6x13, "Breaking News"
First of all, Scotty, way to be a waffling hypocrite. "You're married?! YOU HORRIBLE HUSSY, GET OUT OF MY LIFE. Hey, what are you doing in my bar? That is so far over the line, I'm just going to have to...make out with you for a while, ditch my date and take you to bed." *headdesk* It saddens me that Frankie has apparently surpassed "airhead" and gone for full-on "delusion" (she doesn't really think he's trying to make her jealous, does she?) but not as much as it saddens me that Scotty is so easily twitterpated by pouty red lips and a seductive purr.
Plus, excited as I was when I saw Tania's name in the credits again, I realized that part of me was relieved last week when I thought I'd no longer be subjected to her behaving like a sex kitten. It's really beginning to make my skin crawl, and still looks completely fake coming from her.
The case itself, Erin Brockovich - Budding News Anchor, was trite and tired. There are only so many times one can use the "lone crusader takes on Big Corporation over endangerment of employee health," and I'm pretty sure the quota for the decade was met a while ago. It was somewhat amusing to see Steve Brady as the killer in 1988, but that's all it was good for.
I'd like to say the rest of it was worth it for Vera's ridiculous
-How I Met Your Mother, 4x12, "Benefits"
You know, this show does so many strange and confusing metaphors that I didn't really know what "reading a magazine" was supposed to be until I went online. General consensus was less disgusting than Barney's idea, but still not a thing I needed to hear about at all.
So if you don't mind, I'll just be ignoring that non-plot, just like I'll be ignoring the skanky Ted/Robin except where it concerns Ted realizing that Barney might have feelings for her, and spend all my time on what mattered: ohh, poor Barney. *pets* Openly weeping! Smashing TVs for venting purposes! "Awfsome!" Curling his fist and struggling mightily to bump knuckles with it rather than break open Ted's face!
I think...this is one of the few relationships on TV that I prefer in the UST stage rather than canon-coupling stage, technicalities of their previous physical relationship aside. Because watching him twitch in seemingly physical pain through all the Ted/Robin discussion was wonderful, as was Lily's continued role as his emotional sounding board, and really...I just can't get enough of his pining. I even like the fact that comes and goes in periodic spurts rather than being featured as an unending session. I mean, it's enduring and I'm sure it's always there, but I like that it's not always at the forefront.
And the fact that Barney blurts out not once, but twice (and almost three times) that he loves Robin, only to be misunderstood every time? So great. And not a little poignant. And his expression at the end, just gazing at Robin while she rambles on?? You slay me, sir. Sometimes I think you even edge out Marshall as my favorite.
Speaking of that end scene, Song Love! "No More Wishing" - Hayley Taylor.
P.S. Way to leave your garbage in the hallway, Robin. I'm sure your neighbors won't mind that at all.
As for CSI: Miami, I believe I paid record-low amounts of attention as I found it far more fascinating to edit my brother's literary analysis of Catch-22. Something about a guy named Doug Benson who may or may not have had amnesia and may or may not have killed a family, and a halting advancement in the Eric/Calleigh storyline? I pretty much paid attention to what I liked about them and didn't like about Ryan's wardrobe.
7x12, "Head Case"
1. Ryan, let me give you two tips on what to avoid in the future: lavender shirts, and that weird slicked-back look you tortured your poor hair into.
2. I like how Eric & Calleigh just run this memory-testing thing all by themselves, with apparently no professionals or official personnel or anything.
3. Lots more awkwardness from E/C today (can we stop talking about The File? Please? It makes me cringe almost as much as the "You're my FRIEND, my really good FRIEND, do you know what I mean when I say FRIEND?" lines), but I do appreciate that Calleigh finally put her foot down. Quoted as best as I could on the spot with my terrible memory: "I'm so confused. What do you want? You are gonna have to tell me, because until I actually hear you say the words, I don't even know if you believe it yourself." That's my girl. I think she just put into words what's been bugging me about this dance all season.
Eric doesn't seem to know how to start it, like he can picture a future established relationship but not how to navigate from Point A to Point B, whereas maybe if he drops enough hints, Calleigh will finally be unable to resist standing up and declaring her undying love, thus instantly creating that fantasy in reality. Calleigh, on the other hand, is nicely grounded in reality, and so I like that while she's keeping the door as open as she possibly can, he's the one that knocked and so he has to cross the threshold, not her. Did that metaphor work?
3.5. That reminds me, regarding various interview and articles about it, I would love it if they'd stop pretending that this romance has been building since Day 1. Because, um, no. Not really! Calleigh's had scenes you can construe as flirty and/or meaningful with just about everyone, hence why I ship her with just about everyone, but I have seen no evidence that this particular pairing is something they've been subtly promoting for years in the manner of Grissom-and-Sara.
Aside from the fact that they're the only two who've worked together without turning into robots since Day 1, the development of this relationship is far more recent. It's a nice enough thing to watch unfold, and I can see why their history plays a role in it, but there's nothing particularly star-crossed about it.
4. Next week: RACEHORSES! Could I see them in more scenes than just the teaser, perchance?