I did like her anthropological acceptance of the pony world. It was quite Bones.

I'm still trying to figure out if it was Cobb's money or Sonny's money that Cobb gave her. I'd assumed it was Sonny's at first, but then they implied it was Cobb's, but then wouldn't he have known where it came from?

This had me puzzled as well, but I just took it for really dumb writing. Even if it was Sonny's, the assumption should have been that that money was also marked, and if Sonny wanted his girl to have it, he could have told her where it was somehow, right? Cobb should have known that actually washing the money isn't the same as laundering it nowadays.

It was a good sequence, but I thought he was getting up way too easy after the hits he was taking.

Right? Not even a limp.

And I know I shouldn't laugh, but watching Boulet huff it down the streets just tickled me.

I did like her anthropological acceptance of the pony world. It was quite Bones.

That's one thing I liked about the CSI/Furries episode -- that Grissom was anthropological about it. Kink has never particularily phased Grissom, though.

Kink has never particularily phased Grissom, though.

That's one of Grissom's more endearing qualities.

On Bones, they've established that Booth is Catholic and at least semi-observant. Which goes with the uptight attitude. It is also hilariously the opposite of Angelus.

Well, Angelus was a lapsed Catholic. Very, very lapsed.

Life, enjoyed it and I find that I'm more interested in the conspiracy and Crews' psychology and his interactions with the people in his life, but I'm noticing that the MotW are ending with "very special" moments where the character (the husband this week, the little sister last week) suddenly change character, do an about-face, and pretty much thank Crews for giving them the strength to tell the truth. Ugh.

Things I liked lots and lots in no particular order: -Charlie kissing his wife. And she kissed back. The fact that he still loves her kinda surprised me. I had just pegged him as [not so] secretly bitter towards her. (I also loved his response to her "What do you want?")

-The scene with the attornery where they are say everything but.

-The look on his face when Ted was putting up the fence, and Ted finally getting it, and even after the fence-idea is nixed, Crews still looks like he's going to cry.

-How f***ing scary Crews became when he pulled out his own knife.

-New car!

Another weird thing I noticed is that this show (at least this episode in particular) doesn't have buttons to close out a scene. TV's gotten me so trained, so the absence of a witty remark or gesture (I'm looking at you, David Caruso, and I have a feeling Damian Lewis was as well.)

A witty remark or gesture to end the scene, you mean?

I'm just enjoying it and it's not the motw, it is the interactions between Crews and the people in his life. I was thinking in that scene where his attorney shows up at the station that he just spent 15 years surrounded by men and now, 2 out of 3 of the most important people in his life are women.

Bones:

I loved Angela's wasp. And the hypnotherapist. I know I've seen her before, but I can't remember where. And Vicky Nelson, all gussied up for pony play! I'll bet Henry would love to see her dressed like that. The older I get, the more incestuous weekly television gets.

House: I'm sorry to say "I told you so."

Do you think House was telling the truth? His little hem-haw with Wilson made me wonder. Although, you would think after two previous near death experiences he wouldn't need to do it a third time to make up his mind. Third time the charm? But then, why would he lie to a dead man if he did have some sort of epiphany? Gah! Evertime I think there going to give House a chewie center to go with the crunchy shell, they pull a bait and switch on me and give me hoarhound candy, hard and bitter.

A witty remark or gesture to end the scene, you mean?

yes. Can't sentence properly.

the interactions between Crews and the people in his life

Most definitely this.

Little interview with Sarah Shahi.