see a woman who has literally been to the edge and is doing everything to fight her way out gives me hope that maybe I can make it, too.

Enlightened isn't the most fast-paced or flashy comedy on the scene, but it's the most satisfying watch of my TV week. During the first four episodes, I always found something to giggle at, a line to stew over later, a performance choice that Dern made that made me cry; whether it's making me laugh, cry, or think, the point is that Enlightened gets to me in a way that no other show currently airing has, which makes every episode a very vivid experience, to say the least. In a TV universe that hinges on darkness, perhaps its time that people start letting a little light back into their world.

Enlightened airs tonight at 9:30 on HBO.

Three Reasons Why You Should Be Watching Enlightened

One of the most interesting things about Enlightened, HBO's newest comedy, is the contrast between its tone and its heroine. Amy Jellicoe wants to change the world, climb mountains, and save the homeless; she's a bundle of productive energy wrapped up in a peaceful package, all about forming new committees and pursuing her new passion of serving others. While you'd think this would make for a manic, nervous show, Enlightened is slow and calm, a flowing stream transporting the vessel of change known as Amy Jellicoe through the rapids of her post-breakdown life.

In 'Not Good Enough Mothers", Amy tries to channel some of her newfound energy, now that she and Levi have come to an understanding regarding their relationship. Instead of continuing to talk up new ventures as Abaddon or forcing herself into lunches with Krista and Damon, Amy decides to take up a new cause in a Mexican woman facing deportation. Per usual with "new Amy", she soon develops tunnel vision regarding the case and fails to see that sometimes the most charitable thing you can do is treat the people you interact with on a daily basis with respect and consideration. She means well, but her disenchantment toward her surroundings is growing with each episode; I can't say I blame her, though, with how poorly she's been treated by just about everyone.

It's now Amy's second week at Abaddon and it looks like she still hasn't fully embraced her new role on Level H. From the promo below, she finds a way to get into Krista's baby shower, but she spends her time proselytizing about women's committees and activism instead of just being a friend. Amy Jellicoe may have the best intentions in the world, but if she wants to start making progress at work in terms of her social standing (and activist aspirations), she may have to start listening a little more than she's talking.

Enlightened airs tonight at 9:30 on HBO.

Tonight on Enlightened: 1.05 "Not Good Enough Mothers"

Boardwalk Empire season 2 pours past the midway point with tonight’s “Peg of Old,” which sees Margaret Schroeder looking to reconnect with her family while Agent Van Alden struggles with the continued fallout of his personal life and new baby. "Peg of Old" continues  driving Boardwalk Empire season 2's plot along, but feels mostly like a transitional episode with a few surprises in store.

After all the tension and excitement of last week’s “The Age of Reason,” “Peg of Old certainly had a lot to live up to.  With the second season of Boardwalk Empire now more than halfway over, the quieter character-driven episodes have fallen by the wayside and things should theoretically pick up full-steam ahead.  Then again, Boardwalk Empire will never be a supremely fast-paced show, even when it flirts with the idea.

That was what struck me most about “Peg of Old,” the idea of people exploring things they don’t ultimately commit to.  Just as “Peg” (Margaret) looks to reconnect with her roots before dashing back to ritzy Atlantic City, Jimmy sees a path before him he ultimately chooses not to take.  Being the big man in Atlantic City means taking decisive actions and literally pulling the trigger, but Jimmy can’t see past Nucky as a father figure enough to have him gunned down in the streets.   Even Lucy and Van Alden reject the paths they’ve toyed with, Lucy a loving mother and Van Alden a full-blown criminal.

Speaking of Agent Van Alden, Boardwalk Empire season 2 really has been letting the poor guy have it.  Not only has Rose left and refused to speak with him on account of Lucy, Lucy herself has abandoned her motherly duties and alerted Nucky to Van Alden’s dire straights in the process.  The poor guy can’t even catch a break at work, with ADHOC hottie Esther Randolph (Julianne Nicholson) emasculating him at every turn in what’s sure to be a banner role in challenging Van Alden’s viewpoint on women.  It’s especially jarring to think that all these pressures force Van Alden to work for Nucky directly by reporting on Randolph, but in his own way he gets to turn the tables on each.  As much as Boardwalk Empire likes to beat down on Van Alden, it’s the way Michael Shannon expresses his ambiguous discomfort so very well that keeps it worth watching

Of course, “Peg of Old” really belongs to Peg of Old, as Margaret heads to Brooklyn to visit with the family she’d earlier researched.  It all unfolds mostly as you’d expect, with her brother angry/jealous at Peg having abandoned her family just as she starts connecting with her younger siblings, but Boardwalk Empire hadn’t really had much else for Kelly MacDonald after becoming Nucky’s live-in companion.  And talk about grabbing life by the…reigns, Margaret gets to break bad even further by finally utilizing Slater as “hers to command.”  In a way the sin represents the closest she can feel to her “old” self, having last left her family behind because of her “sinful” pregnancy.

“Peg of Old” really does belong to the Irish, a daunting thought if you have trouble understanding accents.  Boardwalk Empire’s newest favorite toy Owen Slater (Charlie Cox) gets plenty of time to shine as well, not only bedding Margaret, but conducting his own assassination in a bar bathroom with a garrote.  They’re clearly working to set up some kind of mystery behind the character, having searched for his target for “five months,” but sometimes enough to simply marvel at the man’s fingers being lopped off by the wire.  Slater certainly presents an intriguing character fast rising on everyone’s hit list, but for now I’m still Team Richard.

But how about that cliffhanger?  Or, perhaps Nucky being shot in the hand doesn’t leave much suspense over his fate, but it’ll be fascinating to see how the attempt on his life or the manner in which Jimmy seemed to warn him play out in the next few episodes.  More or less everyone on Boardwalk Empire has a path laid out or the remaining episodes of the season, so while “Peg of Old” isn’t exactly a showstopper it gives us a clearer view of where we’re going, and where we’ve been

And Another Thing…

• Admit it, the ADHOC woman totally has a lady-boner for Van Alden.  Classy, I know.
• I liked the telling shot of Van Alden almost smiling listening to the baby being tended to, and the way it suggests the character longs for the idea of family without actually caring who they are.  And way to go Lucy, for such a fine exit.
• I might have liked if Slater and Margaret were merely implied to have sex, the scene very well could have ended with her tellingly saying “you can bring the bag up.”  But that’s the film student in me.

What did you think?

Boardwalk Empire 2.07 "Peg of Old" Review

Bored to Death season three soldiers on with its latest “We Could Sing a Duet,” a fun and emasculating half-hour that sees Jonathan working a case with his doppelganger as George shares an evening with his daughter’s boyfriend and Ray struggles with his responsibilities.  You’d be hard pressed to search for meaning in a comedy that makes its living on aimless stonery, but the chemistry of its three leads wins me over every time.

It’s a bit on the nose to see each character struggling with subversion so directly, as Jonathan finds his identity stolen, George struggles with being bested both professionally and at home, and Ray copes with being a “Park Slope mom,” but the charm of the entire series lies in each character wishing for more success than they actually have.  Ted Danson, Zach Galifianakis and Jason Schwartzman all portray downtrodden so wittily, that all three dovetail well into a coherent whole.  Board to Death practically makes its living on creating rivalries for its leads, so I hope we see Brett Gelman’s Jonathan Ames doppelganger again as every bit the detective rival Louis is (or was) literary.

In a way Board to Death also explores the fantasies we all create for ourselves, Jonathan the noir detective, Ray the supremely masculine artist and George a father at the top of his professional field, but channels it through the ridiculous, here in “We Could Sing a Duet” with plushies.  Something I liked about the earlier episodes of season 3 were the ways Jonathan found himself embroiled in actual hotspots like the murder-mystery of “The Blonde in the Woods,” and I might wish for a bit more growth in that area to counter the fantasy.  I’m even reminded of the way Breaking Bad or Chuck’s ineffectual protagonists grew increasingly competent and badass as seasons progressed, and “We Could Sing a Duet” dangles a few traces, but ultimately retreats into its more comfortable stoner fantasies.

On the subject of fantasy, Bored to Deaths’ aforementioned rivals have a tendency for cartoonism, here with the returning Richard Antrem (Oliver Platt) now looking to best George in the restaurant business, while Louis Green’s erratic obsession with besting or confronting Jonathan grows increasingly pathetic, newly minted as a busboy and “son” to Richard and Sons.  The doppelganger Jonathan Ames at least admits to being a caricature hopped up on noir movies, making him a far more tolerable villain.

Given the (no pun intended) aimless manner in which Bored to Death’s leads purport themselves anyway, we can’t really judge “We Could Sing a Duet” for not rolling the plot along.  We’re sure George and Jonathan will make up soon enough, just as Leah will take Ray back to find his stride (Olympia Dukakis or no).  For our money, the thread that really needs more attention is the search for Jonathan’s real father, but “We Could Sing a Duet” creates a harmless enough diversion in and of itself.

And Another Thing…

• Is the emasculator intended to be a caricature of Leah, or his lesbian baby mama?
• My new favorite excuse has become, “I was attacked by a homosexual tiger in Brooklyn!”
• Zach Galifianakis boned Olympia Dukakis.  There’s a sentence I never thought I’d say.

What did you think?

Bored to Death 3.04 "We Could Sing a Duet" Review

Boardwalk Empire season 2 reaches its midway point with last night’s “The Age of Reason,” which sees Margaret Schroeder and Agent Van Alden struggling with their guilt as Nucky and Jimmy Darmody (Michael Pitt) struggle with their power plays.  "The Age of Reason" finally starts driving Boardwalk Empire season 2's plot along, but begs a few questions of how the stories will be tied together by season's end.

“The Age of Reason” officially marks the halfway point of Boardwalk Empire’s second season, and already the seeds have been sown for a violent and bloody end.  A running undercurrent of “The Age of Reason” sees nearly all of the main players plans’ falling into disarray, a symbol of the chaos and upheaval that pervades Boardwalk Empire on a weekly basis.  Everything from Nucky’s simple plan to get the Attorney General (Christopher McDonald) to throw his case out to Van Alden’s plot to keep his bastard child a secret falls apart, but a wise man* once told us that “life is what happens when you’re busy making other plans.”

More to the point of “The Age of Reason” is that of confession, most poignantly in how Margaret (Kelly MacDonald, Nucky and Van Alden alike find themselves examining their own actions in light of almighty judgement.  Considering all the sin and vice that floats around Boardwalk Empire it’d take more than a few gentle confessions and lucky reprieves to set the moral scales at even, but “The Age of Reason” reminds us that no one completely escapes their sins.  More than simple confession, we covet that which we can’t have, something Margaret comes to grips with rebuking Katy (Heather Lind) over her own attraction to Mr. Slater (Charlie Cox).  It’s the same token that drives Lucky Luciano (Vincent Piazzo) to drive an outsider’s bargain with Jimmy Darmody, the feeling that there’s always another standing in the way of what we deserve.  It’ll be interesting to see how far things progress with Margaret and Slater, given we already know Nucky faces enough enemies as is, without domestic troubles.

The standoff on the woods by episode's end does a wonderful job of summing up the chaotic divergence escalating as the season goes on (as well as some much needed action), to the point where we barely know who’s betraying who anymore.  Arnold Rothstein (Michael Stuhlbarg) and Lucky Luciano just barely got back in bed with Nucky Thompson and Chalky White (Michael K. Williams), and already factions are splintering to pair with Jimmy, Richard and the Jewish Mafia (William Forsythe) for the heroin trade.  As Meyer Lansky puts it, their meeting is “kismet.”  In Boardwalk Empire, we are all of us destined to meet, and destined for chaos, lost in the woods.

Michael Pitt and William Forsythe in "The Age of Reason"                         -HBO

All that being said, “The Age of Reason” does a fine job of positioning us for the second half of the season, moving away from the quieter, character driven episodes of weeks past, “What Does the Bee Do,” or “Gimcrack and Bunkum.”  No longer is Nucky’s freedom guaranteed, and Jimmy seems to almost be playing all sides against one another as part of a larger play.  There’s an important lesson learned from Leander Cephas repeated toward episode’s end, in that “not every insult requires a response. “ Some plots are left with a slow burn that melds together and takes its time in boiling over.  Between Nucky’s charges, Van Alden’s baby, Margaret’s impure thoughts and Jimmy’s escalating schemes, we’ve got quite a storm brewing for the rest of season 2.

In the end it’s refreshing to watch the more plot-driven episodes of Boardwalk Empire (despite accusations that Van Alden has little to do with the main story anymore), but transition episodes tend to become marginialized in the grand scheme of things.

And Another Thing…

• *John Lennon.  Smart man!  Shot in the back, very sad.
• A lot of interesting transition shots this week, from Lucy and Van Alden to Jesus on the cross, Lucy’s water breaking to champagne uncorking, Lucy’s screams turning into music, before fading in and transitioning to baby cries, Margaret’s confession to Nucky’s “Don’t be upset?!”
• Is there any cries Paz de la Huerta can make that don’t sound like her having sex?
• Similarly, if I never had to watch Steve Buscemi mid-coitus again, that’d be great!

What did you think?

Boardwalk Empire 2.06 "The Age of Reason" Review

Boardwalk Empire season 2 continues to hit its stride with last night’s “Gimcrack and Bunkum,” which sees Eli’s alliance with Jimmy and the Commodore hitting the fan as Richard contemplates his own future out in the woods.  The bizarrely titled “Gimcrack and Bunkum” mostly continues Boardwalk Empire’s pattern of fleshing out its side characters, wisely putting fan favorite Richard Harrow (Jack Huston) at the forefront.

There’s been accusations of Boardwalk Empire unfolding far too quietly and slowly for an HBO gangster series, but explosions and gunshots will fall on deaf ears if not for the quieter, more contemplative episodes that the series does so well.  Last week’s “What Does the Bee Do?” illustrated its point by focusing on smaller characters like Chalky White (Michael K. Williams) and Gillian Darmody (Gretchen Mol) struggling against a ceiling of power, while “Gimcrack and Bunkum” creates a different study through similar means.  By focusing on Richard Harrow in his moments alone, “Gimcrack and Bunkum” allows us insight into the role emotional connections play in our power struggles.

Richard lacks the close relationships that define Jimmy Darmody or Nucky Thompson, and as such rather blithely retreats into suicide as his only option.  So too do Nucky, Jimmy and Eli face similar absence of fulfillment, but each go about dealing with it in different ways.  Nucky finds himself mostly under the thumb of the Attorney General (Christopher McDonald) and his snide young prosecutor, and has the bridges to burn when Eli humbly returns begging forgiveness for his plot with the Commodore.  Eli himself then lashes out in turn at his fellow conspirator, as violence seems about the only output these powerful and connected men share.

Even Jimmy can’t stand a quick display of disrespect from his elder investors, enlisting Richard to brutally scalp the man in own home for the gesture.  Of course, Richard turns to violence out of loyalty for his friend rather than his own insecurity, as Richard’s frustrations put him in the serene woods ready to end his own life peacefully rather than risk harming another.  It’s a fascinating, if understated character study for Richard Harrow, which Jack Huston brings a subtle mastery to, particularly in his final scenes with Jimmy.

There’s another subtle undercurrent to “Gimcrack and Bunkum,” that of the magical and unattainable.  We see the theme reprised in the investor’s musings on the Sioux Indians' belief in magic or the hunter’s claims to have seen a flying horse, but there’s a larger play at work.  Each player of Boardwalk Empire believes in an ideal they keep fighting for, even if they’re not sure what that salvation may be.  As Angela Darmody puts it, “There’s got to be something.”  And so Richard will live to fight another day, Nucky will weather the impotent frustration of the men handling his court case, and Jimmy will go on believing that bloodshed will win him the respect he deserves, in spite of the ironic place it puts him on Memorial Day.

"Yes, it is decided.  I will literally murder his face off."                               -HBO

Not a lot of movement on the bigger stories of the season for “Gimcrack and Bunkum,” as we don’t even see The Commodore, Chalky, Van Alden or Lucy, but we should appreciated the quieter episodes of Boardwalk Empire for their exploration of character.  We’re not often able to find sympathy for Jimmy or Nucky given their actions, but the men caught in their wake like Richard Harrow and Eli Thompson ground the drama in a very powerful way, one that proves neither gimcrack, nor bunkum.

Yes, I looked those words up.

And Another Thing…

• You’d barely recognize Dominic Chianese (The Sopranos’ Uncle Junior) under those mutton chops, but I suspect we’ve not seen the last of Leander Cephas Whitlock just yet.
• Jack Huston continues to do really excellent work in selling both Richard’s disfigurement and quiet anguish, so I felt guilty laughing at his chasing a dog that stole his face.
• I didn’t get a chance to mention Mr. Slater canoodling with the help and the ramifications it will surely have for Margaret’s attraction to the man, but also…boobs.

What did you think?

Boardwalk Empire 2.05 "Gimcrack and Bunkum" Review

Boardwalk Empire pours along with its fourth entry into season 2 with the cryptic, if deliberately titled “What Does the Bee Do?”, which sees a surprising turn in momentum for Jimmy, Eli and the Commodore’s power-play against Nucky as well as a glimpse into several unexplored characters.  Whereas last week’s “A Dangerous Maid” lent a great deal of exploration to family, fathers and sons, “What Does the Bee Do?” explores how powerless we become in our efforts at control.

There’s an old standby I go to whenever someone asks my feelings on Mad Men, specifically one random season 4 scene where Don Draper watches an old man across the hall yelling at his wife about pears.  I recall fellow critics racing to heap symbolism upon the scene, as well as various scenes across the series itself, though I could never see the patterns that weren’t there.  Boardwalk Empire employs a similarly rich tapestry of symbolism and subtlety, one which plays out far more effectively in an episode like “What Does the Bee Do?”

One of the things the episode does so well is to find the smaller moments and relationships of Boardwalk Empire, and breathe life into what we weren’t already seeing.  There’s the obvious fleshing out of Chalky White’s home life, but also the very natural and tender relationship between Angela Darmody and Richard Harris.  Even Van Alden’s underlings (you know, the one’s he hasn’t murdered yet) get their moment to shine, however too close to the heat they get.

In particular “What Does the Bee Do” finds a great deal of depth in the parallels between Chalky White and Gillian Darmody, namely in how they struggle to wield their high standing and powers from beneath a glass ceiling of Boardwalk Empire’s men.  Chalky White may be a respectable leader in his community, but it all falls apart without Nucky’s approval to avenge the African-American men killed through Chalky’s operation.  Chalky’s only recourse erupts at the dinner table (in a spectacular display of Michael K. Williams’ abilities), as he channels his impotent rage through the all-too-apparent class separation between him and the rest of his well-educated, high-society family.  So too does Gretchen Mol exhibit a spectacular range in which she struggles to maintain order and control of Jimmy (Michael Pitt) in the wake of the Commodore’s stroke, but by the end completely loses her ability to hold back years of psychological trauma and anger toward him.

-HBO

Small stories don’t take up the entirety of “What Does the Bee Do,” of course, and we’ve got plenty of movement on the main storylines, however incidental.  A strong presence of pure dumb luck permeates the episode, in  the Commodore’s plot fortuitously de-railed coup, an opportunity for the Attorney General to dismiss Nucky’s case literally falling into their laps, or Van Alden’s men prevented from bringing their superior to justice by a well-placed explosion. And with Nucky striking up business once more with Arnold Van Rothstein (Michael Stuhlbarg), in turn stirring more bad blood with Lucky Luciano (Vincent Piazzo), as well as Jimmy entering business with the Jewish mafia (The Untouchables’ William Forsythe), Boardwalk Empire has plenty of pieces moving to keep its second season afloat.

To quote Nucky Thompson, in the end it’s always about money, and “What Does the Bee Do?” ends no differently.  The maids clamor for a raise, while Margaret squirrels away money from Nucky, her children sing about it, and characters main and supporting all desperately move to either avoid the poorhouse, or break free of their social standings.

They’re exactly the questions Boardwalk Empire poses so eloquently, and “What Does the Bee Do?” doesn’t have to ask us why we’ll be back next week.

And Another Thing…

• On a cruder, cathartic note…boobs, more boobs, and slapping a man who’s had a stroke.  The other reasons to watch Boardwalk Empire.
• There are still eight episodes to go, but I’ll be very remiss if we don’t get some Richard/Angela action, Margaret/Mr. Slater, or at least a fight between Slater and Richard.
• What was going on with Arnold Rothstein and the apple bread?  Without consulting history, were they alluding to health problems of some kind?
• Van Asshole.  ‘Nuff said.
• Every time Nucky pulls out his wallet to hand out cash, my brain shouts out “Meet George Jetson!”
• Commodore, what did the five fingers say to the face?  Someone make a GIF, or Tyrion Lannister/Joffrey style video, plz.

What did you think?

Boardwalk Empire 2.04 "What Does the Bee Do?" Review