Tim Robbins did last week's, I thought he did well.
I did not recognize the writer's name this time...admittedly I tend to collect facts like that the way men collect session players or baseball statistics, but I'm just saying.
This one was just okay. I mean, it moves stuff forward, so we need it to shut up those critics who are always sniffing that "Nobody has enough to do," on Treme, when everybody who has watched "Once More With Feeling" knows "The hardest thing in this world is to live in it." I suppose Antoine and his bone are supposed to fight crime or something.
I didn't need to see the crime, either, but we did need to see something. When the detectives show up, it doesn't make sense.
My own Stray Observation: Jeannette got bitten on the ass by a quote from Kitchen Confidential, Bourdain's chef memoir, which I recommend enthusiastically.
The quote was "I can teach you to cook, but I can't teach character,"(Which I don't think AB would apply to a pro like Jeannette...more like her roommates, but I digress.)
I liked the parts with the musicians, though.
I would say that Annie missed Sonny a little, and felt bad for not believing him, too.
Anybody else suspect Jeannette doesn't have a job when she gets back from New Orleans? That chef seemed like a big enough dick to pull something like that.
It could happen, yeah.
It would also get her back in the Crescent City so she can be on the same show with everyone.
Behind the scenes stuff: Minor houses, the Dothraki languages; the Night's Watch.
The bit about Catelyn and her sister (the first clip) is a bit spoilery but I don't believe that either of the other two are.
I can't believe that something I like so much is getting a really first class adaptation from HBO.
The writer of last night's Treme was from Homicide, and I thought that this ep had a lot of the bang-bang-bang plot mechanics of some of their weaker episodes. Today I learned that there is such a thing as a David Simon fanboy, which is a category that I feel a little responsible for helping to create, and goddamn if those fuckers didn't turn on me at the AVC for not praising that episode to the stars.
It's what they do. Because they're bitter, little, hairless fucks.Nobody loves his work more than I...I call him my fake husband out in a virtual public, at least(one would hope that if I met the man I could restrain myself of that temptation, as well as some others involving candy burdens and such) Any criticism you offer comes from a position of great respect, and I don't think it undermines a man's whole oeuvre to say that one episode of one show(That he didn't write, incidentally) was off tonally, or didn't show sufficient respect for...some sensitive sequences. We don't judge Joss' whole career by say, "Bad Eggs" or Doublemeat Palace. I read what you wrote, Hayden, and while I don't agree 100%, it was not jerkoff criticism of the "Simon has jumped the shark," or "Dude, I could have written that," or "Another Jew getting paid exploiting the black experience," varieties that really fucking piss me off and make me wonder how Lippman has one moment to write so much.(I'm still mad at some feature writer at The Atlantic for writing that "Simon's cursing belies his comfortable upbringing in Blah Suburbs, Maryland,"(I'm still not sure what that means, actually. Half my life I was middle-class...does that give me A-F or what?_
All writers on one level like having our metaphorical dicks sucked, but I think Simon is the last one to crave empty hagiography.
Stand strong, bunk.
And I just noticed I put dick sucking and hagiography in the same comment...there could not be a bigger indicator of a Simon influence. heh.
Thanks, Erika. Next time, I remember that the loudest AVC commenters have trouble with reading comprehension.
