Booktalk & More

Review: Shades of Milk and Honey by Mary Robinette Kowal

2012-01-30T18:48:00.000-08:00

Shades of Milk and Honey
By: Mary Robinette Kowal
Publisher: Tor Books
ISBN: 076532556X

About the book:

Shades of Milk and Honey is an intimate portrait of Jane Ellsworth, a woman ahead of her time in a world where the manipulation of glamour is considered an essential skill for a lady of quality. But despite the prevalence of magic in everyday life, other aspects of Dorchester’s society are not that different: Jane and her sister Melody’s lives still revolve around vying for the attentions of eligible men.

Jane resists this fate, and rightly so: while her skill with glamour is remarkable, it is her sister who is fair of face, and therefore wins the lion’s share of the attention. At the ripe old age of twenty-eight, Jane has resigned herself to being invisible forever. But when her family’s honor is threatened, she finds that she must push her skills to the limit in order to set things right--and, in the process, accidentally wanders into a love story of her own.

This debut novel from an award-winning talent scratches a literary itch you never knew you had. Like wandering onto a secret picnic attended by Pride and Prejudice and Jonathan Strange & Mr Norrell, Shades of Milk and Honey is precisely the sort of tale we would expect from Jane Austen…if only she had been a fantasy writer.

Review:

Mary Robinette Kowal's debut novel, Shades of Milk and Honey, is described as "Jane Austen with magic" -- while I wouldn't go quite that far, Kowal's premise sets Shades apart from typical Austen-esque tributes and retellings. In an age when women were taught all manner of drawing room accomplishments in the hope of securing a good marriage, the most desirable skill of all is the use and manipulation of glamour. Glamour folds are pulled from the atmosphere and woven into murals, used to enhance art or redecorate a room, create skits, or even change an individual's appearance. At the age of twenty-eight and plain of face, Jane Ellsworth is used to being overlooked in favor of her fairer sister Melody's fine form. But plain Jane possesses a skill her more beautiful sister cannot hope to surpass -- she is gifted and skilled glamourist. When Jane's impressive skill unwittingly draws the attention of not one but two gentlemen, arousing Melody's ire, driving a wedge between the formerly inseperable sisters. Jane finds herself navigating the murky waters of previously unimaginable romantic possibility while using all her skill and wits to save her rasher sister from making a tragic error in judgment.

What's most refreshing about Kowal's debut is how she peppers her story with Austen-inspired references without resorting to a straight retelling of a classic storyline. And the subtle use of glamour is an inspired touch -- going into the novel I expected an out-and-out fantasy, and was instead pleasantly surprised at the way Kowal develops glamour as a craft, a skill to be learned and practiced rather than an arbitrary or convenient plot device. Kowal possesses a decent grasp of the style and tone of the time period; however, she has an unfortunate habit of utilizing antiquated spellings of common words such as "shew" instead of "show" that weigh down her otherwise mostly serviceable prose. Her plotting and characterization could also use refining and tightening. The novel opens strong but lags in the second act, while the third and final section possesses such a tone of suspense and almost high adventure that while enjoyable is something of a surprise given the strict drawing room parameters of the storyline's setup.

Anyone familiar with Austen's novels or the films upon which they are based will recognize certain characters or story beats within Kowal's world. There is the henpecked, harried father whose estate is entailed away from his daughters and the flighty mother suffering from unspecified "nervous ailments" (Mr. and Mrs. Bennet from Pride and Prejudice), the flighty sister obsessed with transient beauty (suggestive of Marianne in Sense and Sensibility), and engagements kept secret from fear of scandal (think Jane Fairfax and Frank Churchill in Emma). But my favorite nod to all things Austen is the character of Jane Ellsworth herself, an amalgamation of Elinor Dashwood's sense, Elizabeth Bennet's intelligence, and Anne Elliot's quiet fortitude. While I could wish for a less repetitive self-doubt/examination, Kowal sketches all of Jane's strengths and weaknesses in a highly relatable and period-appropriate fashion. I would've preferred more time devoted to the development of Jane's relationship with her chosen beau, but those issues aside as a light, diverting twist designed to feed the public's hunger for all things Austen related and inspired, Shades of Milk and Honey delivers a unique offering. With the promise of Jane's increasing confidence and aptitude as a glamourist, I look forward to the sequel!

Downton Abbey Series 2, Part 4

2012-01-30T15:53:00.000-08:00

This week's installment of Downton Abbey once again covered a ridiculous amount of time, but I can't really complain because it was AWESOME. I've got to say between this week and last week, 1918 has got to be the longest year ever. Here's the episode summary from the PBS website:

Amiens, 1918

Devastating news from the front rocks the very foundations of Downton Abbey, and it is up to the Dowager Countess to buck bureaucratic protocol and bring Downton's men home. In an unwelcome return, Vera Bates threatens to make public the scandalous story of Lady Mary's ill-fated indiscretion. Desperate to contain the story, Mary appeals to the savvy opportunist Sir Richard Carlisle.

Mary is not the only woman to consider hard sacrifice. Some will make it against their will, some will be denied a chance, and some will refuse. Daisy may buckle from its pressure, while Lavinia desperately wishes for such a burden. Sybil must push back. And Cora, preoccupied with the running of the home, cannot see that a sacrifice may already have been made.

Well we all knew that Downton was going to be rocked to the core by devastating news from the front at some point, right? And it finally happens -- Matthew (Dan Stevens) and William (Thomas Howes) sustain severe injuries at the battle of Amiens. Plans are immediately put in place to bring Matthew to the Downton hospital, while William, as a lowly enlisted man, is denied transfer -- denied until Violet, the Dowager Countess (Maggie Smith) steps in and has her most awesome moments yet this season. I absolutely love how driven Violet is to bring William home. He may "only" be a former footman, "only" be an enlisted man, but he is Downton and Violet is nothing if not loyal. The Dowager Countess calls in every favor, pulls every string, in order to bring William home and shows extraordinary kindness and sensitivity when she learns that he has no hope of survival, his lungs destroyed by the force of a shell explosion. (Plus she CRIES at his wedding!) Kudos also to Edith (Laura Carmichael) for continuing her compassionate transformation and agreeing to serve as William's primary nurse. And it was a wonderful surprise to see Paul Copley, a.k.a. Matthews from the Hornblower films, as William's devoted father!

This episode was also the hour where Mary (Michelle Dockery) steps up and is more awesome than ever before. The news of Matthew's severe injuries rocks her to the core, but rather than freak out or retreat within herself she steps into action and determines to serve as his personal nurse. The empathy! The devotion! When will these two crazy kids admit they still love each other?? *sigh* And with Matthew's injuries Julian Fellowes plays the "he'll never walk again OR father children card" -- which we all know is a bunch of baloney because Matthew and Mary are destined to be passionate lovers at some point. You can't create that much repressed tension between two characters and never have a payoff, hmm? *wink*

ANYWAYS...Matthew's injuries bring Lavinia (Zoe Boyle) back to Downton to play the doting fiancee, and she's very nice and concerned and everything but oh so very boring when compared to Mary. Not to mention that she looks to be completely incapable of nursing Matthew through this period or of caring for an invalid beyond that. When compared to Mary there is NO CONTEST in my opinion -- Matthew can rely on Mary to tell him the truth about his condition because they just "get" each other like that, Mary does everything to put his needs before her pain, encouraging him to focus on his future, and -- AND!! -- when she makes the comment about marrying someone in name only, because you just want to be with that person, you KNOW SHE MEANS IT (because in part that stupid Turkish diplomat mess haunts her to this day). Perhaps the best thing to come out of this whole mess is Isobel's (Penelope Wilton) perfectly timed return from France, when she witnesses Mary's care for Matthew -- she wouldn't make such a bad daughter-in-law after all, hmmm? :)

O'Brien (Siobhan Finneran) is apparently having second thoughts about writing that EVIL CONNIVING Vera Bates (Maria Doyle Kennedy) that her husband has returned to Downton since the house is in such an uproar over their injured menfolk. And then she has the gall to be surprised that Vera seems determined to bring down the entire Crawley household in order to hurt Bates (Brendan Coyle) and Anna (Joanne Froggatt) by selling the Lady Mary scandal to the newspapers. Really O'Brien? Really, this is a surprise? SHE IS SO DUMB. *sigh* In other Bates & Anna news, though, how sweet was the moment when they go to church to pray? I loved that. Whenever they work through the crazy current Mrs. Bates issues they will be a SOLID couple. :)

I have never really understood why Vera thinks that releasing the story about Lady Mary's ill-fated encounter with the Turkish diplomat was the way to blackmail Bates. I appreciate the fact that Bates doesn't want Anna's name and reputation dragged through the mud, but Mary is the one who stands to be the real loser here -- and so, when Anna tips her off about Vera's plot, she bites the bullet and decides to level with Sir Richard (Iain Glen), her AWOL newspaper magnate suitor. From Sir Richard's brief introduction in Part 1, I knew he was manipulative, but Mary's humbling confession and plea for help proves just how low the man will go to get what he wants -- marriage to a newly humbled Mary and all the prestige association with the Crawleys will provide. Despite the fact that Mary is making a deal with the devil himself to keep her reputation, I cannot lie I really enjoyed watching Sir Richard thwart Vera's plans and in the process nearly give the woman an apoplectic fit. That, my friends, was fun -- I'll come to terms with the fallout of Mary's lamentable association with Sir Richard next week.

William's presence at Downton is making poor Daisy's (Sophie McShera) life a living hell as anguish over her friend's imminent death and guilt over making him believe she loved him reaches a breaking point. Everyone from Mrs. Patmore (Lesley Nicol) to William's father and other assorted staff members seem determined to pressure Daisy to keep up the charade and marry William just so he can die a happy man. OH THE GUILT!!! I really feel like McShera delivers some of her finest acting in these scenes, and raises my respect for the character of Daisy to previously unimaginable heights. The least subterfuge in her actions just tears Daisy to pieces, and while I understand why William's friends want to do anything to keep him happy, I really respect Daisy for wanting to do the right, for wanting to be true to herself, even if she bows to pressure in the end and marries William on his deathbed. (Side note: what the heck was with the vicar and snotty conviction that Daisy wants to marry William for his pension? Way to go Violet for putting that man in his place!) Once committed, Daisy shows a great deal of strength in her determination to stay by William's side until the end -- the wedding and his death were heartbreaking -- way to break my heart, Fellowes, by killing one of Downton's kindest characters!

Meanwhile Mrs. Hughes (Phyllis Logan) reaffirms my suspicion that she is a SAINT by revealing that she's been secretly supporting THAT INGRATE EX-HOUSEMAID Ethel (Amy Nuttall) and her illegitimate child. Apparently it would kill Ethel to thank Mrs. Hughes for going out of her way to help her out, grr!!! She still has some delusions that her major will want to do the right thing by her and the baby, but of course THAT'S not going to happen. Interesting to contrast how society views Ethel and the difficulties she faces in being a single mother and Jane (Clare Calbraith), a war widow with a young child, who convinces Mrs. Hughes and Mr. Carson that she can juggle motherhood and work at Downton.

This episode provides some nice Branson (Allen Leech) and Sybil (Jessica Brown Findlay) scenes -- I love these moments because there is always this delicious undercurrent of repressed romantic tension. Look, I cannot STAND Branson's politics, and the way he uses news of the murder of the tsar and his family in Russia as a springboard for romantic sacrifice is patently ridiculous -- but I still, still can't resist that look of utter devotion in Branson's eyes every time he looks at Sybil. I AM A SAP. (At least I own it, right?) I mean the moment where Branson touches Sybil's WAIST to stop her from leaving?! GAH!! Too perfect. The Romanov thing? That makes NO SENSE WHATSOEVER. Yet I cannot seem to resist Branson's jawline and puppy dog eyes! I NEED AN INTERVENTION PEOPLE. At this rate I am going to be clinging to Branson's devotion for Sybil and disregarding all else until having taken the leap of faith he makes her life a misery. WHO KNEW ALLEN LEECH HELD SUCH SWAY OVER MY EMOTIONS?! Bah!!!! :P

My hair curls! I can look super cute! Too bad this is not the wedding I've always dreamed of!

So as this episode ends, Mary has gotten herself in a royal mess with Sir Richard, who uses her moment of weakness to announce their engagement without any sort of discussion. Vera is TICKED that she can't sell the Mary story to the newspapers or Sir Richard will throw her in jail -- personally I think that woman needs to talk a long walk off a short pier if you know what I'm sayin'! :P With the war almost at an end everyone's life is closer than ever to completely falling apart. I LOVE THIS DRAMA! :)

Read my review of Series 2, Part 3
Read my review of Series 2, Part 2
Read my review of Series 2, Part 1
For a limited time, watch this episode onlne at PBS.org
Preorder the Season 2 DVD, releasing February 7th
Read Tasha's recap of this episode at Edwardian Promenade

One for the Money

2012-01-28T15:30:00.000-08:00

This afternoon Lori and I went to see One for the Money. Neither of us were sure what to expect as we haven't read the Janet Evanovich novel on which the film is based -- that said, I think it is safe to say we were both pleasantly surprised. I tend to like Katherine Heigl -- not all of her films by any stretch, but ever since 27 Dresses if I hear she's in a romantic comedy I'm at least willing to consider it (I never stopped to think until now just how much goodwill 27 Dresses gave Heigl in my book...yeesh I love that film). Here Heigl trades in her trademark blonde tresses for brunette and a serviceable Jersey accent to bring to life the character of Stephanie Plum, who after a string of personal and professional bad luck lands a job as a recovery agent for her cousin's bail-bond business. Stephanie is anything but ready to bring in fugitives, but the girl's got game and determines her first big success will be collecting the bounty on Joe Morelli's (Jason O'Mara) head, a cop wanted for questioning in a murder investigation and the one who got away in Stephanie's book.

Stephanie is a bit rougher around the edges than most characters I'm used to seeing Heigl play, and to her credit I think she does a fair job pulling it off. As befits her loveable misfit type character, she's got a mother who wants nothing more than to see her married, played with aplomb by Debra Monk. It was great to see Monk on-screen again -- I'm a big fan of her work from the short-lived Nero Wolfe television series. But hands-down the best supporting cast nod goes to Debbie Reynolds as Stephanie's boozy grandmother. Reynolds was HILARIOUS! I only wish she'd had more screentime. :) Oh, and fans of Grimm will recognize Stephanie's scummy cousin Vinnie, played by Patrick Fischler. Fischler was the "bluebeard" in the "Lonelyhearts" episode -- and let me tell you his role as Vinnie was no small stretch from that appearance.

Going into this movie, I was expecting a straight-up romantic comedy, so I was pleasantly surprised when this movie delivered a story in more of an action-adventure vein. As Stephanie relentlessly pursues the bounty on Joe Morelli's head, she gets drawn into a murder investigation that someone wants pinned on Morelli at all costs. I liked seeing Stephanie actually start to care about more than just the payday. This is particularly evident when her first "informant," Lula the hooker (Sherri Shepherd) is beaten for daring to talk to her. I absolutely loved Lula, she was flipping hilarious, and a great addition to Stephanie's quirky circle of friends.

My favorite part of the film is Stephanie's two love interests -- Ranger (Daniel Sunjata), an expert bounty hunter she enlists to help train her in the basics of becoming a successful recovery agent, and Morelli, her target. Sunjata is pretty drop-dead gorgeous, and as Ranger is hilariously deadpan -- nothing, and I mean nothing, rattles him. But Morelli is by far my favorite -- I just adore O'Mara, and give me O'Mara all scruffy and worried about Stephanie? Yes, please, I am so there. *wink* O'Mara is so ADORABLE! And there's a nice spark between him & Heigl (really I would worry if there wasn't, because I can't fathom that). Seeing as there's something ridiculous like eighteen Plum novels, I'd go see a second film for O'Mara's appearance alone.

Content-wise there's some language and innuendo in keeping with the film's rating, and similar to a completely unnecessary scene in The Proposal there's a moment where entirely too much of Heigl is on display when Morelli handcuffs her to her shower rod so she can't turn him in. That aside, the movie delivers some laughs and more action than I expected and yes, even a bit of heart. I suppose now I should give the book a shot, hmm? :)

Excuse me while I go dream that Jason O'Mara (or a reasonable facsimile) is going to show up at my door with a cupcake... *wink*

The Artist

2012-01-27T19:54:00.000-08:00

The Artist is an exquisite love letter to cinema, a tribute in perhaps the highest form possible as it is couched within the framework of a silent film, where all the power of the story comes from the slightest expression, the cast of light and shadow, and a gloriously emotive score.

The film opens in 1927 at the premiere of A Russian Affair, the latest silent film from handsome and charismatic leading man George Valentin (Jean Dujardin). Valentin is a real charmer. :) As played by Dujardin (I confess to being completely in love with this man now), Valentin is a heady mixture of Rudolph Valentino, Douglas Fairbanks Jr., Gene Kelly, Fred Astaire, and Charles Boyer. I am not kidding people, he's that good.

After the premiere, while posing for photographers, Valentin meets Peppy Miller (Bérénice Bejo), following the most adorable meet cute ever, and the two make a splash with the press. The chemistry between them is immediate and electric, and explodes on film when Peppy gets her big break and is cast as a dancer in Valentin's newest film. With some insightful guidance, veteran George gives Peppy the advice that sets her on the path to stardom, just as everything is about to change in Hollywood with the advent of sound.

If you've lived, breathed, and memorized large portions of Singin' In the Rain (just speaking for myself here), the basic plot threads will be familiar to you. While The Artist hearkens back to Singin' In the Rain, since it is a silent film it is a more powerful and heart-rending portrait of what an industry in flux, during the transition from silence to sound, what that meant for the artists whose whole lives were wrapped up in the world of silent films. There's also a moment in the film, when George's possessions are auctioned, that recalled another musical favorite -- The Band Wagon, where Fred Astaire faces the indignity of all of his trademarks and famous props being auctioned as supposedly his style of acting, his identity if you will, has fallen out of favor in Hollywood.

And, in a touch somewhat reminiscent of A Star is Born, as Peppy's star rises George finds his own dimming, as his brand of filmmaking -- and in many ways his identity itself -- falls out of favor and sets him adrift. I couldn't help but remember filmmaker Georges Melies and his story as told in Hugo -- how when he's forced into bankruptcy and his style of filmmaking falls out of favor, he has much of his work destroyed. In both of these films both Melies and Valentin are faced with extraordinarily painful circumstances that force them to question their chosen art and their very identities. And in both cases, each man is surrounded by those who would love them and remind them that the only limitations they place on themselves are self-imposed, and the choice is theirs to stagnate in heartbreak or embrace a new chapter in their lives.

I want to give a brief nod to some of the stellar supporting players that make up the cast of The Artist, starting with Missi Pyle as Constance, Valentin's temperamental costar in A Russian Affair. Pyle's performance is a spot-on imitiation of Jean Hagen's gloriously shrill Lina Lamont in Singin' In the Rain, right down to the posture and hairstyle. I also loved seeing Penelope Ann Miller as George's troubled wife Doris -- her clothes were to die for! And James Cromwell turns in a fantastic performance as George's ever-loyal chauffer/manservant.

Perhaps the best supporting performance, though, goes to Uggie the terrier as George's loyal dog. Uggie also appeared in Water for Elephants, and is apparently now retiring at the ripe old age of ten. Uggie is an absolute charmer, and his scenes with George -- oh my goodness I loved them. LOVED them!

There is apparently some controversy over the use of portions of Bernard Hermann's score for Vertigo in this film -- you can read about that here. That aside, Ludovic Bource's work on this film is absoutely amazing, a must-have for film score fans.

It is no stretch to say that I loved absolutely everything about this film. The Artist begs to be seen on the big screen, and if you get the opportunity please, please go. From its presentation in the old aspect ratio of 1:33:1 ("full screen") to the costumes, lights, and sets, the film has an inimitible style and presence that fully immerses you in its world. It is a rare chance today to be given the opportunity to see a story unfold on-screen as our grandparents and great-grandparents did. Listen to the audience's reactions, pay attention to your own response to the film -- this is old school storytelling brilliantly realized on-screen. It's an experience this film junkie postively revelled in.

It is a rare film where I leave the theater feeling so thoroughly satisfied. As the credits began to roll my first thought was how on earth did this film get in my head and get me, because it is so completely tailored to everything I love about films and storytelling and the life-affirming power of such art. My heartfelt thanks to director Michel Hazanavicius and the entire team and cast who brought this film to life. The Artist is a perfect little gem of a film that is -- trust me on this -- not to be missed. I can't wait to revisit it!

Look at that smile!

upcoming films...

2012-01-27T16:11:00.000-08:00

So I took the afternoon off and went to the movies this afternoon (more on that a bit later), and was pleasantly surprised by three trailers that look very promising --

Salmon Fishing in the Yemen

Ewan McGregor! Emily Blunt! SALMON! Color me intrigued. According to the IMDB, the film is slated to open in the US March 9th -- though I suspect that is a limited release date.

The Best Exotic Marigold Hotel

Isn't this cast amazing? Judi Dench, Maggie Smith, Bill Nighy, Tom Wilkinson, Penelope Wilton!? Did I mention BILL NIGHY?! According to the IMDB, this is slated to open May 4th.

W.E.

This film has been on my radar for a while now thanks to my interest in the history. But this film - James D'Arcy is playing Edward, LAURENCE FOX is playing his brother Bertie, and the rest of the cast of the historical portion of the film is equally pedigreed. I could care less about the Madonna connection...but with D'Arcy and Fox in this film I'm so there. :) According to the IMDB this one opens February 3rd, probably in limited release first.

Castle Film Noir Promo!

2012-01-25T16:06:00.000-08:00

I've mentioned a time or two (HA) that I'm a fan of Castle (okay, I'm mad about the show!). I'm also a hugh fan of film noir classics (think Laura and I Wake Up Screaming). So I was THRILLED when I saw the preview for Castle's next brand-new episode (airing February 6th) entitled "The Blue Butterfly." Here's the trailer:

Here's a bit about the episode:

CASTLE - "The Blue Butterfly" - When Castle and Beckett investigate the killing of a treasure hunter, they discover the case is linked to a mysterious homicide from 1947 involving a hard-boiled private detective. Castle realizes the only way to solve the present-day murder is to solve the murder from the past. The 1947 case comes to life through stylized flashbacks, featuring Castle as the private eye and Beckett as a femme fatale, on "Castle," MONDAY, FEBRUARY 6 (10:01-11:00 p.m., ET), on the ABC Television Network. (ABC/KAREN NEAL) STANA KATIC, NATHAN FILLION

And here are a few of the promo shots ABC released -- aren't these absolutely AMAZING?! The rest of the set can be viewed here.

Downton Abbey Series 2, Part 3

2012-01-23T15:50:00.000-08:00

This episode of Downton Abbey covered a ridiculous amount of time, I'd say probably six months of 1918 are crammed into this one hour installment. Ridiculous? Yes. Fun? Absolutely. :) Here's the episode summary from the Masterpiece Classic website:

1918

Mary's new alliance has aroused Violet's interest in matters of suitability and love. With Sybil in mind, the Dowager Countess declares, "war breaks down barriers and when peacetime re-erects them, it's very easy to find oneself on the wrong side." Indeed, among war's greatest casualties at Downton are the prescribed roles and class boundaries. Thomas is exerting his authority over the servants with aplomb; Mrs. Patmore, Daisy and Mrs. Bird are cooking up a little something on the side; and Ethel has discovered an age-old way to support the war effort. But between Robert and Bates, faith and loyalty transcend class, offering hope when Robert needs it most. Because now, the war has threatened a far more serious casualty.

The simmering conflict between Cora (Elizabeth McGovern) and Isobel (Penelope Wilton) over the management of the convalescent hospital at Downton Abbey boils over this week, and I have to say I come down whole-heartedly on Cora's side. Isobel is a whiny, entitled, immature BRAT. When she was introduced last season I rather admired her no-nonsense approach to life and her son's status as Downton's new heir, but clearly her proximity with aristocratic power has gone to her head. Seriously, an adult woman of Isobel's age throwing the equivalent of a toddler's hissy fit (the whole "I want to be needed! I'LL GO TO FRIGGIN' FRANCE!" thing cracked me up) is ridiculous. It's not your house YET Isobel, get over your stupid self. Relieved for once to see her out of the picture for a while. *sigh* Cora's schedule changes were completely reasonable (I really liked that she was paying attention to the needs of her staff), plus Downton is still her FLIPPIN' HOUSE for goodness' sake.

Now that there is no turning back from transforming Downton into a hospital and Mary seems resolved not to break up Matthew's engagement to Lavinia, Violet (Maggie Smith) seems itching for a new area where she can meddle with her inimitable style and sass. In a conversation with Mary (Michelle Dockery), Violet speculates that Sybil (Jessica Brown Findlay) must be crushing on a man beneath her social station since war breaks down class barriers and causes people to do all sorts of CRAZY things like that. (My question here is, even if Branson wasn't in the picture as far as Sybil is concerned, who the heck does Violet think she's going to fall for with most of the men her age 1) fighting at the front or 2) in a hospital ward?) ANYWAYS....this conversation puts Mary on the alert and she is shocked to discover her sister IN CONVERSATION with the CHAUFFEUR. Oh the scandal...(seriously Mary, give Sybil some credit, at least she was talking with him outdoors, in public as opposed to your episode with the Turkish diplomat...).

Speaking of Branson (Allen Leech), my chauffeur-loving-heart got a wonderful moment when he declared to Sybil that he would stay at Downton in this stupid job he hates until she decides to run away with him (my paraphrase). Seriously, Sybil, how can you just STAND there when he's laying bare his heart like that?! Sure, Branson is a little intense, a bit of a loose cannon, and goodness knows he has his issues but the way he looks at Sybil with such unabashed adoration -- gah! It slays me every single time -- see the final scene, during the hospital concert, as one of many excellent examples thus far this season. What interests me about Sybil and her views toward her privileged class -- I really do think that out of all the sisters she could throw everything off and end up genuinely happy. It would absolutely be a bumpy, likely rocky, road toward that end -- but the possibility is there, and her desire to follow the beat of her own drummer and stand on her own two feet, that would go a long way towards seeing her through (or so I like to think). :)

When Daisy (Sophie McShera) overhears that Bates (Brendan Coyle) is working in a local pub, one thing leads to another and word gets to a rather shocked Lord Robert (Hugh Bonneville) that his former valet has returned to the area and not let him know, or requested his job back. Considering the poor terms on which they parted in the first installment of this season, when Bates refused to divulge the Crawley family secrets his SKANK OF A WIFE threatened to reveal, it's no surprise Bates is unsure of his welcome. This is a classic example of why I love Robert's character -- he's not perfect but he really is a good man at heart, capable of great compassion, and when he takes the initiative to visit Bates, insisting to his wife that he must be the one to apologize to his former servant, I cheered. I loved the warmth and camaraderie of there reunion, the way that for a few moments, at least, class barriers were forgotten and two men with a long history together shared a moment as friends.

One of my favorite storylines in this episode is how a few of the servants start a soup kitchen for homeless former soldiers. This endeavor starts in Isobel's home, when after her departure for France Molesley (Kevin Doyle) and the Mrs. Bird (Christine Lohr) are left with little to do besides light house maintenance. Mrs. Bird starts the soup kitchen and is soon aided by Mrs. Patmore (Lesley Nichol) and Daisy, the former setting aside food from Downton's kitchens and raising the ever-nosy suspicions of O'Brien (Siobhan Finneran). Never one to waste an opportunity to get her coworkers in trouble, O'Brien alerts Cora, but her plan backfires deliciously when Cora is thrilled with the soup kitchen and volunteers BOTH their services and MORE of Downton's food stores! That was absolutely priceless! And speaking of O'Brien, she has lost any goodwill points she gained by her brief flashes of kindness toward the shell-shocked Mr. Lang. The woman is a conniving, harping shrew. When Thomas (Rob James-Collier) is appearing more reasonable than you, well you know you're in trouble. (Love Mrs. Patmore though -- she may be misguided in her encouragement of Daisy as regards William, but her heart's in the right place in so many ways!)

Another of this episode's main story threads involves the disturbing news that Matthew (Dan Stevens) and William (Thomas Howes), now his servant, have gone missing at the front. I really liked how this development highlighted just how much Matthew's come to mean to all of Downton since he was first announced as heir -- he really has become part of the family, the son Robert never had (despite his insistence on marrying Lavinia, HA!). Edith (Laura Carmichael) shares a surprisingly heartfelt moment with Mary when she goes against her father's injunction to keep the news about Matthew from her sister -- I really felt like there was no ulterior motive at work, this was one sister realizing that another would want to know the truth, no matter how painful. I will even own that I have really liked Edith over these past two weeks -- her work with the hospital has really allowed her to blossom and come into her own (here's hoping the positive sticks!).

Belowstairs endures some undesired drama when Ethel (Amy Nuttall) is caught by Mrs. Hughes (Phyllis Logan) sleeping with one of the officers she'd been seen flirting with repeatedly. Ethel is promptly dismissed without a reference and actually has the gall to be surprised. Ethel I have news for you, you too are a first-class IDIOT. It's like she seriously thought there would be no repercussions for her actions?! Yeesh. It's a lesson in how not to win friends and how TO alienate people. The moment where Ethel returns at the end of the episode, alone and scared to beg help from Mrs. Hughes because she's pregnant (SHOCKER! That's what HAPPENS when you carry flirting with randy officers too far!) is priceless -- talk about a humbling moment, being forced to beg help from the very people you made no secret of disdaining because they made their livelihood in a manner you despised. Third unbelievably frustrating female character to eat crow this episode, CHECK.

This episode ended on what was, for me, a really sublime moment of Downton drama. :) The time has come for the hospital concert where, miracle of miracles Mary has agreed to perform "If You Were the Only Girl in the World" with the accompaniment of her sister Edith. First of all, if you haven't purchased the Downton soundtrack, do so immediately -- Alfie Boe sings the song on that album, and you can hear a clip of his performance here. Mary's about to lose it because she's just learned Matthew's missing, and everyone is all tense and upset and TENSE, and then lo and behold midway through the song Matthew and William walk in. You could've heard a pin drop -- well, only if you could hear a pin over me yelling at Mary through the television to run down the aisle and kiss Matthew already (or vice-versa, at this point I don't really care who makes the first move)! *wink* It was just such a perfectly realized moment, and felt like the end of a season with the palpable emotion and attraction between Mary and Matthew and everyone SO HAPPY.

But it wouldn't be the Edwardian soap opera I love if happiness was achieved that easily, would it?! Sure, Matthew's alive but he's headed back to the front, and he's still engaged to that twit Lavinia, and Mary is determined to be all noble and self-sacrificing. SIGH. And Anna (Joanne Froggatt) is ridiculously happy that Bates is back at Downton, and of course they jinx themselves by revelling in HOW HAPPY they are and how close they are to their goals (silly kids!). While I have no idea where exactly we are in 1918, precisely, if there's one thing this show teaches us it is that a lot can happen in an hour. *wink* Here's to next week! In the mean time, I'd love to hear your thoughts on this episode!

Read my review of Series 2, Part 2
Read my review of Series 2, Part 1
My Downton Abbey pinboard is EXPLODING!
For a limited time, watch this episode online at PBS.org
Pre-order the Season 2 DVD (releases February 7th)
Read Tasha's recap of this episode at Edwardian Promenade

In closing I want to share two behind-the-scenes images that I found absolutely hilarious! The first is from am Entertainment Weekly feature, showcasing Hugh Bonneville, Michelle Dockery, and Dan Stevens (I just love their expressions!):

And the second is the cast showing their affection for a very droll Mr. Carson (Jim Carter) from the PBS behind-the-scenes gallery for episode one:

The Adventures of Tintin

2012-01-22T15:26:00.000-08:00

With no afternoon plans and a movie pass that expires at the end of the month, I opted to go see The Adventures of Tintin which had been on my radar for months (thanks to an extensive ad campaign). I'm really curious how many Americans like myself had little to no knowledge of the film's source material prior to the movie promotional campaign kicking into high gear. I had never even heard of intrepid boy reporter Tintin and his adventures until I started reading about what massive fans director Steven Spielberg and producer Peter Jackson are of the apparently somewhat legendary comic book series by Belgian author and artist Herge (Georges Remi). So that's probably why I came away from this film with somewhat mixed feelings -- it was good, just not the exhilarating, escapist adventure that I was expecting given the enthusiasm and filmic pedigree of the team that brought the story to the screen. I suspect Tintin is a movie made by fans of the source material that will resonate most strongly with fans of the same -- but I am very much open to hearing other views. :)

Tintin (voiced by Jamie Bell) is a boy wonder reporter, somewhat in the mold of Jimmy Olsen or Lois Lane (please, don't throw stones at my comparison -- I work with what I know, people). :) He has a penchant for adventure and is never without the accompaniment of his crazy-smart, faithful dog Snowy (an adorable terrier with a weakness for unguarded sandwiches). In an unspecified but very European 1930s outdoor market, Tintin purchases a model of the lost ship Unicorn. When two individuals promptly attempt to purchase the ship from him, including an unsavory fellow with the delightful name of Sakharine (voiced by the one and only Daniel Craig!), he senses a story -- an opinion that is solidified when his apartment is trashed and the ship is stolen, leaving behind an overlooked scroll with a cryptic clue, referencing at least twin models (and by extension additional clues).

In his quest to uncover the secret of the Unicorn, Tintin joins forces with the alcohol-swigging Captain Haddock (voiced by Andy Serkis), the sole surviving descendant of the original Unicorn's captain and the unwitting target of Sakharine's machinations. The quest to retreive all three clues necessary to discover the location of a treasure missing for centuries takes the unlikely duo (well, trio if you count Snowy, and personally I would) from Europe to Morocco and back again, dodging bullets and danger along the way.

This film took me back to my preteen infatuation with The Young Indiana Jones series, and any comparisons drawn between Tintin and Young Indy are to my thinking quite apt -- both young men hungry for adventure, with conveniently unlimited funds with which to travel the world (ha!), and a penchant for stopping baddies in their tracks. But personally there was a spark missing that made it somewhat difficult for me to "connect" with Tintin, and I think that lies in the medium of performance capture 3D animation. Now the format and style of filmmaking has come a long way since The Polar Express, but despite its realism there is still something that strikes me as soulless about the animation -- the faces and expressions often appear "flat" to me, an effect perhaps exaggerated by the realism of the clothing, hair, etc. Now I'm not trying to throw Bell under the proverbial bus -- I think he is a fantastic actor -- but in comparing his performance as Tintin to 3D performance capture veteran Andy Serkis, Tintin seems a bit flat.

That said, I really enjoyed the world this film created, very evocative of Indiana Jones's globetrotting adventures, and reminscent of movie serial adventures from the 1930s with its spirit of never-say-die adventure and optimism. The detail is incredible, and I found myself more than once distracted by the texture of clothing, the subtle alterations in a character's skin tone, a breeze blowing through hair, or the sheen of perspiration on Haddock's brow as he (unwillingly) weans himself off the bottle midway through the film. I also have to note Doctor Who and Sherlock veteran Steven Moffat's script contributions, which given my history with the man's work I suspect is greatly responsible for much of the film's humor. And John Williams delivers another impeccable score, alternating cues of high adventure with a whimsical, francophile-inspired themes that hearken back to the movie's 1930s serial style and time period.

I'm definitely intrigued see the planned sequel, particularly since it will be penned by Anthony Horowitz (FOYLE'S WAR!!!). For a grey Sunday afternoon's entertainment, The Adventures of Tintin was an enjoyable introduction to a previously unknown hero, a throwback-style adventure, where the hero relies on smarts and ingenuity to save the day and land the story of a lifetime. :)

Grimm 1.9: "Of Mouse and Man"

2012-01-21T13:48:00.000-08:00

In an interesting -- and I'll be honest, completely unexpected twist -- last night's episode of Grimm took its cue not from a classic fairy tale but from John Steinbeck's Of Mice and Men. Okay, the English major in me isn't going to complain, but really? You're only in episode nine of season one, it's not like you've come close to exhausting the Brothers Grimm backlog. But whatevs.

I'll be honest, at first viewing the morphing and body-switching in this episode was a bit confusing -- I'd recommend the episode guide for helpful clarification if needed.. *wink* The hour opens with a brutal slaying in a parking garage, where an elderly man dressed in entirely age inappropriate (read: heavy metal) clothing gets a screwdriver sunk in his throat. The next day Nick (David Giuntoli) and Hank (Russell Hornsby) are called to a crime scene where a garbage truck drive discovered the body of a much younger man, identically dressed and dispatched as the victim we just saw killed, in the back of his truck. The trace the victim to a rather seedy-looking apartment complex where the manager (who I found to be freaking hilarious) tells them that the victim was last seen fighting with Mason Snyder, a lawyer living down the hall (really thought the lawyer could do better apartment-wise), and that his girlfriend Natalie, also present the previous evening, is now MIA. Nick and David track down Natalie, who brings another individual into the picture -- the meek and mild-mannered Marty who first attempted to break-up her fight with Lenny. When the brawnier Mason showed up, Natalie fled, last having seen Lenny alive and well.

It was no real surprise that the mild-mannered Marty turned out to be a Mauhertz, a mouse-like creature, who runs a junk shop. His manner, his work, heck even his living arrangements as later revealed all call to mind a life-size mouse's den (*shivers* ick, ick!!). Despite my aversion to mice in general, at first blush I thought Marty was actually kinda sweet -- and herein lies the genius of this episode's storytelling -- I pegged the flashier, more aggressive character as the villain. Maybe I'm just slow, maybe it's this stupid cold (I'm going with the latter option just for the record), but until about halfway through the episode when Nick and Hank discover the dead body of Marty's father, I really thought he was going to be an innocent, would-be victim. I mean Mason the snake (ignore the cliche of making a lawyer a snake *sigh*), or Lausenschlange as they are apparently known in the Grimm world, was SO. FLIPPING. COOL. Seriously, the Harry Potter make-up department could've taken lessons from this episode on how to up Voldemort's creep factor.

When an auto repair shop owner seemingly morphs into the same old guy killed at the opening of this episode, and later Mason the creeptastic lawyer meets the same fate, Nick and Hank turn their investigation to the mild-mannered Marty. And here's where this episode tricked me -- I wasn't paying close enough attention to the victims' transformations to realize they were identical -- I thought they were all mice creatures, which is why I thought Marty would end up being a target instead of a perp. Once it is revealed that Marty, the put-upon, brow-beaten son has snapped, taking to seeing his father everywhere and killing anyone who crosses him, well I thought it was just brilliant and tragic all at once. Because the script let us see that Marty could be nice, he wasn't a born killer like the Lausenschlange lawyer, he was gentle man where something when horribly, horribly wrong -- half the tragedy of the case.

The second half of this episode was devoted in part to Monroe (Silas Weir Mitchell) discovering the costs of befriending Nick. First of all, how adorable was he getting all geeked out over the phone call he receives to repair an old clock tower? How is it that seeing Monroe so into clocks seems to never get old? LOL! Of course this was a set up (why I could figure that out, but the whole morphing mouse thing confused me??), and when he arrives at the job he's beaten up by a bunch of creepy looking Grimm creatures. When he awakens he discovers a reaper's scythe painted in blood on his car's hood -- clearly he's being warned away from Nick. But the best part of all this is how he refuses to be cowed. Nick is ready to dissolve their unofficial partnership in order to protect Monroe, and when Monroe is all "hell no!!" I cheered, yes I did. Loved the subtle glint of relief/thankfulness in Nick's eyes at that moment -- glad to know he recognizes the importance of what Monroe is doing in siding with his hereditary enemy.

This episode also sees Juliette (Bitsie Tulloch) running across more weirdness thanks to her relationship with Nick. Ever since the refrigerator repairman recognized Nick as a Grimm, it seems as though some of the creature world's more easily frightened types have taken to spying on his house, a fact that (understandably) creeps Juliette out. This raises a couple of interesting possibilities -- do they think she's a Grimm as well, or do they assume that because she lives with a Grimm she must be privvy to "trade secrets"? How long is it going to be before someone assumes she's a Grimm and attacks her, or attempts to use her as leverage to get to Nick? Clearly this whole not telling her thing is bound to backfire, the only question is when and how, no?

Even though "Of Mouse and Man" may not have had the awesome fairy tale retelling factor of previous episodes this season, it was still a solid hour and good procedural with an unexpected nod to a literary classic. Basically when it comes to me and this show it can do no wrong -- and least not yet, anyway. *wink* Thoughts?

My friends know me so well...

2012-01-20T15:46:00.000-08:00

I love that friends will randomly send me pictures like this on Facebook to "brighten my day" --

Objective accomplished, Lori B. Thank you very much. :) Seriously people, look at this photo. Could it be any more perfect? The lighting, the composition? Josh Dallas, I HEART YOU. :)

And then this promo photo comes through my Facebook news feed for this Sunday's episode of Once Upon a Time. I'd seen the headshot before but not the full version.

I ask you, people, could there be a more perfect Prince? I think not. I've said it before but I think it bears repeating...Once writers, if you dare to harm a hair on Josh Dallas's head you are DEAD TO ME, do you hear?! I don't think I could take it. :)

Once Upon a Time 1.9: "True North"

2012-01-20T12:14:00.000-08:00

Sorry about the delay in posting a recap/review of this week's episode of Once Upon a Time, but I've been sidelined with a horrible cold/sinus infection for most of the week. I HATE COLDS. All this to say this post may not make much sense. So let's attempt to talk about something fun, shall we? :) This episode introduced two more classic fairy characters to the realm of Storybrooke -- Hansel and Gretel. And much like the Cinderella-centric episode from earlier this year, the plight of these fairy tale characters provides a great window through which we're given insight into Emma's (Jennifer Morrison) past, an opportunity to see what makes her "tick."

The episode opens with Henry (Jared Gilmore) reading a Hulk vs. Wolverine comic (how frakkin' adorable is that?!). A young girl, Ava a.k.a. Gretel (Karley Scott Collins) introduces herself and Henry is instantly pierced by Cupid's arrow. You can just see him flash "Isn't she pretty?" and "She's talking to me?!" and "Maybe I'm going to make friends MY OWN AGE!" Sadly Henry's hopes of befriending Ava and her brother Nicholas a.k.a. Hansel (Quinn Lord) are crushed when he discovers that the pair only befriended him in order to use his handy backpack to shoplift assorted snacks and personal care items. At this point I was ready to smack Ava upside the head -- no one messes with Henry!!

In Fairy Tale Land we see the Hansel and Gretel story play out very similar to tradition, with a few exceptions -- the children's father (Nicholas Lea) gives Gretel a compass, a family heirloom, before sending the pair out to collect wood, along with words to live by -- "family should always be able to find each other." When the children can't find their father they (conveniently for her) run into the Evil Queen (Lana Parrilla), who blackmails them into retrieving an object for her from the Blind Witch's (Emma Caulfield) house, in return for its successful retrieval she promises to reunite the children with their MIA father. First thing's first, how awesome was it to see the Evil Queen really living up to her name, performing some sort of apparating magic and exploiting helpless kids? Yes we had the whole horrifying "I collect hearts" revelation, but there was something about her actions in this episode, the exploiting of kids, that brought a whole new level of meaning to the evil in her moniker.

Back in Storybrooke, Emma discovers that the two children have been living on their own, with a dead mother whom no one seems to remember and no record of who their father is or where he could be found. Given her own past in the foster system, Emma's determined these kids won't suffer the same fate -- being separated, unloved, etc., and resolves to find their missing dad. Emma takes Ava's compass as a clue, and interestingly enough it is Mr. Gold (Robert Carlyle) who provides her with the name of the children's father. This is one of those moments that make Gold such a fascinating character -- this *seems* to be a really nice thing to do, but given his past actions we know we shouldn't trust him -- so the question remains, why is he being helpful? Is this only to undermine Regina or is there more to the story?

Emma's attempts to convince the children's father, now an auto mechanic named Michael, to step up really gives Morrison a chance to shine in the acting department. Emma's regret over giving up Henry has an almost palpable ache, and I just love seeing how much she's changed in just the brief time she's known her son (I thought it was interesting that apparently all that's happened this season has taken place in just a month's time, did anyone else catch it when Emma let that slip?). It just about broke my heart (this show is getting in the habit of that) when Emma fictionalized an account of Henry's father as a hero. It's clear that Henry just adores her, and Emma so desperately wants to live up to his faith in her that it just about kills her to tell him anything about her past. (HUGS ALL AROUND!) I also loved how this episode gave us some great moments where we could see Emma and Mary Margaret (Ginnifer Goodwin) just hanging out, becoming friends -- I suppose one "upside" to this curse (if you want to call it that) is that Mary Margaret and Emma will perhaps skip that awkward teenage parental rebellion phase and skip to the part where you actually realize it might be possible that you can be friends with your parents. *wink*

Back to Storybrooke -- the Blind Witch was extraordinarily creepy, and her house was a sugar lover's dream (I cannot tell you how badly I wanted a cupcake after viewing this episode!). I loved Gretel's moxie (really had trouble buying that these two were supposed to be twins, Gretel had such an older sister vibe) even though she had the worst Fairy Tale Land hair of ALL TIME, and I thought it was neat twist to have the Evil Queen responsible for the Blind Witch's death (who knew she could "throw" magical curses through her mirror?). I thought the reveal that the artifact was THE APPLE of legend was also a nice and unexpected touch. Also fascinating to see the Evil Queen attempt to befriend and "adopt" Hansel and Gretel -- apparently her desire to be loved, to have a family, has deep pre-curse roots, hmm?

So, while the "true north" aspect of this storyline may have lacked subtlety, I confess I was a total sucker for the moment when in Storybrooke the children's compass pointed directly to their father. This show really likes to play with the idea that family and soul mate bonds cannot be denied, a concept that is perhaps subconsciously reawakening Emma's desire to find her birth parents. This brings me to perhaps the most awesome moment of the episode, the final five minutes, where we get Henry and Emma having a lovely mother/son moment and the unthinkable happens. A black leather-clad STRANGER roars into Storybrooke on a motorcycle. The "what the HELL is happening?" looks on Emma and Henry's faces are just priceless, because this is the one thing that's never happened, even since Emma's arrival -- a stranger, with apparently no connections to anyone in Storybrooke, arrives, apparently having been LOOKING for Storybrooke (a.k.a. the town that must be a big black hole on all maps of Maine). But the reason I'm so excited? Said Stranger is played by Eion Bailey, also known as Ben Mercer from Covert Affairs (see picture above, isn't he ADORABLE?!). I adore him on CA to it follows that his tenure on Once, no matter how long or short that may be, is going to be AWESOME. Theories as to the Stranger's real identity and purpose in Storybrooke? Feel free to sound off in the comments!

Downton Abbey Series 2, Part Two

2012-01-16T14:50:00.000-08:00

Downton Abbey's second season continued on Masterpiece Classic last nght with a on hour episode -- and I just have to tell you, seeing the story parsed out in a one hour installment gave me a renewed sympathy for the Brits who, I believe, received one hour PER WEEK. It's a delicious sort of torture, being forced to consume this story in one hour increments. *sigh* :) Here's the episode summary from the PBS website:

1917

As a convalescent home for wounded officers, Downton Abbey offers respite from the front. But Cora and Isobel, locked in a power struggle over running the home, wage domestic war, and Thomas in his new rank as acting-Sergeant is not one to broker peace.

Mary rejects Rosamund's dubious advice while Daisy reluctantly accepts Mrs. Patmore's — in both cases, new bonds are irreversibly forged. Meanwhile, Anna dares to hope when she spies a familiar figure in the village.

When Matthew accompanies a visiting General to Downton, a dinner party brings much of the war's painful demands into sharp relief, claiming one victim and very nearly several others. Branson's ambitions are revealed and William's aspirations are fulfilled. And Edith, finally, catches someone's eye.

This episode sees plans to transform Downton Abbey into a convalescent home for wounded officers realized, a move that results in no end of disruption and family drama among the Crawleys. Knowing that the real "Downton," Highclere Castle, actually served this purpose during World War I, I am curious as to how much of the home was given over to this wartime benevolence. As an outside viewer it certainly *seems* as if the house is large enough to still afford the family a good deal of private quarters, no? But all that aside, the turmoil that the convalescent hospital brings to Downton results in some fantastic drama, particularly between Cora (Elizabeth McGovern) and Isobel (Penelope Wilton). I've always rather liked Isobel's non-nonsense approach to life in general, but I confess that after this hour I wouldn't have blamed Cora if she'd yanked out all of her hair. The way Isobel bullied and pushed herself into "commanding" Downton's hospital was ridiculous -- I found myself wondering if the chance to exert some power within Downton's walls as the heir-apparent's mother was too great a temptation to resist. All I have to say to that, Isobel, is Matthew's (Dan Stevens) not in charge quite yet...

The changes at Downton bring the changing times into sharp relief, revealing the cracks in the foundation of what has always been and ceding power and influence to "upstarts," if you will, like Isobel and (*shudders*) Thomas (Rob James-Collier). I thought it was fascinating when O'Brien (Siobhan Finneran) suggests her old cohort Thomas would be an ideal manager for the "new" Downton (since he's always had SUCH a soft spot in his heart for the house and family...yeah right). When Thomas "dared" walk in the FRONT DOOR I thought Carson (Jim Carter) would have a heart attack -- it's ON between those two! It was interesting to see how upset O'Brien is on Cora's behalf at Isobel's encroaching influence -- it appears that her guilt over causing Cora's miscarriage runs much, much deeper than I'd ever dared imagine.That kind of complicated loyalty and relationship dynamic is just one of the reasons this show is so fascinating. Out of the two Series 1 "villains" at this point I hold out more hope for O'Brien's redemption -- she's abrasive, manipulative, and more often than not misguided but the fact that she's capable of regret (and compassion towards former soldiers like Mr. Lang) gives me hope.

Regarding the Crawley sisters, I loved seeing the kind Sybil (Jessica Brown Findlay) take the lead thanks to her nursing experience and serve as an example to her sisters Mary (Michelle Dockery) and Edith (Laura Carmichael). Edith was a pleasant surprise in this episode, I have to give credit where credit is due! The only good thing to come from Edith's sojourn to the local farm was discovering that she really was more than just a "fine lady," she had a real aptitude for unexpected things like farming when given the chance to apply herself. I LOVED seeing her throw herself into the hospital work, getting patients books to read, helping them write letters home, and most of all showing them real warmth, kindness, and compassion. I've decided Edith needs to marry a soldier, the end. *wink* When visiting General Sir Herbert Strutt (Julian Wadham for the win!) takes the time to call Edith's work to the surprised attention of her family I could've cheered. If this keeps up she could become a favorite of mine once again.

We also see Mary work in the hospital, though she doesn't seem to click with this work as much as her sisters do (though to her credit, this new, nicer Mary 2.0 is astonishingly nice and patient and not all about herself, yay for the transformative power of heartbreak!). :P I was rather surprised at the pressure Mary receives from her aunt Rosamund (Samantha Bond) to discredit Lavinia (Zoe Boyle) in Matthew's eyes, because OF COURSE a tale-bearer is going to win Matthew's heart after first crushing it to pieces. *rollseyes* Lavinia's big secret, the reason Sir Richard Carlisle was threatening her last week -- she apparently delivered secrets about her uncle's political activities to Sir Richard, which he then published, precipitating the Marconi Scandal of 1912. Kudos to Mary for not wanting to stoop to her aunt's level, though it does force her into the unenviable position of bonding with her romantic rival. *sigh* And how hilarious are Rosamund and Violet's (Maggie Smith) exchanges? The apple didn't fall too far from the tree with that one, hmm? And I think it is hilarious that Rosamund can go too far for Violet's taste -- the Dowager Countess is clearly in denial about what an influence she's been on her daughter's life!

Bates (Brendan Coyle) makes an all-too-brief reapparance for both me and Anna (Joanne Froggatt). :) Just a costuming note -- Froggatt looked absolutely adorable in her regular "street clothes," a refreshing change of pace from her servant's uniform. And I thought it was so neat seeing her experiment with Lady Mary's new curling iron -- I couldn't help but think how stressed I'd be if I was wielding styling tool like that, one that had to be manually heated on someone else's head -- I'd be concerned about burning off great chunks of their hair! ANYWAYS, so my dear darling Bates is back, secretly working in a pub while he tries to arrange a divorce from THAT EVIL SKANK VERA who surprise, surprise, wasn't faithful to him. I love the Bates/Anna scenes -- they are of course an adorable couple, but I think what I like best is the depth and intensity of the emotion between them, all the more powerful, perhaps, because they hardly ever touch. I love how Bates just treasures Anna, drinks her in with his eyes, wants to honor her, and even comments on her newly styled hair. *swoons*

My dear darling Branson's (Allen Leech) radical politics come once again to the foreground in this episode. While he certainly has cause to be upset with the establishment (a cousin was murdered in the Easter Rising hostilities), like so many who, I think, held up the politics of the likes of Lenin as an ideal but didn't live under them, he has a rather idealized view of a people's revolution (yeah, right, the tsar's daughters will be safe...). I loved the twist in having his plans to become a conscientious objector to the war thwarted by a legitimate health issue -- you can see this troubles him, since it is one thing perhaps to refuse to fight on idealistic grounds, but another to have that option forcibly removed from you -- thoughts? I feel as though being forcibly sidelined threatens to unman him, and his scenes with Sybil are frought with tension as she attempts to be a friend, to relate, to care for him. When Anna uncovers his plot to disrupt the general's visit to Downton, the tension in those scenes were just brilliantly played. I really thought for a second that Branson might have gone off the deep end and actually threatened the man with physical harm instead of cow dung. Branson's shock that the staff thought he'd murder someone was, in retrospect, actually pretty comical.

Mr. Lang (Cal Macaninch) brought the horrors of war home ot the downstairs staff in a heartbreaking way, as this episode revealed that he just couldn't cope with being around all of the officers that now call Downton home. This ends any speculation I had that his presence would make a lasting impact on the prickly O'Brien, but who knows? Fellowes could pull a fast one on us. :) I loved how classy Robert (Hugh Bonneville) and Mr. Carson were about Lang's unsuitability for the job, not focusing on that but recognizing his emotional problems and need for healing. Thankfully "protocol" wasn't at the forefront of anyone's mind. Also, Mrs. Patmore (Lesley Nichol) -- good grief I love her, even though her advice to Daisy (Sophie McShera) is misguided. The woman is a gem and seeing her transfer her broken heart over her nephew's death to the newly enlisted William (Thomas Howes) just breaks my heart. The idea of kindly William in the trenches just KILLS me! Poor Daisy is, I'm afraid, in for a world of heart-ache if she doesn't summon the courage to be honest about her lack of feelings for William. THOSE POOR CRAZY KIDS!! Side note: Between Mrs. Patmore and Mrs. Hughes (Phyllis Logan) mothering William, the genuine family dynamic that develops belowstairs between THE NICE PEOPLE is on full display -- love it.

Looking forward, I expect a royal catfight to erupt between Isobel and Cora at any moment. And new housemaid Ethel (Amy Nuttall) is in for a world of hurt if she doesn't watch herself around the officers! Also, something is up with Robert and Cora's relationship...something is "off" and I'm anxious for the reveal! The unspoken pull between Mary and Matthew is just tearing me to pieces as well -- Mary is proving to be a far stronger, and far classier, person in many respects than I ever gave her credit for. And this is RIDICULOUS...this episode was an hour, half the lenght of last week's installment and this post is nearly as long as last week's. CRAZINESS. But that's how much I love this show. :) I'd love to hear your thoughts on how the story is progressing -- please remember to keep the comments as spoiler-free as possible if you've seen all of Series 2!

Read my review of Series 2, Part 1
Visit my Downton Abbey board on Pinterest (feel free to suggest images for me to "pin"!)
For a limited time, watch this episode online at PBS
Pre-order the Season 2 DVD (releases February 7th)
Read Laurel Ann's recap & review of this episode at Austenprose
Read Tasha's recap of this episode at Edwardian Promenade

Review: Wonderland Creek by Lynn Austin

2012-01-16T09:11:00.000-08:00

Wonderland Creek

By: Lynn Austin

Publisher: Bethany House

ISBN: 978-0-7642-0498-2

About the book:

I was perfectly content with my life -- that is, until the pages of my story were ripped out before I had a chance to live happily ever after.

Alice Grace Ripley lives in a dream world, her nose stuck in a book. But the happily-ever-after she's planned on suddenly falls apart when her boyfriend breaks up with her, accusing her of living in a world of fiction instead of the real one. To top it off, Alice loses her beloved library job because of cutbacks due to the Great Depression.

Longing to run from small-town gossip, Alice flees to the mountains of eastern Kentucky to deliver five boxes of donated books to the tiny coal-mining town of Acorn, a place with no running water, no electricity, and where the librarians ride ornery horses up steep mountain passes to deliver books. When Alice is forced to stay in Acorn far longer than she planned, she discovers that real-life adventure, mystery -- and especially romance -- may be far better than her humble dreams could have imagined.

Review:

Alice Grace Ripley was perfectly happy with her life, consisting of a steady boyfriend and a job she adored at the local library. Never happier then when she's lost in the pages of a good book, Alice is content to live vicariously through the lives of ink-and-paper characters she meets on the page, certain that nothing in real life can surpass the joy and adventure she finds between the covers of a new novel. But Alice's happily-ever-after is not the foregone conclusion she's long-assumed, nor will it be so easily achieved. First her boyfriend dumps her, accusing her of living in a fictional dreamworld, and then her library job falls victim to budget cutbacks thanks to the Great Depression. With nothing left for her in her hometown, Alice impulsively decides to personally deliver donated books to rural Acorn, Kentucky. Alice little suspects that the mountain community will change her life forever, challenging her beliefs and dearly-held assumptions about her bookish-centered life. Thrust into a real-life adventure bigger and more fantastic than any novel, Alice must decide if she has it within her to become the heroine of her own life's story.

Alice is an instantly recognizable soul to any bibliophile, as what bookish sort willing to be honest can probably own to the temptation to prefer books to people and fictional adventures enjoyed from the comfort of a favorite reading nook. Bright, well-intentioned, but immature and hopelessly naive, Alice has little inkling of what real life is like outside the sheltered four walls of her parents' home, Tom Sawyer's shenanigans the closest she's ever come to adventuring. Her sojourn in Acorn pulls Alice out of her comfort zone, forcing her to decide who she is, as she is, stripped of familial and atmospheric identifiers -- the golden opportunity to script her life's story. It's a challenge that ever individual as they transition from childhood to adulthood is given the opportunity to make, choosing what parts of our upbringing to carry forward, how the past is allowed to define us, and perhaps most criticially, why we believe what we believe, and how that faith translates to the art of a life well-lived.

As is the norm in an Austin novel, the author seems to possess an almost uncanny ability to transport her readers into whatever time period she's chosen to bring to life. Wonderland Creek is no exception; indeed, the isolated mountain community is painted on the page with a filmic flair, the action unfolding like one of Alice's favorite novels brought to life on-screen. Everything about Acorn, as seem through Alice's eyes, is almost otherworldly, which is fitting considering how removed she is from the comforts of home. Austin plays with a book lover's penchant for losing themselves in the world of a novel. In fact, I would posit that Alice's name is no accident as it surely must seem to her that in her quest to deliver books to Acorn she's fallen through the looking glass into another world, one filled with hidden treasure, feuds, and intrigue.

Austin peppers her novel with a host of memorable, well-drawn characters. There's Lillie, the fiesty 100-year-old former slave, now a revered midwife and healer, wo serves as the reluctant Alice's guide and mentor in the "alien" land of Acorn. And then there's Mack, the librarian/activist who clashes with Alice from their first meeting. He is a vintage Austin hero, upstanding, moral, the type who really SEES the heroine's best self. Austin's romances are among my faovrites, and Mack and Alice are no exception -- an attraction born out of their shared passion for books, a bond forged in life-threatening trials -- theirs is a relationship where what isn't said is as compelling as their carefully painted encounters on the page.

Replete with unforgettable characters, Wonderland Creek is Austin's love letter to bibliophiles, and a moving tribute to the real-life packhorse librarians who brought the magic of the written word into remote mountain areas like Acorn. Alice's story is a beautifully-rendered example of the power of story and a reminider that the greatest story is the one co-authored with the God whose dreams for our future outshines the most fantastically plotted novel.

"Much Ado About Nothing" trailer

2012-01-14T17:08:00.000-08:00

Thanks to Karrie for bring the trailer for David Tennant and Catherine Tate's production of Much Ado About Nothing to my attention:

Doesn't it look absolutely BRILLIANT? Now, if PBS would just announce plans to air this, and then make the DVD available, I would be really, REALLY happy. :)

Grimm 1.8: "Game Ogre"

2012-01-14T11:56:00.000-08:00

Grimm returned last night after an absence of something crazy like NEARLY A MONTH -- but oh goodness was it worth the wait. The show's take on the "Jack and the Beanstalk" story wasn't mythology-heavy, but rather a superb example of the potential longevity this show has because of how it turns the police procedural inside-out. The hour opens with the horrific murder of a judge, by an ogre/giant of a man with serious rage issues. During their investigation Nick (David Giuntoli) and Hank (Russell Hornsby) trace the murdered judge to another murder victim, found wearing a valuable antique watch which, given Monroe's (Silas Weir Mitchell) clock-making occupation is the perfect excuse to call on his expertise. I LOVE MONROE.

One of the many things I liked about this episode is that Nick being a Grimm has nothing to do with the ogre's activities -- in fact, this case is all about a psychopath seeking revenge on those who jailed him, which includes Hank since he worked the case a couple of years earlier. The show does an excellent job translating the giant of legend into the present day -- their ogre takes the whole "fee fi fo fum, I smell the blood of an Englishman" aspect of the story very seriously. In this universe real-life ogres are "Siegbarste," individuals with a HIGH tolerance for pain (which explains how this ogre can pull bullets out of himself), extremely difficult to kill, and renowned for their ability to hold grudges. Giving the baddie of this hour characteristics of congenital analgesia is just one of the brilliant ways this show makes fairy tales real and plausible.

This episode provides some fantastic insight into Hank's character which I just loved. He is such a driven cop, as the personal nature of this storyline, and being a target of a vengeful felon, reveals. The fact that Nick discovers the perpetrator's fairy tale origins, and can't tell Hank, adds some nice tension to their interactions in this episode. You can see that Nick completely gets Hank's anger, frustration, and sense of responsibility about bringing this killer to justice, while at the same time being completely handicapped because he can't tell Hank that a regular man is incapable of taking this killer down -- a fact he only knows because he's a Grimm.

The aftermath of Nick being nearly beaten to death by the ogre in a home invasion provided a great spotlight for his relationship with Juliette (Bitsie Tulloch). First of all, could Nick and Juliette BE any more adorable together? I mean SERIOUSLY! I can hardly take it. *wink* They are on the fast-track to becoming one of my favorite TV couples. Also, I loved the fact that Juliette got to show her strength in this episode -- I could've cheered when she kept her head and threw a pan full of boiling water in the ogre's face. Girl's got game, just sayin'! I got the feeling during Nick and Juliette's post-attack scene in the hospital that Nick was feeling concerned that his status as a Grimm had brought danger home -- thoughts? I couldn't help but recall his Aunt Marie's warning in episode one (if memory serves me correctly), that he should distance himself from Juliette in order to protect her -- I have to wonder if the temptation to do so is going to become more of a factor in the show going forward?

Monroe was BY FAR the star of this episode. He is just amazing, AMAZING! First we get to see him geeking out over the vintage watch Nick and Hank bring him for analysis. Then we get to see him all nice and sweet and concerned over Nick's safety when he learns he's been attacked by a siegbarste. THEN...and this is perhaps my favorite...he seriously geeks out over retrieving the ogre poison in Aunt Marie's stashed trailer. The beautiful, hilarious irony of a blutbad snooping around a Grimm's trailer is absolutely priceless (loved Monroe's shout-out to his dead father, sure to be rolling over in his grave -- HA!). I mean seriously, what is not to love about Monroe? He drives a VW for goodness' sake! He's just a big, cuddly, wolf-ish, quirky teddy bear. :)

Seeing as this was not a mythology-heavy episode, I was VERY intrigued by Captain Renard (Sasha Roiz) -- I can't WAIT to find out this guy's backstory, as he seems like such a dedicated police captain and supportive boss. THE SUSPENSE IS KILLING ME. *wink* Another winner of an episode -- bring on next week!

Once Upon a Time 1.8: "Desperate Souls"

2012-01-12T15:13:00.000-08:00

Following Graham's shocking death, Once Upon a Time returned this past Sunday proving that yes, indeed, there is life after that CRUSHING HEARTBREAK (maybe I'm still a little bitter, hmm? *wink*). Emma (Jennifer Morrison) appears to be this great mixture of heartbroken and determined after Graham's death, the grief over what could have been spurring her to carry on his work as sheriff. This desire is solidified by a conversation with the enigmatic Mr. Gold (Robert Carlyle), who urges her to accept a keepsake from Graham's possessions and tells her that as deputy after two weeks she is free to assume the role of sheriff. Regina (Lana Parrilla) is of course having none of that, determined to remove the thorn that is Emma from her side once and for all by using her power as mayor to appoint her lackey Sidney Glass (Giancarlo Esposito) as the new sheriff and firing Emma. Surprising us once again it's Mr. Gold who informs Emma that Regina is not as powerful as she might think, and offers to back Emma in an open election for Graham's empty office.

Unlike Emma, we all know that since Mr. Gold's Fairy Tale Land alter-ego is Rumplestiltskin that he can't and shouldn't be trusted, but the questions of what drives him and how he became a manipulative, power-hungry dealmaker have remained unanswered thus far. This episode begins to address that by lifting the curtain on Rumple's backstory. Not surprisingly, Rumple was a poor weaver (a nice nod to the character's traditional story), but more surprisingly he was a devoted father. At this point in Rumple's corner of Fairy Tale Land, children are being forcibly conscripted in the army to fight in the ogre wars, a sure death that Rumple is determined to protect his son from, especially since he lives in disgrace having fled from another battle in fear (where he earned his limp, apparently).

This episode plays with an idea that's been mentioned multiple times since the start of the series -- the idea of magic having a price, of exacting a terrible toll on those who use it. Rumple's story is perhaps the show's starkest example yet of the price of magic, and how it can strip one of his or her humanity, their ability to love and feel. I can't remember the show mentioning the "Dark One" prior to this episode, so please let me know if I'm forgetting something. ANYWAYS...a beggar (played by Brad Dourif -- yay for Lord of the Rings alum!) manipulates Rumple into stealing a dagger that controls the Dark One's power, only said beggar turns out to be the Dark One, who'd rather die than live with the burden of magic and its power any longer. YIKES. This idea that there are forces that just shouldn't be trifled with, that no matter how well-intentioned a person is when approaching the use of magic the temptation to take things too far will always be there -- it is a powerful, intriguing concept and I look forward to seeing how the show develops that theme. Particularly in relation to Emma, as her lack of knowledge and understanding about the curse and everyone's fairy tale counterpart is potentially a handicap and a very real threat to her well-being.

Besides providing us with Rumplestiltskin's backstory, this episode once again gave Morrison a chance to really shine and show us Emma's heart. I've liked the Emma/Henry (Jared Gilmore) dynamic from the beginning, but even more so now as Emma is really settling into life in Storybrooke and wrapping her head around the idea that she wants to be a part of her son's life. And seriously, who wouldn't? Henry is ADORABLE. When I saw how upset he was over Graham's death I just wanted to give him a hug -- that kind of guilt, over feeling responsible for Graham's death (and LIVING in the home of the woman you know is responsible) would be a heavy burden for anyone to bear, particularly a child. Graham's death was a wake-up call that "Operation Cobra" isn't just a game, this whole secret identities/curse thing is very real, with consequences to be weighed each step of the way.

Wonderful, messed-up Emma desperately wants to be a hero for her son. And for as much as love seeing Morrison open up her character, make Emma vulnerable, I can also see where this very well-intentioned desire has the potential to be Emma's greatest risk, her Achilles' Heel -- and Mr. Gold knows it. As far as the election results go, the jury's still out for me as to whether or not Mr. Gold engineered the whole thing -- the fire, Emma's response, the townspeople rallying around her, or if he just reacted to events and adjusted his response accordingly. I'm quite intrigued by the notion that people dislike Regina but fear Mr. Gold -- and I can't WAIT to see how that plays out in relation to the curse. I have a suspicion that in unleashing this curse, Regina (unintentionally?) put herself under Gold's power -- thoughts?

A few more quick notes -- first of all, how hilarious was it that Sidney Glass is a very literal mirror for Regina's thoughts and policies? Nicely done. :) It was great to see Archie (Raphael Sbarge) again during the pre-election debate, even though he was such a sorry moderator. And who else besides yours truly is ready for Granny (Beverley Elliott) and Ruby (Meghan Ory) to earn their status as series regulars? They regularly pop up in Storybrooke crowd scenes, but so for Ruby's most noticeable quality is looking pouty and wearing entirely inappropriate clothes. *sigh* It is past time for the show to delve into Little Red Riding Hood's story (apparently that is slated to occur in the January 22nd episode).

And finally, since I'm having to get used to a Graham-less Once, I have to draw special attention to Mary Margaret (Ginnifer Goodwin) and David's (Josh Dallas) meeting while canvassing for opposing candidates in the sheriff election. COULD THEY BE ANY MORE ADORABLE?! I mean SERIOUSLY!!! The chemistry between them is just white-hot even when they're antagonizing each other. I love it. Note to the Once writers: After this whole Graham debacle, if you touch one HAIR, one SINGLE HAIR on Charming's head you all are DEAD to me. I don't think I could take THAT. :P

Review: A Weekend with Mr. Darcy by Victoria Connelly

2012-01-11T15:18:00.000-08:00

A Weekend with Mr. Darcy
By: Victoria Connelly
Publisher: Sourcebooks
ISBN: 1402251327

About the book:

Of course she's obsessed with Jane Austen...

Surrounded by appalling exes and fawning students, the only thing keeping professor Katherine Roberts sane is Jane Austen and her personal secret love for racy Regency romance novels. She thinks the Jane Austen Addicts conference in the English countryside is the perfect opportunity to escape her chaotic life and finally relax...

But then she encounters a devilishly handsome man at the conference who seems determined to sweep her off her feet. Is he more fiction than fact? Or could he be the hero she didn't know she was looking for?

Review:

In a sea of novels that seek to capitalize on Jane Austen's enduring popularity, A Weekend with Mr. Darcy stands apart by not opting to retell the canon, but instead telling a story of Jane's most ardent fans -- those who can never get enough of the books, films, and retellings. Katherine Roberts is a respected Oxford professor whose professional expertise is all things Austen-related and whose secret passion is the "low-brow" popular Regency romances by the prolific author Lorna Warwick. Katherine much prefers Austen and Lorna's fictional heroes, since her own real-life attempts at happily-ever-afters have resulted in betrayal and heartache. Robyn Love is a receptionist, a romantic idealist stuck in a dead-end relationship and job whose only solace is Jane and her beloved film adaptions -- she'd rather escape from reality than face it head-on. Both Katherine and Robyn meet at a weekend Jane Austen Conference, little expecting that the conference will challenge their Austensian perceptions and change their lives forever. The "course of true love never did run smooth," particularly in an Austen novel, as Katherine and Robyn discover when they find themselves the heroines of dramas they never expected to live, and must each decide if real-life love stories are worth the risk, leaving them to answer one question -- what would Jane Austen do?

The setting for Katherine and Robyn's conference, the fictional Purley Hall, is worthy of any film adaptation of Austen's work, and thus the stage is set for romance in true Regency style, replete with moonlit encounters in lush gardens and misunderstandings and engagements, and secret identities! So many of the books that tout themselves as Austen sequels or retellings tread familiar territory, attempting to re-interpret the canon or capitalize on the public's insatiable appetite for anything that smacks of her heroes -- Darcy, Wentworth, Tilney, etc. Connelly makes the smart move of opting not to retell a classic story or translate it to the present day, instead focusing on individuals that make up the phenomenon known as Austen fanatics -- people who can't get enough of her books, the retellings, the inspired-bys, and the film versions. Somewhat similar to Shannon Hale's Austenland, A Weekend with Mr. Darcy is wish-fulfillment of the highest order for an Austen aficionada, perhaps all the moreso because its setting, a academic conference, is so "normal," lending a delightful aura of possibility to the tale.

Connelly plays to the most ardent Austen fan, giving acknowledgement to everything from the Colin Firth-as-Darcy mania to the unlikely mash-ups (i.e., Pride and Prejudice and Zombies). And while acknowledging many a woman's dream of measuring all men against the "perfect" Mr. Darcy, through Katherine and Robyn's romantic misadventures Connelly reminds readers that one's perfect match may be found where he's least expected (such a man - spoiler! - writing under a female pseudonym). Each woman's story has its charms, but I must admit to being particularly impressed with the unexpected depth of Robyn's story and her entirely unsuitable long-term boyfriend, touching on family tragedy and the temptation of staying in a relationship out of guilt. A Weekend with Mr. Darcy is a fresh spin on the on-going mania for capitalizing on Austen's enduring popularity. Connelly peppers her story with many nods to the many film adaptations that are so popular they've become canon (thanks in great part to deliciously-cast heroes *wink*), balanced with characters who no matter how extreme their fandom runs, are drawn with gentle humor and warmth on the page. Connelly's first foray into the realm of Austenesque fiction is a gem, a frothy and fun slice of escapism for anyone who has ever fallen for one of Austen's immortal heroes.

A Very Carson Christmas

2012-01-10T15:59:00.000-08:00

So now we know what Carson does on the side to earn a little spare cash...

Downton Abbey Series 2, Part 1

2012-01-09T15:45:00.000-08:00

Downton Abbey finally, FINALLY returned to Masterpiece Classic last night and oh my WORD was it worth the wait. There's so, SO much I want to talk about -- but rather than make this a who's who post, I think I shall endeavor to dive right in and talk about the relationships and story developments that intrigued me most. Of course, if I leave something out (oh the HORROR *wink*), fee free to bring it up in the comments. :) Here's the Episode 1 summary from the PBS website:

Fall 1916 — Spring 1917

In the throes of the Great War, uncertainty and worry have taken up residence in the great house of Downton Abbey. Some newcomers arrive, met with varying degrees of welcome; some young men are absent, desperately clinging to survival in the trenches of France; and some men remain at Downton, their discontent festering.

Robert, ever the honorable patriarch, struggles with the uneasiness of a diminished house and the suspicion that the uniform he wears is empty. The Crawley women, too, attempt to find their place in the new climate, as Isobel helps chart a new course for one sister and Branson exerts his influence over yet another. Among the servants, love is in the air — O'Brien being, as always, the exception — until Bates makes a decision that crushes the hearts of the two people who love him most.

News about Matthew stuns the house, and Mary has a revelation of her own. Downton Abbey itself is to be made useful, transformed into a convalescent home for wounded officers. In wartime, not even the seemingly immutable Dowager Countess, Violet, remains entirely unchanged!

While Series 1 ended with the declaration of war, Series 2 opens two years later, with the war in full swing and Matthew Crawley (Dan Stevens) in the thick of the 1916 Battle of the Somme. The stark contrast between the filth and danger of trenchwarfare and life at Downton Abbey is stark and jarring. At first blush, life at Downton seems almost unchanged -- there is still a miniature army of servants, under the "command" of Mr. Carson (Jim Carter), the butler, tending to the upkeep of the great house and the needs of its privileged family. But upon closer examination, the staff is running thin, absent of one footman -- the conniving, EVIL Thomas (Rob James-Collier) -- with the remaining one, William (Thomas Hawes), eager to fight -- and the great hall transformed into a concert stage for a hospital fundraiser. It's fascinating to me to see individuals like Mr. Carson, driven to see the status quo maintained even at the expense of their health, when the war is hell-bent on changing everything, and way of life that Downton and its inhabitants have enjoyed is past its zenith.

The first big news of this installment is Matthew's engagement to Lavinia Swire (Zoe Boyle), daughter of a solicitor. His mother Isobel (Penelope Wilton) brings the news that he plans to bring Lavinia to Downton, coinciding with Mary's (Michelle Dockery) return home, crushing Robert (Hugh Bonneville) and Cora's (Elizabeth McGovern) hopes that their heir would reconcile with their headstrong eldest daughter. Lady Mary can be a bit of a mess, but despite that she is one of my favorite members of the Crawley family, and in the two years since we last saw her on-screen she appears to have mellowed somewhat. Though we're not given much of an idea of what she's been up to -- other than living in London -- it seems clear that the long reach of the war has managed to give her some perspective. And her veneer of strength in the face of the news of Matthew's engagement, followed by her collapse and later, heartfelt prayers for his safety, just killed me. So yeah -- I can't stand Lavinia and I'm sure she's too syrupy sweet for her own good.

The middle Crawley daughter, Edith (Laura Carmichael), has really shot any good will I tried to muster for her after Series 1. I had felt kind of bad for her -- she seems to have that classic overlooked middle child thing going on -- but the glee with which she sprung Matthew's engagement on Mary just screamed harpy to me. And while I think it is interesting that she's the one who insists on learning to drive, really a bit of forward-thinking there, her fascination with a hick MARRIED FARMER just cracked me up. And she thinks Mary has poor judgment?! Just sayin'...

It looks like I'm going to get my wish from last season for more Branson the chauffeur (Allen Leech) and Sybil (Jessica Brown Findlay) moments, THANK YOU Julian Fellowes! :) They give Bates and Anna a run for the honor of favorite couple. SERIOUSLY. Could Branson get any more freaking vulnerable and adorable and PERFECT?! I love how Leech plays Branson's unease at various points throughout these two hours and being one of the few men not in uniform. And his blatant adoration for Sybil just KILLS me. Sybil, with her compassionate heart, is of course going to be the first Downton daughter to step WAY outside her comfort zone and train to become an auxiliary nurse. (Side note: loved her cooking lessons, and Cora's pride in her daughter's most irregular accomplishments!) When Branson drops Sybil off for nursing training and declares HIS LOVE, how, HOW on earth did Sybil just stand there? If she breaks his heart I will be CRUSHED! What fascinates me about their dynamic is how she represents everything that frustrated him about the class system in Series 1, but in the years since his arrival at Downton he's apparently fallen hard for the Earl's youngest daughter. I loved the moment towards the end of this installment where Branson dares to let slip to Cora that Sybil will probably want to skip a family dinner in favor of nursing work -- he seems to believe in her and what she wants to do more than anyone else. Plus he's always looking at her with just a touch of awe, as if she hung the friggin' moon. Sybil m'dear you could do MUCH WORSE than marry a man who adores you. Just sayin'! :)

Now on to my other favorite couple -- Bates (Brendan Coyle) and Anna (Joanne Froggatt). Recalling how Bates went through absolute hell when he first arrived at Downton, I loved hearing the rest of the staff sing his praises and recognize what a flipping GEM he is. :) They get about five minutes of happiness before that gets all shot to hell but oh what a wonderful moment. With the inheritance from his mother, Bates is sure he'll finally be able to convince his wife to grant him a divorce. When he and Anna start making plans for the future (living in a cottage on the grounds! starting a family! running a small hotel together -- SQUEE!!!), I could've cried because Anna was so perfectly, wonderfully, incandescently happy. And then the other shoe drops with the arrival of Mrs. Vera Bates (Maria Doyle Kennedy), who is a vile, conniving SHREW (and yes, when Bates called her a bitch I cheered). When she blackmails Bates into leaving with her, threatening to expose Lady Mary's scandalous behavior with the ill-fated Turkish diplomat, oh my goodness I wanted to throttle her. Bates's nobility in refusing to divulge the real reason behind his sudden departure to the Earl, Anna's loyalty and faithfulness while having all of her dreams STOMPED on -- oh that second hour sans Bates was painful.

Robert is in an interesting and dangerous position at the start of this series. He was noted for his nobility and kindness throughout Series 1, but with a war on and the social dynamic he's existed within all his life changing and realigning, he's a bit adrift. It was quite painful to see the realization that his services are not required or wanted in the active duty army, and I suspect this sense of uselessness and discontent will be an open door for who knows what sort of turmoil in his personal life. His relationship with Cora doesn't seem to be nearly as solid as it was throughout Series 1, and that makes me extraordinarily nervous. As lady of the house Cora has been able to maintain her position and role in life and her family to a large degree, unlike her husband who chafes at being relegated to a figurehead role.

Vera skyrocketed to the "honor" of villain #1 after last night, but we also saw the return of Thomas and O'Brien (Siobhan Finneran), the latter Cora's lady's maid. Thomas has obviously not remained unaffected by his work as as a medic in the trenches -- but I still don't trust him as far as I can throw him. He manages to get himself shot and with carefully planted suggestions to Cora from O'Brien, get himself transferred to work at the hospital near Downton. I would love to see him become a better person, but for as nice as he tried to be to the despairing officer blinded by a gas attack, I rather suspect that the harsh realities of war and its aftermath will solidify his conniving and power plays. (Feel free to prove me wrong, Thomas!)

O'Brien is a bit of a puzzle. On one hand, I'm shocked by her audacity in conveniently "forgetting" that she caused Cora to miscarry her baby two years earlier, and after THAT debacle she still constantly manipulates her mistress into getting her own way. (Of course Cora rather asks for it sometimes, but as O'Brien is the instigator I lay most of the blame at her door.) What interests me about her character here is the flash of humanity and compassion she shows towards Bates's replacement, Mr. Lang (Cal Macanich), a victim of shell-shock. When watching the episode last night, my first thought was that she was intent on corrupting him, but a friend on Facebook suggested the possibility that O'Brien isn't immune to love -- and THAT my friends would be an extraordinary twist for a character renowned for her selfishness. Thoughts?

I really should say something about the newbies, shouldn't I? First of all, the new maid Ethel (Amy Nuttall) is getting on my last nerve. That girl is going to be TROUBLE! (The main signal to that point being that I was actually glad O'Brien was giving her a hard time, go figure!) I get that you want to better your lot in life, etc., but do you have to belittle and alienate everyone else while you're at it?? YEESH. Also, I need theories about what dark secrets Lavinia is hiding from Matthew (I'm guessing it is an illegitmate child)! Because her meeting with Mary's latest suitor, Sir Richard Carlisle (Iain Glen), was a quick signal that that rebound relationship is surely doomed. Speaking of Mary's newspaper/gossip rag magnate (depending on your point-of-view), why oh why does Glen's return to a meaty period drama (he played the oily Mr. Preston in Wives and Daughters) have to be playing ANOTHER less-than-honorable character? I think he has a nice face. *sigh*

AND let's see, who else haven't I talked about? Oh, poor Daisy (Sophie McShera)! I fear she is headed for a world of hurt in dealing with William -- he's become more assertive and she just doesn't seem to have it in her to set proper relationship boundaries. *sigh* Also, Mrs. Patmore (Lesley Nichol) -- oh I LOVE her. That woman is a trip! Especially enjoyed her take on Sybil's desire to learn to cook. *wink* And isn't Mrs. Hughes's (Phyllis Logan) loyalty and concern for Carson too sweet?? Oh and I mustn't forget Violet, the Dowager Countess (Maggie Smith) -- she is as full of herself as ever. Now that Downton is slated to become a convalescence hospital, I predict many a clash with Isobel and Cora over the propriety of such a move.

If you made it to the end of this post, thank you (your reward is this LOVELY Branson and Sybil picture). :) Now, I would LOVE to hear your thoughts on Downton's return and your hopes for the second series! If you've seen the entire second season, please try to remain spoiler-free in your comments since yours truly is doing her level best to live in suspense. :) If this first installment is any indication, this season of Downton promises to be even more drama-filled than its debut. I seriously love everything about this show, even the characters I loathe (here's looking at you, vile Vera!) -- the stories, the clothes, the sets, the juxtaposition of frontline war life with the homefront -- oh my word this is a world I can't fathom ever getting old.

Check out my Downton Abbey pinboard on Pinterest!
For a limited time, watch this episode online at PBS!
Pre-order Season 2 on DVD (releases February 7th).
Check out Tasha's recap of this episode at Edwardian Promenade!
Read Laurel Ann's recap & review at Austenprose!

Downton Abbey returns tonight!

2012-01-08T05:49:00.000-08:00

That squeal of joy you hear? That's me, beyond thrilled that this day is finally here! Downton Abbey Series 2 premieres TONIGHT on Masterpiece Classic! Here's what we have to look forward to:

Downton Abbey's Granthams and their family of servants have already weathered scoundrels, scandals, and a momentous succession crisis. But by November, 1916, the Great War has rendered everything — and everyone — changed. Even Downton Abbey itself, like its residents, has risen to the call of duty and transformed.

At the war front, life intensifies for Downton's young men in the face of untold horrors. Meanwhile, at Downton, war makes new and often unjust demands. Some rise to its call for a stiff upper lip and a useful turn, and others see change as an opportunity for either growth or exploitation. Far from the trenches, there remains no shortage of scheming, meddling, and dangerous attractions.

As other great houses crumble, a diminished Downton Abbey struggles to prevail into a new era with its residents and its honor intact. Maggie Smith (David Copperfield, Gosford Park), Elizabeth McGovern (A Room With A View), Michelle Dockery (Return to Cranford), and Dan Stevens (Sense and Sensibility) return with an all-star cast to season two of Julian Fellowes' Emmy Award winning drama, Downton Abbey.

And here are links to my Series 1 recap and review posts, just in case you need something to read this afternoon to while away the time until the premiere. *wink*

Sherlock Holmes: A Game of Shadows

2012-01-07T17:30:00.000-08:00

Sherlock Holmes: A Game of Shadows was another one of my most anticipated films of the holiday season, which I'm sure is no surprise given my not so secret love of all things Holmes-related. :) The only mystery (which I still haven't figured out) is how this film was in theaters for almost a month before I finally got around to seeing it. My apologies to Sherlock and Watson.

Like its predecessor, this film franchise isn't for the Sherlock purist. That said, I thoroughly enjoy director Guy Ritchie's darkly compelling, gorgeous realization of Victorian England (and in this case, a great part of Europe), and the positively irresistible chemistry between Robert Downey Jr. as the world's foremost consulting detective and the delicious and adorable Jude Law as his long-suffering BFF Dr. Watson.

As promised at the end of the 2009 film, A Game of Shadows sees Holmes obsessed with tracking the movements of Professor James Moriarty, a shadowy puppetmaster intent on plunging all of Europe into a cataclysmic war. Moriarty is brought to life by Jared Harris. I have only a passing familiarity with Harris's filmography, but oh my word he was pitch-perfect as Sherlock's arch-enemy. His Moriarty is cold, calculating, and chilling, a soulless force of evil that counterbalances some of the ridiculousness that comes with this realization of Sir Arthur Conan Doyle's stories -- the explosions, slow-motion fights, etc. Harris's Moriarity is a villain worthy of the name, and perhaps best of all he, by contrast, has the ability to make Downey's rather unorthodox Sherlock feel and be a hero.

My favorite aspect of this incarnation of Holmes is the relationship between Holmes and Watson. Downey and Law have this amazing on-screen chemistry. Whether or not you like the term bromance (if you have a better one, let me know!), Downey and Watson help define it and never better than the work they deliver in A Game of Shadows. The banter, the fights, the exasperation and most of all the never-changing, unshakeable affection between the two of them -- GAH!! I absolutely love it. This film begins with Watson on the eve of his wedding to Mary (Kelly Reilly). Of course Sherlock buggers up his best man duties and forgets to invite anyone to the bachelor party, instead investigating a Moriarty-related lead (Watson remains happily - and drunkenly - oblivious). But despite his veneer of selfishness and denial, Sherlock still manages to get Watson to the church on time, and Downey still manages to break my heart by looking on his friend's happiness with such a forlorn look that it just killed me.

And this is where things get really interesting if you're a fan of this Holmes/Watson dynamic asI am -- so much of the subsequent action results partly from Sherlock's desire to keep his best friend close, but more than that, to keep him safe. Sherlock may trash-talk marriage, may make a great show of trying to get Watson to rethink his future, but when Moriarty threatens Watson and Mary, Holmes will do anything to keep them safe (including throwing Mary from a moving train). Speaking of Mary, Kelly Reilly is absolutely superb in the role. Though her screentime is limited, she and Law make a lovely couple, and for all that Sherlock must try her patience, Reilly tempers what would be understandable frustration with a warmth that acknowledges just what Sherlock means to Watson. It's rather like when Mary is in the picture, Sherlock is the Watsons' wayward child, or that relative that you love but wears you out to no end with their shenanigans. *wink*

Given how fantastic it was to see Mary decipher Moriarty's stolen accounts book (and does she every relish the work -- the girl has moxie!), one wonders Ritchie and company don't make greater use of Reilly's talent. Irene Adler (Rachel McAdams) makes a brief appearance, only to be dispatched within the first fifteen minutes (one assumes she's in a sanatorium since Moriarty infected her with tuberculosis, if not dead altogether). Reception for McAdams's Adler was mixed as I recall when the first film released -- the scripting for her character did her no favors, though I do like the spark that enters Downey's eye when dealing with "the Woman," and placing her squarely on the wrong side of the law as a sort of "spy for hire" is a premise with possibility. If nothing else her questionable fate gives Downey an excuse to up the angst factor, and we all know how much I love that. :)

This script introduces gypsy fortune-teller Simza Heron, played by Noomi Rapace in her English-language film debut. I didn't think Simza was a very well-realized character, which in hindsight should be no surprise. However, I LOVED the atmosphere and culture that introducing gypsies to the storyline gave the film, in particular how it gave Hans Zimmer an excuse to incorporate gypsy-like rhythms into his fantastic score for the film.

I am so glad I somehow managed to stay away from an reviews of this film that mentioned Reichenbach, as revelation that the scene of Holmes and Moriarty's ultimate confrontation figures significantly in the movie's climax. The film is bookended with scenes of Watson typing up this film's nod to the canonical "The Final Problem", giving me great hope that a third Sherlock film is in the offing that will build on the strengths of this second installment. A Game of Shadows is at its best when showcasing the Holmes/Watson friendship first and foremost, and secondarily for its colorful evocation of late 19th century Europe, a powder keg ready to explode with the slightest provocation (Moriarty's goal) -- and we can see Ritchie hint at the pieces of the puzzle that would become a perfect storm twenty three years after this film is set, and engulf Europe in World War I.

From the construction-strewn streets of London, seen awash with a wonderful sepia tone that adds a richness to each frame of film, to the glitter of a Paris opera house, to a gloriously-rendered castle on a Swiss mountainside, A Game of Shadows is a feast for the eyes. The film is packed with wonderful period detail, from the clothing to the sets, and that coupled with an energetic pacing and a more focused storyline makes this sequel an improvement on a predecessor that despite its oft-irreverant treatment of its source material I found surprisingly enjoyable. There's enough surprises planted throughout these films, little nods to Doyle's stories that make the Sherlock aficionada in me quite happy (such as Moriarty's lieutenant being Colonel Sebastian Moran of "The Adventure of the Empty House," played by Paul Anderson). I have to acknowledge Stephen Fry as Mycroft Holmes -- he really is ideally suited as a foil to Downey's Sherlock. And I was so happy to see Eddie Marsan make a brief appearance at the end of the movie as Inspector Lestrade.

After Watson's utterly bereft, horrified look at Holmes falling to his death (seriously, Law has gorgeous eyes), I'm really looking forward to the third installment in this franchise -- it has to be made. The promise of Sherlock's return and Watson's indignation (at being so monstrously used)/joy is to tempting to pass up. :)

Once Upon a Time 1.7: "The Heart is a Lonely Hunter"

2012-01-07T08:20:00.000-08:00

Well...I suppose it is about time I finally talked about the fall finale of Once Upon a Time, since the show returns with new episodes 1/8/12. I've put off long enough (*cue the dramatic sighs*) talking about episode seven, also known as "The Episode That Shall Not Be Named" or "The Episode That Shall Forever Live in Infamy" or my personal favorite "The Episode That Ripped Ruth's Heart Out, Stomped On It, and Left Her Emotionally Eviscerated." At the end of episode six, Emma (Jennifer Morrison) made the shocking discovery that Sheriff Graham (Jamie Dornan) was sleeping with Regina (Lana Parrilla) -- girl, I was shocked, appalled, and disgusted too. Little did I suspect when their dalliances first came to light that Graham would become so rattled when his secret was out. From the beginning of the show he has presented a cool, collected, and compassionate demeanor -- definitely his own man, if you will -- extraordinarily comfortable in his own skin -- and with that read on his character I suspected that it would take a lot to get him to care what someone else thinks -- make sense?

My theory is that all of the above regarding Graham's character is true, especially as this episode reveals his Fairy Tale Land backstory. And that makes sense, since Emma's arrival in Storybrooke is "cracking" the curse's stranglehold on the town and its residents -- and if Graham was a headstrong loner in Fairy Tale Land, it follows that the disruptions Emma's presence is causing will impact him in a major way. While it was no surprise given my speculation as to Graham's fairy tale counterpart since episode one, it was still highly gratifying to have the show finally and officially confirm that Graham was the Huntsman of Snow White's legend -- the man tasked by the Evil Queen with killing Snow. But unlike the Huntsman of tradition, this one is no longtime lackey of the Evil Queen. Stupid to agree to accept the job? ABSOLUTELY. But this Huntsman is a loner -- raised by wolves, he has more of an affinity for the wild creatures he knows so well than other humans. Some would call him heartless, but as his interaction with Snow White (Ginnifer Goodwin) proves, he has more of a heart than perhaps he even realized -- and his decision to grant Snow mercy results in horrific repercussions, costing him his freedom, his free will, his feelings -- the very essence of what makes him an individual, what makes him human.

A couple of quick points about the Fairy Tale Land scenes in this episode -- I thought it was very interesting that we glimpsed Snow White's father's funeral. At that point in Snow's life, she was actually close to her stepmother the Queen, apparently unaware that the Queen is playing her, seeking revenge for an as-yet-unnamed wrong. (Though seriously, after this episode I could care less what Snow did to the Queen, nothing justifies how far she's gone off the rails with her heart collecting fetish.) Regarding the Queen's plot, it was nice to see the Magic Mirror (Giancarlo Esposito) again, even though it is pretty apparent he was always in the Queen's camp.

For as much as this episode ripped my heart out (ironic considering Graham's fate, HA), it was just pure awesome and amazing from start to finish -- and that's the way to go, if you're going to pull a shocking twist like this in only episode seven of a new series. It helps me cope. :) Dornan's acting was just superb in this episode -- so, so good it just kills me that there is a good chance we'll never see Graham again, if Dornan's post-episode interview is to be believed. I loved how Graham's revelations about his true self sort of "snowball" as the hour progresses, and as crazy as most would find his dreams/memories, there's apparently so much truth in them that he can't deny their veracity. I mean how adorable is it for Henry (Jared Gilmore) that he finally gets an adult seeking information about his storybook theory -- I loved that scene of the two of them together, especially Henry's indignation at Graham's confession that he kissed Emma. *wink*

I would love some theories on what exactly Mr. Gold (Robert Carlyle) was doing in the woods when Graham stumbles across him, the first time he chases his wolf-guide into the woods. I totally do not buy his gardening story. I mean seriously, who gardens in a suit wearing what looks like a butcher's apron??? Anyways, speaking of Graham's wolf (first seen, if you remember, when Emma tried to leave Storybrooke and crashed her car) -- do you think we'll see him again? It just KILLS me that this wolf has been in Storybrooke, sort of Graham's guardian angel, if you will, and then Regina does the UNTHINKABLE. GRR!!

Earlier in this episode, Mary Margaret calls out Emma for putting up walls around her heart, for refusing to let herself get close to anyone, particularly Graham. I love how Morrison played Emma's reaction to what by anyone's standards would have been off the rails behavior. And when she realizes that despite Graham's crazy talk something is happening, something is clicking within him that allows him to stand up to Regina's manipulations, you can see her start to melt -- and that makes his death all the more tragic.

Even though I knew that Regina is wholly aware of the curse, I was still bowled over by her entrance into the crypt that led to her heart cache in Fairy Tale Land. That moment was a fantastic reveal. And even though I knew she was the Evil Queen -- the evil denoting BAD, obviously -- I was completely shocked by just how wicked she really is. The idea of acquiring hearts and all that implies, of turning individuals like the Huntsman/Graham into slaves, robbing them of emotion, the ability to feel, to follow their own heart -- oh it gave me chills. The moment before Regina crushes Graham's heart, when he and Emma finally kiss, was beautifully played (right down to the single tear tracking down his face as he thanks Emma for helping him remember his true self), giving Morrison a chance to deliver some of her finest acting thus far in the show. Her hope, quickly transitioning to horror when Graham collapses is the first time I've really and truly connected with her emotionally.

For as devasting as Graham's death was (and trust me on this, I was yelling at the television), this episode was brilliant. I'm looking forward to seeing where Once takes us next! I'd love to hear your thoughts on this episode -- and feel free to give me hope and theories on how Graham as Graham (not the Huntsman robbed of his heart) may pull a fast one and return. Because I can happily live in denial that he's gone for good. :)

Sometimes this is all you need...

2012-01-06T16:59:00.000-08:00

...a nice man in a sharp suit. *wink*

Hello, Ted. Pan Am returns with a new episode, "Secrets and Lies," this Sunday 1/8/12!

2012-01-06T16:46:00.001-08:00

Well I took the leap and joined Pinterest today -- for anyone who may be interested you can find my boards here:

Mission: Impossible -- Ghost Protocol

2012-01-04T15:42:00.000-08:00

I suppose whether or not one likes the Mission: Impossible films depends largely on how one feels about Tom Cruise. While not an avid fan of the actor per se, I love this series of films and to Cruise's credit his penchant for gazing with steely-eyed intensity at the camera works really well for the role of IMF agent extraordinaire Ethan Hunt. The Mission movies feed my desire to see slick spy capers on the big screen, and after giving it some thought it is possible that Ghost Protocol is the best film in the series to date.

It has been five years since we last saw Ethan Hunt (Tom Cruise) walk off into the sunset with his new wife Julia (Michelle Monaghan), leaving the future of the film franchise in some doubt -- now that the hero had seemingly achieved some measure of happiness in his personal life, would he return to work? The answer, thankfully, is HECK YES. The film opens with IMF agent Jane Carter (Paula Patton) and newly-promoted field agent Benji Dunn (Simon Pegg, a carryover from the third film) breaking Hunt and his source, Bogdan (Miraj Grbic), out of a Moscow prison. The IMF want Hunt to help save Carter's previous mission which had gone horribly wrong, when her fellow agent and lover Trevor Hanaway (LOST's Josh Hollaway) was killed by Sabine Moreau (Lea Seydoux), who stole the nuclear launch codes he'd intercepted and plans to sell them to "Cobalt" (Michael Nyqvist), a nutcase. Hunt is viewed as something of a loose cannon by this new "team," since he was in prison for essentially going rogue and killing the Serbian hit squad responsible for the death of his wife (*sadface*).

I was so happy to see Benji return to the series -- Pegg is HILARIOUS and plays the computer geek thrilled to "see some action" in the field to perfection. I loved Benji's non-stop banter, in-the-field jitters, and Hunt's palpable exasperation with him -- the two play off each other quite well. Patton's Jane Carter is perhaps the best-realized female agent in the film series to date -- my favorite at any rate. She's fiesty, capable, and determined, and more than the equal of her male counterparts. Female spies in franchises like this can all too easily fall into the trap of being just a pretty face, rather empty-headed, but Carter avoids that trap by possessing an impressive drive and determination to succeed, thanks to Trevor's murder.

But by far my favorite cast addition is intelligence analyst William Brandt (Jeremy Renner), who falls in with the team quite by accident after the IMF is disavowed and blamed for a bombing at the Kremlin, and must go on the run to prove themselves innocent and stop the aforementioned Cobalt nutcase from starting a nuclear war. I've loved Renner since his work on the short-lived TV show The Unusuals, and 2012 promises to be a banner year for him with appearances in The Avengers and The Bourne Legacy. All is not as it seems with Brandt, who carries a terrible secret that could shatter his tenuous relationship with Hunt. Renner was just MADE for this type of role -- he's got the looks and physicality and also the humor, the snarkiness to make a character like Brandt appealing and quite frankly sheer fun to watch. If there's a fifth Mission: Impossible film -- and it seems likely, given the success of this installment -- if most or all of the team of Pegg, Patton, and Renner sign on to support Cruise I'm all for the idea (more on that in a moment).

I think a great deal of the credit for revitilizing the franchise in this manner has to go to director Brad Bird, who prior to this was known for directing films like The Incredibles. There's a sense of energy and pacing to Ghost Protocol that reminds me of the Pixar superhero family, and a family of sorts is indeed what this movie creates between the IMF team members. They quarrel and argue and question each other, but when push comes to shove they are there for each other. To paraphrase a line I read in an article somewhere about the film, Ghost isn't Tom Cruise vs. the world, this is a genuine TEAM effort. And getting invested in that team, and their relationships with each other, and enjoying the on-screen dynamic -- that is a large part of what makes this movie work so extraordinarily well.

Of course there are spectacular action sequences and cool spy gadgets -- it just wouldn't be a Mission: Impossible movie without those "amazing" (read: ridiculously convenient) masks the team creates to impersonate people (though in a good-natured jab at the previous films, the masks don't work, leaving the team to rely on cool bravado to sell their con), as well as a host of new technology -- my favorite being the contact lens that serves as a camera, that sends copies to a wireless printer in a special briefcase. Seriously, I WANT ONE. I have no idea WHY, I just do. *wink*

In addition to the spy "toys," this film is chock-full of arguably some of the most spectacular action sequences in the franchise. After the team's attempt to retrieve a file on the elusive Cobalt from the Kremlin goes south and the building explodes, I thought that could possibly be the film's high-water mark -- and was I ever wrong. The trailers give you a glimpse of Cruise's high-wire act climbing the Burj Khalifa -- the world's tallest skyscraper -- in Dubai in his best Spiderman impression. The visuals in that scene are just spectacular, and the tension is superbly handled. I love that the team never gives you a sense during this or any other moment in the film that they are cocky and overly confident -- this time around there's a renewed sense of fallibility among Cruise & company -- as the audience we "know" how things are supposed to work out, so full credit to the script, cast, and director for maintaining tension and excitement throughout. Each member of this core team knows they are riding a high-wire act, each has experienced or witnessed the horrible cost of a mission gone wrong -- the stakes are high and the film keeps viewers invested and interested in the outcome. And I didn't even talk about Hunt's pursuit of Cobalt in the middle of a sandstorm... :)

Couple of quick notes -- it was terrific to see Tom Wilkinson make a brief appearance as the ill-fated IMF Secretary. It was also WONDERFUL to see longtime Hunt cohort Luther Stickell (Ving Rhames) make a brief cameo at the film's conclusion -- if he can be persuaded to come back for a fifth film, that would pretty much make things perfect. Music-wise Michael Giacchino delivers perhaps an even better score than his first outing in the series for the third M:I film. Giacchino also has a history of working with director Bird on The Incredibles, and one wonders if this similar superhero/action-themed collaboration inspired the energy of his newest offering.

In a way that's somewhat reminscent of the "realism" Daniel Craig brought to the character of James Bond in Casino Royale, Ghost Protocol reminds viewers that the IMF agents accomplishing these impossible feats are very human. I can't remember Ethan Hunt ever taking quite as much of a pounding as he does in this latest installment. And it isn't just the reminder that characters like Ethan aren't immune to physical harm -- this script adds layers of emotional resonance that in the end makes this particular grouping of IMF agents people you care about. This is perhaps best summed up at the movie's conclusion, when Hunt (SPOILER ALERT) admits to Brandt that his wife is, in fact, alive. There's two things at play here that made me love that moment -- one, Hunt recognizing himself in Brandt and realizing just how much it would mean to know the truth behind the failed mission in Croatia, and two, witnessing Hunt's faithfulness to his wife and seeing just how much he loves her. Yes, I know I am a total romantic sap but GAH!! -- that moment killed me it was so perfect.

For sheer escapist fun Ghost Protocol can't be beat. Kudos to the entire production team for refreshing a franchise that could've gotten stale if filmmakers had continued to insist on relying on Cruise's star power alone. This team works, and as the main thread that has run throughout the film franchise, Cruise plays off the newbies really well. :)

The Rose of Winslow Street by Elizabeth Camden

2012-01-04T07:24:00.000-08:00

This week, the Christian Fiction Blog Alliance is introducing The Rose of Winslow Street Bethany House (January 1, 2012)
by Elizabeth Camden

ABOUT THE AUTHOR:

A research librarian and associate professor, Elizabeth Camden has a master’s in history from the University of Virginia and a master’s in library science from Indiana University. She has published several articles for academic publications and is the author of four nonfiction history books. Her ongoing fascination with history and love of literature have led her to write inspirational fiction. Elizabeth lives with her husband in central Florida.

ABOUT THE BOOK:

The last thing Libby Sawyer and her father expected upon their return from their summer home was to find strangers inhabiting a house that had been in their family for decades. Widower Michael Dobrescu brought his family from Romania to the town of Colden, Massachusetts with a singular purpose: to claim the house willed to him long ago. Since neither party has any intention of giving up their claim, a fierce legal battle ensues between the two families.

When important documents go missing from the house, Libby suspects Michael is the culprit. Determined to discover the truth behind the stolen papers, Libby investigates, only to find more layers of mystery surrounding Michael and his family. Despite their rivalry, Libby finds herself developing feelings for this man with the mysterious past.

As a decision about the house looms in the courts, Libby must weigh the risks of choosing to remain loyal to her family or give her heart to a man whose intentions and affections are less than certain.

If you would like to read the first chapter of The Rose of Winslow Street, go HERE.

Review: Searching for Pemberley by Mary Lydon Simonsen

2012-01-03T16:53:00.000-08:00

Searching for Pemberley

By: Mary Lydon Simonsen

Publisher: Sourcebooks

ISBN: 1402224397

About the book:

Maggie went in search of a love story, but she never expected to find her own…

Desperate to escape her life in a small Pennsylvania mining town, Maggie Joyce accepts a job in post-World War II London, hoping to find adventure. While touring Derbyshire, she stumbles upon the stately Montclair, rumored by locals to be the inspiration for Pemberley, the centerpiece of Jane Austen’s beloved Pride and Prejudice.

Determined to discover the truth behind the rumors, Maggie embarks on a journey through the letters and journals of Montclair’s former owners, the Lacey family, searching for signs of Darcy and Elizabeth.

But when the search introduces her to both a dashing American pilot and a handsome descendant of the "Darcy" line, Maggie must decide how her own love story will end…

Review:

Following the end of World War II, twenty-two year old Maggie Joyce, desperate not to return to a dead-end future in her mining hometown in Pennsylvania, accepts a job in post-war Europe with the Army that sees her transferred to London. While touring Montclair, a grand country estate, Maggie is astonished to recognize striking similarities between the story of estate's ancestral owners, William and Elizabeth Lacey, and Pride and Prejudice, her favorite of Jane Austen's novels. The idea that Elizabeth Bennet and Fitzwilliam Darcy were based on real people is too tantalizing to resist, and Maggie embarks on a journey to sift fact from fiction, hoping to learn the truth behind one of literature's most enduring love stories. Maggie's "guide" into the real Elizabeth and Darcy's past are Beth and Jack Crowell, whose relation to the subject of Austen's novel is closer than Maggie could've dreamed, and provide a fascinating glimpse into the war-torn history of one of Britain's premiere families. Along the way the once lovelorn Maggie finds herself torn between two men, and faced with the chance to determine her own postwar future, Maggie must decide if taking a chance on her own real-life Darcy is worth the risk of leaving behind the life she was raised to know.

The basic premise of this novel is fascinating -- I love the idea that one of my favorite fictional couples could've been real individuals, and the idea promises rich fodder for a devotee of Pride and Prejudice. While I have no doubt that Elizabeth and Darcy were wholly products of Austen's considerable talents and imaginative genius, the idea of a real-life Pride and Prejudice "treasure hunt" is an appealing fiction, and as such I found myself relating to Maggie's enthusiasm in her quest to discover the real Elizabeth and Darcy -- a literary archaelogical expedition of the highest order. The problems come in the execution of this premise -- the storytelling format consists mainly of large "information dumps," with pages of dialogue where a character shares research with Maggie, or pages of prose where she details her latest discoveries. The result is a lengthy tome that reads more like research thesis notes than a novel. There is very little character development, Simonsen opting instead to showcase research and history -- and the only reason this works to some degree for me is because I appreciate the basic premise of her story.

I didn't expect this novel to provide a not uneffective analysis of the cost of war on those who survive combat to return to civilian life. Through Jack and Beth's reminscences and the stories of Maggie's love interests, Simonsen explores the terrible toll both world wars took on society as a whole, particularly those who survived to return home to "normal" life. At first blush the juxtaposition of a late 18th-century love story and life in postwar Britain seems most unlikely, but in some weird way it works -- Maggie's research into the Laceys' past helps her find her footing in a postwar society, torn between the wounds of war and hope of peacetime. The "upstairs/downstairs" dynamic of Beth and Jack's love story is particularly timely, given the resurgence of interest in the pre-World War I time period thanks to shows like Downton Abbey.

Simonsen clearly has a passion for history and her love of research, both Georgian and World War II era, shines in this reimagining of Austen's inspiration for Pride and Prejudice. This novel is ALL telling and little to no showing, but despite the novel's often awkward and stilted narrative style, there was a spark within that kept me turning pages -- perhaps it was recognizing in Simonsen a fellow Austen aficionada. With more attention to character development and action instead of packing in every single bit of research in pages-long information dumps, Searching for Pemberley reveals the potential of an author whose passion for history and the classics can't help but be appreciated.

The Maid of Fairbourne Hall by Julie Klassen

2012-01-02T09:31:00.000-08:00

This week, the Christian Fiction Blog Alliance is introducing The Maid of Fairbourne Hall Bethany House (January 1, 2012) by Julie Klassen
ABOUT THE AUTHOR:

Julie worked in publishing for sixteen years (first in advertising, then as a fiction editor) and now writes full time. Two of her books, The Girl in the Gatehouse and The Silent Governess won the Christy Award for Historical Romance. The Girl in the Gatehouse also won a Midwest Book Award and The Silent Governess was a finalist in Romance Writers of America's RITA awards.

She graduated from the University of Illinois and enjoys travel, research, BBC period dramas, long hikes, short naps, and coffee with friends. Julie and her husband have two sons and live near St. Paul, Minnesota.

ABOUT THE BOOK

Pampered Margaret Macy flees London in disguise to escape pressure to marry a dishonorable man. With no money and nowhere else to go, she takes a position as a housemaid in the home of Nathaniel Upchurch, a suitor she once rejected in hopes of winning his dashing brother. Praying no one will recognize her, Margaret fumbles through the first real work of her life. If she can last until her next birthday, she will gain an inheritance from a spinster aunt--and sweet independence. But can she remain hidden as a servant even when prying eyes visit Fairbourne Hall?

Observing both brothers as an "invisible" servant, Margaret learns she may have misjudged Nathaniel. Is it too late to rekindle his admiration? And when one of the family is nearly killed, Margaret alone discovers who was responsible. Should she come forward, even at the risk of her reputation and perhaps her life? And can she avoid an obvious trap meant to force her from hiding?
On her journey from wellborn lady to servant to uncertain future, Margaret must learn to look past appearances and find the true meaning of "serve one another in love."

If you would like to read the first chapter of The Maid of Fairbourne Hall, go HERE.

War Horse

2011-12-31T09:32:00.000-08:00

War Horse was one of my most anticipated films of the holiday season. Much like the noble animal from which the film takes its name, this movie has a flawless and impressive pedigree -- based on the beloved novel by Michael Morpurgo, directed by Steven Spielberg, packed with well known British acting talent, this story of a boy and his horse set against the backdrop of a world at war is guaranteed to tug at the heartstrings. And for the most part, it works. The one glaring factor working against this film is its length. Clocking in at two-and-a-half hours, the film is at least a half hour too long. Told in a mostly episodic style, the length, combined with the narrative "chapters," results in a meandering movie that misfires when it strays too far from the core conceit of the story -- the extraordinary bond between Joey the horse and his boy, Albert (Jeremy Irvine -- after seeing Irvine in this film, I'm really looking forward to his turn as Pip in Mike Newell's big-screen adaptation of Great Expectations). That's not to say the movie is a wash -- far from it. But Spielberg's reluctance to tighten the on-screen storytelling does the movie no favors.

But let's talk about what works. At a livestock auction Ted Narracott (Peter Mullan), a poor, hard-drinking Devonshire farmer with a gimpy leg -- a souvenir of his service in the Boer War -- sinks his family's precious savings into the purchase of a thoroughbred colt, all in order to pique his landlord Lyons (David Thewlis). Unknown to Ted, his son Albert had been eyeing the horse from afar and is thrilled with his father's purchase, promising to train the animal himself and christening him Joey. And so the groundwork is laid for an extraordinary friendship -- these two become everything to each other, and that faith and trust in each other is what enables the pair to conquer mountains (or, as is the case in the film, plow a rock-strewn field). But when the crop fails, the only way to save the family farm is to sell Joey to the army, now preparing to head across the channel to Europe thanks to the recent declaration of war.

Before I touch on Joey's wartime experiences, I have to say that I think what interests me most about this film, and what works best, is the relationship between Ted and Albert. THIS is something that I wish had been explored in greater depth. It's obvious that Albert is devoted to his family, but Irvine shades his performance with jus the right touch of youthful frustration and shame. Frustrated with his father's drinking, with his constant struggles to provide for his family, Albert like so many of us at one point or another just doesn't get his father, sure he can do better. It isn't until his mother Rose (Emily Watson) reveals the cost of Ted's war service that we get an inkling of what made the dreamer the drinker he is today. Ted, for his part, wants to do better, wants to be more, but he's spent so long repressing his Boer experiences he doesn't know how, I think, to come out of that protective shell. Mullan's performance is really quite powerful in its restraint.

Through Joey's wartime experiences we witness the best and worst of humanity, all the more starkly drawn because our guide, the constant throughout each vignette, is an innocent animal. In my opinion the best aspect of this "second act" of the film are the war scenes the bookend Joey's experiences -- the beginning, when he's trained as a cavalry horse, one of a noble company full of honor and ideas about how this war will be fought, little realizing the crushing blow to come that will strip away those ideals and along with them, so very many lives. And the end of the war, full-blow trench warfare when Joey, and the men around him fighting are thrust, quite literally, into the middle of hell on earth. I am sure some will disagree with me, but I could've done without Joey's brief respite at the French Grandfather's (Niels Arestrup) farm with the horse-loving granddaughter Emilie (Celine Buckens). The forward-moving narrative slowed to a crawl during this scene, and the grandfather's later appearance, solely in order to throw a convenient wrench into Albert's attempts to buy back Joey, felt a little too contrived and unnecessary.

The advent of the war brings several familiar faces to the screen, namely Benedict Cumberbatch as the ill-fated Major Jamie Stewart and Tom Hiddleston as Joey's first soldier-owner, Captain Nicholls. While I love Cumberbatch (thank you for Sherlock), this sequence was all about Hiddleston (my appreciation for him has been well documented on this blog). He is ADORABLE. I loved how seriously Nicholls took his promise to Albert to watch over Joey, and it broke my heart when he was killed in the group's first charge. The concluding scenes of the war also featured several familiar faces, from Liam Cunningham as the Army doctor who treats Joey's wounded leg, to Pip Torrens as Major Tompkins, in charge of overseeing transport back to England after the Armistice, to Eddie Marsan as the hard-nosed Sgt. Fry, whose bluster hides a heart of gold.

As is the usual with Spielberg's period films, the attention to period detail is astounding. Every frame of film is a miniature work of art, from the sun-drenched, idyllic Devon countryside to horrifically realized trench scenes. There's a great deal of restraint in the war scenes -- this is not on an R-rated Saving Private Ryan level -- but nevertheless those sequences chilled me. I couldn't help but think of my father's stories about one of his uncles, who was a machine gunner during World War II, and who, much like Albert's father, could never talk about his wartime experiences. This was a war that changed everything, how the world fought and viewed combat, and was in many respects a great equalizer between the aristocratic officers and the "commoners" they commanded. I loved how the latter is realized in the understanding Albert reaches with David Lyons (Robert Emms), the previously insufferable son of his family's landlord, after saving his life in the trenches -- it was an extraordinarily well-done moment.

As the film ended, I found I wasn't focusing on Joey specifically as much as what Albert's homecoming would mean to his parents. Joey, Ted Narracott's one-time folly, the horse he purchased in a fit of pique -- that folly brings his son home -- and that may have been the film's most powerful moment for me. Because while so much had remained unspoken between those two characters, Albert's survival signals the possibility of a healing and a deeper understanding and appreciation between father and son. Whether or not the novel suggests that, whether or not that was intended I don't know -- but that to me is one of War Horse's most powerful moments. A father's folly brings his son home -- "In his heart a man plans his course, but the LORD determines his steps" (Proverbs 16:9). Though overly long, War Horse is a beautifully rendered film with many powerful moments -- definitely a worthwhile big-screen experience. (And film score fans -- John Williams has delivered yet another stunner with his work on this film -- that man is amazing.)

2011 Retrospective

2011-12-29T06:11:00.000-08:00

As I mentioned in my retrospective post last year, I'm not really one for "best of" lists, because for that to work the completist in me would need to review everything on the blog, and that just hasn't happened. *wink* I want to once again take the opportunity to look back on the year as I experienced it in books and film. The following lists are not comprehensive or ranked, but rather the books, films, and television shows that left the most lasting impression on me this past year whether through a hard-hitting emotional read or sheer FUN. Inclusion on this list just means that I read or viewed or finally talked about the item in question during 2011, not that it was necessarily released this past year.

Ten Books

Click the cover to be taken to the review.

Six Movies

Click the poster to be taken to the review.

Six Television Shows

Click the image to be taken to a review.

A few notes -

Books: Honorable mention goes to The Silent Governess by Julie Klassen, The Confessions of Catherine de Medici by C.W. Gortner, Baby, It's Cold Outside by Susan May Warren, and The Bridegrooms by Allison Pittman (click the title to be taken to my review).

Movies: This year was clearly the year of Michael Fassbender. :) In addition to the above listed films, there were several movies I saw in theaters that I never got around to blogging about (I can hear the shocked gasps! *wink* Maybe some of those will make the 2012 list...), such as The Eagle, The Help, and Harry Potter and the Deathly Hallows Part Two. Honorable mention of films seen that made it to the blog include Water for Elephants, Cowboys & Aliens, Captain America: The First Avenger, and The Three Musketeers (click the title to be taken to my review).

Television: Honorable mention goes to Doctor Who, which I rarely blog about (namely because once I start I'd NEVER STOP) and White Collar. This year was most remarkable for being the year that American TV really stepped up and delivered shows that I liked so much I couldn't resist blogging about them (Grimm, Once Upon a Time, and Pan Am).

Looking forward, I'd like to resurrect my All Things Jane series of blog posts -- yes, there is still plenty of Jane Eyre-related books and films to talk about. :) I'd also like to host a few more book giveaways, so keep an eye out for those! And I'd like to do a better job blogging about classic film, since that is one of my passions.

I realize I'm posting this a few days early, so any books or films I post about between now and January 1st will have to content themselves with honorable mention status if the situation warrants it. :)

I'd love to hear some of your 2011 favorites, so please chime in with your take in the comments section, or a link to your own blog post if you've blogged about your favorites already. :)

Review: Within My Heart by Tamera Alexander

2011-12-27T16:32:00.000-08:00

Within My Heart (Timber Ridge Reflections #3)

By: Tamera Alexander

Publisher: Bethany House

ISBN: 978-0-7642-0391-6

About the book:

Sometimes the greatest step of faith is taken neck-deep in fear.

Determined to fulfill her late husband's dream, Rachel Boyd struggles to keep her ranch afloat with the help of her two young sons. But some days it feels as though her every effort is sabotaged. When faced with a loss she cannot afford, she's forced to trust Rand Brookston, the one man in Timber Ridge she wishes to avoid. And with good reason. He's a physician, just like her father, which tells her everything she needs to know about him. Or so she thinks....

Dr. Rand Brookston ventured west with the dream of bringing modern medicine to the wilds of the Colorado Rockies, but the townspeople have been slow to trust him. Just as slow in coming is Rand's dream to build the town a proper clinic. When a patient's life is threatened, Rand makes a choice—one that sends ripples through the town of Timber Ridge. And through Rachel Boyd's stubborn heart.

Review:

Following the tragic death of her husband in a hunting accident, Rachel Boyd struggles to keep the family ranch afloat, determined to make her late husband's dreams for their sons a reality. here is little time and less desire for her dreams or love, in spite of the persistent, hopeful attentions of the handsome town doctor Rand Brookston. Much like her self-proclaimed mission to see her late husband's dreams realized, Rachel determines that loving a doctor is not an option, since all members of the profession must be like her harsh father, harsh and driven. But when a typhoid outbreak threatens Timber Ridge, and the chronic illness of a dear friend requires all of Rand's skill, Rachel is forced to re-evaluate her dearly held assumptions and realize they may be proved a lie. Faced with a choice -- the relative safety of the emotional walls she's built and the iron-clad views she holds close, or risking her heart and family's future on the possibility of love, Rachel must decide once and for all if vulnerability, trust, and love are worth the risk of faith.

Going into this novel the knowledge that Rachel was the heroine was a hard sell -- I'd spent the previous two books in the series disliking her immensely. her animosity towards Daniel, the hero of From a Distance, was borderline irrational. And her seemingly complete inability to graciously accept (or decline) aid, coupled with a persistent distrust of Rand (based on memories of her father), made Rachel an extraordinarily prickly centerpiece for the conclusion to Alexander's Timber Ridge trilogy. While Rachel had legitimate, heart-breaking reasons for her issues, her consistently antagonistic attitude made for a challenging reading experience.

Thankfully, halfway through the novel Rachel turns a corner, and Alexander's trademark ability to tug at the heartstrings is given free rein to shine. As she shares in her author's note, Within My Heart was crafted during a particularly difficult time, involving her mother's illness, and the result of that experience is a master author laying her heart bare on the page -- a beautifully rendered, poignant reminder of the hope believers share in a heavenly promise, making goodbyes on this earth only a temporary heartache. Beloved store owner Ben's illness and the grace and raw honesty with which he and his wife face his mortality are poignant reminders of the precious gift of life, and the power of a life well-lived.

An on-going theme in this loosely connected series is facing fear, and Rand's journey is perhaps my favorite yet. If faith is believing in the unseen provision of an all-knowing God, then Rand's arc is the surest illustration yet of the joy and release found in surrendering, safe in the faith that God's love is the only surety to see one through their darkest hour. Alexander is at her best when crafting characters who make you feel, gloriously real, messy individuals, and Within My Heart is no exception. I love that through Rand's experiences she revisits the horrific toll of the Civil War on its survivors. And her gritty, authentic portrayal of the challenges of frontier medicine add a dose of realism and authenticity to the storyline. At its heart the conclusion to Alexander's Timber Ridge series is a beautifully rendered story of grace and faith, leaving me eager for Alexander's next offering!

Review: Uncommon Criminals by Ally Carter

2011-12-27T10:17:00.000-08:00

Uncommon Criminals (Heist Society #2)
By: Ally Carter
Publisher: Disney Hyperion
ISBN: 978-142314795-4

About the book:

Katarina Bishop has worn a lot of labels in her short life: Friend. Niece. Daughter. Thief. But for the last two months she's simply been known as the girl who ran the crew that robbed the greatest museum in the world. That's why Kat isn't surprised when she's asked to steal the infamous Cleopatra Emerald so it can be returned to its rightful owners.

There are only three problems. First, the gem hasn't been seen in public in thirty years. Second, since the fall of the Egyptian empire and the suicide of Cleopatra, no one who holds the emerald keeps it for long -- and in Kat's world, history almost always repeats itself. But it's the third problem that makes Kat's crew the most nervous, and that is...the emerald is cursed.

Kat might be in way over her head, but she's not going down without a fight. After all, she has her best friend -- the gorgeous Hale -- and the rest of her crew with her as they chase the Cleopatra around the globe, dodging curses and realizing that the same tricks and cons her family has used for centuries are useless this time.

Which means, this, Katarina Bishop is making up her own rules.

Review:

After the resounding success of her first major heist, where she led the teenage crew that robbed the most secure museum in the world, Kat Bishop, to the consternation of her family and friends, has transformed herself into a most unusual thief. Instead of stealing because that's the family business, Kat specializes in recovery -- returning priceless art to its original owners or their heirs, righting the wrongs of wars long past. When an old woman approaches her with a tantalizing story -- her parents discovered and were robbed of the fabled Cleopatra Emerald, a priceless gem unseen for over forty years, Kat can't resist the challenge. Against the advice of her friends, and sure she can succeed, Kat stages a brilliant heist and delivers the jewel. High on the con's success, Kat's world is rocked when she discovers that she's been the victim of a carefully staged con, decades in the making. In order to right a terrible wrong Kat must travel halfway around the world and take on the best in the business, and along the way must decide where she fits in her quirky family, and if a girl raised on the con can make herself vulnerable enough to trust those who want to love her most.

To put it simply, Uncommon Criminals rocks. Taking place a mere two months after Heist Society, Carter's second outing featuring Kat & Crew is every bit as fun as the first. Only this time around, the cons are bigger and the stakes are higher, making Uncommon Criminals every bit as entertaining and compulsively readable as its predecessor and then some. Whether sixteen or thirty-one (like yours truly), Kat's glamorous, danger-tinged lifestyle and budding romance with the ever-loyal Hale is sure to appeal to anyone craving a wickedly funny and clever slice of escapist fantasy. Thanks to her rather unorthodox upbringing, Kat has the savvy and smarts of a seasoned pro, but Carter tempers this gloss of maturity with a smattering of realistic teenage angst -- and it is this unlikely combination of jet-setting know-how and winsome, occasionally clueless, good intentions that make Kat such a winning heroine.

One of my favorite aspects of this story is how Carter chose to reveal tantalizing glimpses about Kat's family history, hints that suggest how she became the budding master thief and con artist that she is today. I loved the revelations about the enigmatic and all-knowing Uncle Eddie, and how his past heartbreak and the choices he made as a reaction to that proved to be a powerful illustration of the power of their familial bond. His actions help free Kat to become the best version of herself, allowing her to embrace her history instead of running from it. The supporting cast of characters that make up Kat's "crew" is likewise well-drawn and compelling. Carter continues to flesh out the group dynamic, whose banter and camaraderie are the equal of the best ensembles in heist films, with an energy and verve that makes the novel just plain fun to read. And the budding romance between Kat and Hale -- Oh. My. WORD. Carter masterfully creates a sizzling chemistry between her leads, and frankly Hale rivals the best romantic heroes found in escapist fiction of this ilk -- Hale is a teenage Bond with heart.

I absolutely adored this book -- the only downside to reading it so quickly is that the wait for book three is prolonged. Uncommon Criminals cements Carter's reputation in my view as a go-to author for page-turning, pulse-pounding escapist fiction -- this is the definition of a rollicking good read. I for one can't wait to join Kat on her next heist!

Merry Christmas!

2011-12-23T14:51:00.000-08:00

Merry Christmas to you & yours, my friends, and may God richly bless you in the coming year!

Pan Am 1.9: "Kiss Kiss, Bang Bang"

2011-12-21T11:53:00.000-08:00

I finally got around to watching the fall finale of Pan Am, and oh my word was it awesome. The twists and turns were INSANE but for the most part I loved every second. Values-wise this show still has its frustrations, but I like these characters so much, and this episode was (for my money) a great example of what the show is capable of when at its best -- wildly fabulous, soap opera-ish storylines and compelling, likable, very human characters. And as a mid-season finale this episode worked WILDLY well, because oh my word I cannot WAIT to find out what happens next! :)

First of all I want to discuss Dean (Mike Vogel) and Colette (Karine Vanasse). Dean is lucky he's not dead or hospitalized after pulling the whole "Surprise! I'm taking you to meet my parents!" stunt. *wink* He has seemed so polished this season I forget that compared to Ted, Dean has very working class roots, coming from a farming family. I LOVED him in denim, I just have to say. He has such an adorable all-American look to him, doesn't he? :) Anyways, apparently since Colette kissed Dean after the whole Haiti debacle, they have been a couple -- probably the poorest-kept secret amongst their coworkers. *snicker* I couldn't BELIEVE that Dean's father was so ticked that Colette wasn't Bridget -- I don't care HOW bad or nonexistant your relationship with any given family member may be, you do NOT horrify a guest in your home like that! I wanted to smack him! As cliched and cheesy as Dean's apology may have been ("you're REAL, Bridget isn't"), as far as the "world" this show is establishing goes it fit the characters and the moment. Dean really is capable of being an wonderful, stand-up guy, but there's some maturity issues there, issues that I think Colette could help him with. I only wish they didn't have the baggage of previous hook-ups, but such is the nature of network TV I suppose. *sigh* (Seriously though, making love in the parents' BARN, a building they could walk into at ANY MOMENT, that's a bit much. Just sayin'!)

We are introduced to Maggie's (Christina Ricci) friend Sam (Danny Deferrari), a political activist briefly seen in the first episode, hinting at Maggie's bohemian lifestyle and political leanings. Sam cons Maggie into smuggling him onto her London-bound flight, where he plans to protest nuclear arms talks. En route he confronts a traveling senator (Chris Beetem), embarrassing Maggie on the job, and later calling her out on the fact that while she may talk a good game about wanting to change the world, when it comes down to it she just isn't brave enough. Maggie being Maggie rises to the challenge, and what starts out as a lively discussion between her and the handsome senator turns into a hookup, which leads to of all things a fire. There's no way around it, Maggie is a MESS, but I do like her spunk. I just wish the show didn't play so fast and loose with her morally-speaking. Thus far there have been relatively little consequences to her poor decisions on the job or romance-wise -- and addressing fallout could really add some depth to her character.

Regarding Laura (Margot Robbie) and Ted (Michael Mosley) in this episode, can I just tell you people how much I love them? If this show isn't renewed for a second season (and let's face it, that may be an uphill battle), I will be so upset if Laura and Ted aren't in a relationship! As immature and just plain stupid as Laura can be, she can also be extraordinarily kind and I love how she's seemed to make Ted a better (nicer) person just by knowing him (and saying no!). I loved how this episode played with the idea that Laura may have lost out on her chance with Ted, when Ted enlists her help to scare off an a girl he had a crush on as a kid that he turns out to like, and like A LOT. Amanda (Ashley Greene) is slated to appear in at least one other episode this season, so hopefully Laura will kick her to the curb (HA!).

But let me backtrack for a second -- since Dean plays hooky from work on the London flight, the Clipper Majestic has a replacement captain -- a sexist, stuck on himself PIG (John Bedford Lloyd), Captain Dennis. Dennis makes several unwelcome advances to Laura, a stark reminder of the fact that while sexism and harrassment in the workplace still exists, at least now there is more recognition of its inappropriateness and more recourse for victims of such behavior to seek, etc. I LOVED it when Laura "accidentally" spills hot coffee all over Dennis, who threatens to write her up -- but later reveals that Ted talked him out of it by telling the louse that Laura was the best thing that ever happened to him. (I DIE.) Ted has come a LONG way since this show began, and Laura's growing realization that he might be worth taking a chance on, and that she might be too late -- oh it was very well-played.

Speaking of consequences, Kate (Kelli Garner) is learning about those in spades as she's reaping the "reward" of her push to become a CIA spy. Not surprisingly it is a lot easier to join the agency than it is to leave it. Richard (Jeremy Davidson) insists that she complete one more mission in London -- delivering a fake list of spies to her contact Anderson (David Harbour), who will replace the real list a Russian is slated to acquire. I like to think that Richard is VERY UPSET that Kate wants to leave the spying game. *wink* Kate has grown up quite a bit over the course of the series, and though her pouting reaction to the harsh realities and consequences of spying can be grating, I have to admit she's got some skills and moxie as this episode reveals. I love that Anderson basically blackmails Kate into seeing the mission through by revealing that the lives of her old coworker Bridget and her ONE TRUE LOVE Niko are at stake. Nicely done, show, nicely done. Play with fire and you will get burned! If the cliffhanger from the end of this episode plays out the way I suspect, there's no way Kate is exiting the spy game anytime soon. :) I am definitely looking forward to the show's return January 8th!

RICHARD ARMITAGE SINGS IN THE HOBBIT TRAILER!!

2011-12-20T19:16:00.000-08:00

Need I say more?

I AM SO HAPPY RIGHT NOW.

Pan Am news!

2011-12-20T16:32:00.000-08:00

Calling all Pan Am fans! A friend of mine alerted me to the news on Facebook that ABC and Amazon and iTunes (whichever your preferred download method may be!) are currently offering FREE downloads of the first nine episodes of Pan Am! Here are the links:

I have no idea how long this deal will last, so if you're interested I'd hurry up and take advantage -- can't beat free, right? :)

In other Pan Am-related news, there is now an official soundtrack album available for purchase on iTunes! Here's the tracklisting:

1. Around the World ~ Buddy Greco
2. Fly Me to the Moon ~ Grace Potter
3. Call Me Irresponsible ~ Bobby Darin
4. Blue Skies (feat. Harry "Sweets" Edison) ~ Ella Fitzgerald & Paul Weston and His Orchestra
5. The Girl from Ipanema ~ Stan Getz & João Gilberto
6. New York City Blues ~ Peggy Lee
7. The Best Is Yet to Come ~ Shirley Horn
8. Mais Que Nada ~ Sergio Mendes & Brasil '66
9. Just One More Chance ~ Billie Holiday & Ray Ellis And Orchestra
10. I Can't Stop Loving You ~ Count Basie
11. Break It to Me Gently (Single Version) ~ Brenda Lee
12. Do You Want to Know a Secret (Pan Am Soundtrack) ~ Nikki Jean
13. Quando Quando Quando (Tell Me When) ~ Connie Francis
14. Destination Moon ~ Dinah Washington

NEW (!!) The Dark Knight Rises trailer

2011-12-19T17:47:00.000-08:00

This has been a good day for film trailers, hmm? :) This is just beyond awesome -- this film promises to be AMAZING. It is going to be a long wait until summer, my friends, a long wait. But I suspect a wait that will prove worthwhile in the end.

Again, here's a link to the film's trailer on its Apple page in case the embedded video disappears from YouTube.

Christian Bale and Michael Caine, I love you guys...

Wrath of the Titans trailer

2011-12-19T17:42:00.000-08:00

I'm actually really looking forward to this one. The Clash of the Titans remake was a great popcorn flick, and let's face it, it isn't hard to watch Sam Worthington on-screen. And this movie features Rosamund Pike! FUN TIMES!

Here's the link to the trailer on the film's Apple page in case the embedded YouTube video is taken down.

Review: Heist Society by Ally Carter

2011-12-17T19:23:00.000-08:00

Heist Society (Heist Society #1)
By: Ally Carter
Publisher: Disney Hyperion
ISBN: 978-142311639-4

About the book:

When Katarina Bishop was three, her parents took her to the Louvre...to case it. For her seventh birthday, Katarina and her Uncle Eddie traveled to Austria...to steal the crown jewels. When Kat turned fifteen, she planned a con of her own -- scamming her way into the best boarding school in the country, determined to leave the family business behind. Unfortunately, leaving "the life" for a normal life proves harder than she'd expected.

Soon, Kat's friend and former co-conspirator, Hale, appears out of nowhere to bring her back into the world she tried so hard to escape. But he has good reason: a powerful mobster's priceless art collection has been stolen and he wants it returned. Only a master thief could have pulled off this job, and Kat's father isn't just on the suspect list, he is the list. Caught beween Interpol and a far more deadly enemy, Kat's dad needs her help.

For Kat there is only one solution: track down the paintings and steal them back. So what if it's a spectacularly impossible job? She's got two weeks, a teenage crew, and, hopefully , just enough talent to pull off the biggest heist in her family's (very crooked) history -- and with any luck , steal her life back along the way.

Review:

Katarina Bishop is anything but your typical teenager. From earliest childhood she was raised by her parents to be a world-class thief, adept at every trick, every con, except that of living anything resembling a normal life. Kat pulled the biggest con of her life to "steal" an education from one of the world's most elite private schools, determined to be a normal teenager. But as good as that con was, Kat finds it impossible to escape her past when Hale, her former (ridiculously wealthy) partner and the boy she might just be in love with gets her kicked out of school in order to save her father's life. Kat's father is the sole suspect in the theft of five priceless paintings from the collection of the very dangerous Arturo Taccone, a man who doesn't care that her father isn't guilty, he just wants his paintings back at any cost. Kat finds herself squaring off not only against Taccone but against Visily Romani, a legendary thief so brilliant, so audacious, he couldn't possibly be real -- could he? With just two weeks to save her father's life, it's left to Kat to assemble a teenage crew and plan the heist of the century, proving that the girl might leave the thieving life, but you can't take the thief out of the girl...

Heist Society was RIDICULOUSLY fun. I've always loved a good caper story -- everything from Ocean's 11 (the original and the remake), and Audrey Hepburn's How to Steal a Million, to the Timothy Hutton-led show Leverage. Kat and company bear more than a passing resemblance to the Leverage crew, as she's definitely a thief with a heart of gold and the motley crew she assembles is very much a family, albeit an atypical one. This is a pure slice of escapist fun, a frothy confection that translates the romance of a classic heist film to the page, trading adult antiheroes for an appealing collection of too-smart-for-their-own-good, brilliant, loyal teens. If you're looking for danger and intrigue and gadgets galore, Heist Society delivers in spades. And Kat's potential romantic interests are Bond-like spies in the making -- particularly Hale, whose good looks, charm, and unswavering devotion to Kat are completely and utterly swoon-worthy.

While this is my first Ally Carter novel, it certainly won't be my last. Her writing positively crackles with an electric wit. Like the best on-screen heist, the storyline unfolds at a rapid pace with enough twists and turns to keep you guessing as to exactly how Kat will manage to pull off the biggest job of her young life. And just when you think this is "only" going to be a teenage caper story, Carter throws a curveball and ups the ante, making the paintings Kat seeks casualties of World War II, stolen by the Nazis and never returned to their rightful owners. Kat's desire to see justice over sixty years overdue meted out adds a layer of unexpected depth to the novel.

Heist Society is page-turning, unputdownable escapist fiction of the highest order that delivers pure, adrenaline-filled, romance-laced action in spades. Kat is a highly likable heroine, all the moreso because despite her unusual skill set she's a very authentic teenager. *wink* I can guarantee I'll be reading her next adventure!

Grimm 1.7: "Let Your Hair Down"

2011-12-17T14:11:00.000-08:00

Grimm delivered yet another superb episode last night (seriously, we're seven-for-seven now? LOVE it!), this time tackling the story of Rapunzel in a wonderfully unexpected manner. I've always considered Rapunzel one of the "princess" stories, a romantic fairy tale, and in keeping with this show's history (i.e., expect the unexpected), Rapunzel becomes a missing persons case, one that hits unexpectedly close to home for Monroe (Silas Weir Mitchell).

When two hikers in the woods stumble upon a marijuana growing operation, they're almost killed until something -- or is it someone? -- enters the camp and attacks Delmar the oh-so-not-classy gunman, giving them an opportunity to flee. When Nick (David Giuntoli) and Hank (Russell Hornsby) arrive on the scene, they're struck by the unusual markings around Delmar's neck -- it's as if an unusually thick rope snapped his neck. While searching for evidence, Nick catches a glimpse of a wild child in the woods -- a figure with the face of a blutbad, and a ridiculously long rope of hair wound around its arm. And therein lies the episode's strength -- anyone familiar with the Rapunzel story knows that she lived in isolation, under the thumb of a powerful enchantress -- it takes the story to a whole new level of spine-chilling and creepy to turn the girl in question into a feral child, isolated by her lack of human contact and in this case, wolfish blood.

DNA tests prove that the hair belongs to a Holly, a girl at the center of a cold case missing child investigation from nearly ten years ago. I loved the fact that Hank had worked teh initial investigation -- this gave us an opportunity to really see his heart and commitment to his work, letting us see a bit more of what makes this supporting character tick. So, while the inisght into Hank's character was welcome, what really made this episode for me was Monroe. After last week's episode delving into Monroe's wild past, and now this week's episode driving home what an adorable softy he is, good grief the show is spoiling me. *wink*

What interested me most about Nick recruiting Monroe in an attempt to get through to Holly was what this told us about what it means to grow up as a blutbad. Since Holly was adopted, the ramifications of discovering one's wolfish tendencies (?) without any sort of support system is positively horrifying to think about. It also makes a whole lot of sense regarding why she spent nine years isolated, living in the woods. I LOVED watching Holly and Monroe connect on a blutbad level, and her realization that she's not alone, that there are others in the world like her was just brilliantly played. But more than that, I loved how Monroe had to really step out of his comfort zone to connect with one of his own kind. He spends so much time and energy suppressing his blutbad-self, that I think using that part of who he is to connect with Holly, to really make a difference in her life was a huge experience for him. It's a fascinating way of incorporating Monroe into Nick's work and life as a Grimm, and I hope the show explores this type of dynamic more in the future -- the whole creature-working-with-a-Grimm thing really flies in the face of the "rules" of the fairy tale vs. real world, and I love that.

This episode wasn't without a few issues, but nothing that detracted from my enjoyment of the story. The whole subplot about Delmar's brothers hunting down anyone that they thought *might* have killed their brother felt like a little much -- and that's saying something in a show where werewolves and killer bees is the norm. *wink* I also thought that the resolution of Holly's storyline was a bit too neatly tied up. The revelation that she attacked a male neighbor -- one can only assume that he'd made some sort of disgusting advance that triggered her transformation -- and then lived in hiding for years made so much sense in the context of the show, I couldn't believe that they wrapped things up by taking her straight home to her mother. This is a girl who can barely speak, who has lived a feral existence for over half her life, and Nick takes her straight home to mom -- no doctor's visit, not nothing. Monroe's a better therapist than I would've given him credit for, hmm? :P

The Grimm take on Rapunzel was yet another strong episode in the series, less heavy on the mythology of Nick's anscestry and as such speaks to the longevity potential of this series. If they keep this balance up storytelling-wise the possibilities are endless. :) There are hints that Nick's life could get very difficult now that he is so easily recognized as a Grimm -- the refrigerator repairman from two episodes ago is spreading the word about Nick's presence in Portland, and I have to think that it is this type of indiscreet discussion that is going to either get Juliette (Bitsie Tulloch) asking questions about Nick's life, or it is going to put her life in danger -- either option offers some intriguing story possibilities.

Grimm returns January 6th with "Of Mouse and Man," when a man is found dead in a dumpster, the investigation leads to a sly snake and timid mouse. Can't wait! :)

I discovered something AMAZING today...

2011-12-15T18:16:00.000-08:00

I'm a fan of Acorn Online on Facebook, and while checking my newsfeed this afternoon I came across a post where they mentioned being excited about a new series of Foyle's War (which is one of the BEST MYSTERY SERIES OF ALL TIME, just in case you didn't know). Well that intrigued me, since the last series of Foyle aired in the US on Masterpiece in 2010, and it seemed that funding wasn't going to be forthcoming for new episodes of this incredible gem of a show.

So what does one do when there is a puzzle like this? Why one goes to Google of course! Where you discover things like THIS (click to enlarge image):

Just last month -- LAST MONTH, PEOPLE! -- Anthony Horowitz, that wonderful incredible amazing genius behind Foyle's War tweeted that the show was coming back in 2012. That's NEXT YEAR, PEOPLE!!!

All I can say to that is BRING IT ON. Michael Kitchen, you've been missed. :)

yet again, White Collar...

2011-12-15T16:11:00.000-08:00

Just when I think there's no way I could be more excited than I already am about the upcoming return of White Collar January 17th, USA Network goes and releases a preview like this:

Reading challenges go (mostly) kaput...

2011-12-14T12:57:00.000-08:00

Seeing as it is mid-December (where HAS this year gone?), I'm starting to think in restrospective blogging terms...and the first thing to check off that "to do" list are seven (what WAS I thinking?!) incomplete reading challenges. Oh well, it is what it is, hmm? I am quite pleased (looking on the bright side here, what!) with my progress on reviewing Stephanie Barron's fabulous Jane Austen mystery series (four volumes read and reviewed this year, woo-hoo!). Lesson learned...the absolute maximum number of reading challenges I'm allowing myself to even think about in 2012 is TWO, people, you heard it RIGHT HERE. TWO.

I'm removing the Reading Challenges page from the right sidebar and documenting (LOL) 2011's reading challenge progress for all eternity below. Because I am nothing if not THOROUGH. LOL! *wink*

******

One of my reading/blogging goals starting in 2011 is to participate in and complete a few reading challenges. I'll be keeping track of my challenge progress here. Click the buttons to be taken to my original sign-up posts, and click the book title to be taken to my review.

The Baker Street Reading Challenge 2011

Goal: The Sign of Four, 4 books

Sadly, no progress on Baker Street related reading...

Being a Jane Austen Mystery Reading Challenge 2011

Goal: Aficionada level, 9-11 books

Contentment Reading Challenge 2011

Goal: Wading level, 10 books

EDIT 3/5/11: I've decided that rather than commit to a specific reading list for this challenge, I'm opening it up to any and all books I've read before that I revisit this year. I think that's a less potentially overwhelming plan. :)

Jane and the Unpleasantness at Scargrave Manor by Stephanie Barron
Jane and the Man of the Cloth by Stephanie Barron
Beastly by Alex Flinn
Jane and the Genius of the Place by Stephanie Barron

Georgette Heyer 2011 Reading Challenge

Goal: Six books

Historical Fiction Reading Challenge 2011

Goal: Severe Bookaholism level, 20 books

Bonus/Alternate Selections:

The Sense and Sensibility Bicentenary Challenge 2011

Goal: Neophyte Level, 1-4 selections

Possible alternate/bonus selections:

From Prada to Nada

Vintage Mystery 2011 Reading Challenge

Goal: Get a Clue level, 9 books

Agatha Christie

The Secret of Chimneys

Once Upon a Time 1.6: "The Shepherd"

2011-12-13T18:15:00.000-08:00

Obviously I am two episodes behind on Once Upon a Time, which is really unfortunate when episode seven was such a gut-wrenching game-changer. But rest assured, once I work through the seven stages of grief (at least twice), I will have plenty -- PLENTY -- to say about Sheriff Graham. :)

Episode six of Once was full of the things I love about this show, mainly Josh Dallas being completely adorable as Prince Charming/David. And we got the added bonus of there being TWO Princes in Fairy Tale Land! The writers played the HIDDEN TWIN BROTHER CARD!! And they BOTH fight really well with swords so no worries there! I really wasn't expecting the twin brother card, but hey, whatevs -- since the flashback to Charming's origins in Fairy Tale Land pre-dates his meeting with Snow White, the discovery that the Prince we've gotten to now over the previous five weeks is a substitute, a stand-in, adds some fascinating layers to his character. Prince 1.0 was "procured" for a childless king by Rumplestiltskin (Robert Carlyle) and raised to become a leader of men, a dragon slayer -- and also a bit on the cocky side, since in an "audition" for King Midas (Alex Zahara) he turns his back on a warrior who is not dead yet (having a Monty Python moment!) and gets knifed. HANDILY ENOUGH the dead prince had a twin brother, who is a little bit David-esque with the shepherding thing and the noble spirit, etc., who becomes Prince 2.0 and the Charming we've all come to know and love since the beginning of the show.

Now I love, LOVE how Prince 2.0 gets roped into killing Midas's dragon and with no history of fighting or swordplay in his background rescues his men earning their admiration and loyalty and kills the flippin' dragon (which was pretty cool -- I am really hoping that whenever this show does the Sleeping Beauty story they have Maleficent transform into a dragon, because who doesn't want to see that? I thought so...). So Prince 2.0 a.k.a. the rise of the noble shepherd dovetails with David attempting to adjust to his post-coma life. Henry (Jared Gilmore) posits a fascinating theory about why David is so drawn to Mary Margaret (Ginnifer Goodwin) -- because he apparently entered the Storybrooke in a coma, the curse wasn't able to fabricate a fake real-world life. Really makes sense, and makes his longing for Mary Margaret absolutely heartbreaking to see, because you know they are so close to rediscovering their happy ending -- but seeing as this is only episode six of season one, well heck that can't happen yet. Grrr. :P

I'm really interested to see how David's story plays out in Storybrooke, and if it is revealed that he's actually married to the snotty blonde princess character Prince 2.0 was blackmailed into getting engaged to in Fairy Tale Land. I loved the revelation that the ring the Prince was so insistent about retrieving from Snow White in episode three was from his poor birth mother, who gifted it to him with the promise that true love follows it -- yes, I am a sap -- loved that insight, though! Said snotty blonde was strangely enough transformed into emotional and needy Kathryn (Anastasia Griffith), who attempts to befriend Regina (Lana Parrilla). Now it has been well established that the consequence of the curse on Regina's life was that she is incapable of love, but time after time we see scenes where she is almost desperate to prove she has it, she feels it -- or so it seems. Her fanatical attempts to control Henry, and then her "softness" when Kathryn thanks her (little does K. know!) seem to me to reveal chinks in her armor. But of course, especially given the events in episode seven, I'm pretty convinced that Regina is too far gone and deserves every disaster Emma (Jennifer Morrison) can heap on her head. (Yes, Regina, I don't CARE what Snow did to you I AM BITTER, woman! You crossed the wrong viewer! *wink* :P)

Back to the episode at hand...I'd love to hear your thoughts on Regina vs. Mr. Gold. Half the time I think they are in league with each other, while the other half of the time I'm convinced that Mr. Gold would undermine Regina at any moment. Regina basically sends David into Mr. Gold's pawn shop, where a spinning windmill seems to hypnotize him, "awakening" his fake Storybrooke memories. On the one hand this is a very effective way of prolonging the David/Mary Margaret separation, but on the other hand it opens the door to both characters -- true loves -- engaging in intimate relationships with others out of frustration/bitterness/what have you...and the idea of that, well I just have to say it leaves a bit of a sour taste in my mouth. Thankfully this is a show that really does show a lot of restraint on-screen, but I suppose it is a mark of how much I like this show and these characters that this aspect of the twists and turns on-screen bugs me. Apparently Mary's rebound relationship will involve Dr. Whale (David Anders) -- any thoughts on who his fairy tale counterpart is?

This episode ends with Emma making the shocking discovering that Sheriff Graham (Jamie Dornan) is sleeping with Regina -- Graham made the discovery a million times worse by lying about it (stupid man!). I loved how it took this unwelcome bit of knowledge to reveal Emma's feelings for the handsome Sheriff...and her reaction to really get him looking sick about the state of his "love" life. (It is really, really hard to confine my thoughts to episode six...but I'M TRYING TO BE GOOD!!)

Hopefully I'm not going to jinx myself by typing this, but I'm going to try and have an episode seven post up BY THE END OF THIS WEEK. :)

The Merchant's Daughter trailer

2011-12-13T13:43:00.000-08:00

Zondervan has really outdone themselves in the book trailer department -- this is the trailer for Melanie Dickerson's newest release, The Merchant's Daughter, based on the story of Beauty and the Beast.

Too good not to share. :) Though I think I have to give the edge to the trailer for Melanie's first book, The Healer's Apprentice, since it is SUCH a mini-movie!

So which is your favorite?

Review: The Healer's Apprentice by Melanie Dickerson

2011-12-12T10:26:00.000-08:00

The Healer's Apprentice

By: Melanie Dickerson

Publisher: Zondervan

ISBN: 978-0-310-72143-7

About the book:

Rose has been appointed as a healer's apprentice at Hagenheim Castle, a rare opportunity for a woodcutter's daughter like her. While she often feels uneasy at the sight of blood, Rose is determined to prove herself capable. Failure will mean returning home to marry the aging bachelor her mother has chosen for her -- a bloated, disgusting merchant who makes Rose feel ill.

When Lord Hamlin, the future duke, is injured, it is Rose who must tend to him. As she works to heal his wound, she begins to understand emotions she's never felt before and wonders if he feels the same. But falling in love is forbidden, as Lord Hamlin is betrothed to a mysterious young woman in hiding. As Rose's life spins toward confusion, she must take the first steps on a journey to discover her own destiny.

Review:

Rose, the eldest daughter of a poor woodcutter, is newly apprenticed to Hagenheim Castle's respected healer, Frau Geruscha. She longs to prove herself worthy of her mentor's faith, for if she succeeds, being the next healer would mean a life of independence and freedom from her mother's desire to wed a lecherous merchant in order to elevate her family's social standing. Secure in her chosen path, Rose is certain her future is set until a chance encounter with Lord Hamlin, the duke's heir, awakens her heart to the possibility of love. But love between a commoner and a noble is unheard of, an impossibility particularly since the young lord is bethrothed to the daughter of a neighboring duke who has lived in hiding, under threat from a powerful sorcerer. As Rose struggles to suppress her feelings for the kind and handsome heir, her own life is thrown into turmoil thanks to the advances of both compelling and repulsive suitors, all with questionable motives. As the life she thought she knew comes unraveled, Rose's faith is brought to the breaking point as she must decide if she can trust the God she's always served with a future shadowed with danger and doubts.

Where on earth was this book when I was a teenager? As a life-long fairy tale aficionado, I was intrigued by the premise and captivated from the first pages, eager to discover how Dickerson translated the Sleeping Beauty story into novel form. Sleeping Beauty just happens to be my favorite fairy tale, so the stakes were particularly high -- and overall I was quite impressed with how Dickerson translated the fantastical, magical elements of the story into a real-world historical setting. Medieval Germany is the perfect backdrop for Rose's story, a world where the Christian faith she holds dear can believably collide with old pagan traditions, and princes like Lord Hamlin quested for their ladies fair, holding honor and duty above all else. The Healer's Apprentice is a heady mix of romance and adventure, grounded in the political and social history of the fourteenth century, rich with medieval mores and customs that flesh out the Sleeping Beauty story beats that were the heartbeat of my own childhood imaginings.

In my experience with her debut Dickerson has set herself up as something of a trailblazer in the realm of faith-based fiction by capitalizing on the enduring popularity of fairy tales and the growing demand for historical fiction in the young adult market. While Rose operates in the world of medieval Europe, she is an extremely likable and wholly relatable heroine as she attempts to navigate the murky waters of young adulthood in order to find her place in the world. I loved how Dickerson developed the romance between Rose and Lord Hamlin -- its sweet intensity is a nice complement to the story's origins, fleshing out one of the most famous relationships in the fairy tale world. This is a slim novel, its only drawback being the final third of the storyline where I felt the pace was bogged down by Rose and Wilhelm's respective longing for each other getting repetitive -- a lot of talk about feelings with little forward momentum to the story's climax. And while I appreciated the twist Dickerson applied to the storyline of obvious spiritual evil (instead of stock "magic") versus faith, I wish the faith element and spiritual warfare aspects of the story had been a little less pedantic and more organic in its portrayal.

However, those qualms aside The Healer's Apprentice is a sterling example of breaking new ground in Christian fiction, and it is to be applauded for its (mostly) successful integration of secular fairy tales and faith-based literature. As such this is a novel with potentially wide appeal, crossing markets and target audiences. Dickerson has delivered a promising debut here, and with her clear appreciation for fairy tales and historical research she is an author to watch!

Grimm 1.6: "The Three Bad Wolves"

2011-12-10T17:18:00.000-08:00

I suspect I'm going to start sounding like a broken record when it comes to Grimm, because seriously can this team make a subpar episode? I'm starting to think the answer is no. *wink* This episode took as its basis the story of "The Three Little Pigs," and as you might expect it provided some tantalizing insight into one of my favorite characters -- Monroe (Silas Weir Mitchell), the all too "refined" for his own good blutbad. But of course no straightforward retelling of such a familiar story would do for this show, and the story of pigs withstanding an onslaught of wolf attacks is transformed into a tale of vigilantism run amuck. The centuries old feud between the big bad wolves and the bauerschwein, a.k.a. the pigs, is about to explode in Portland.

The opening sequence is a stellar example of the artistry that goes into framing each shot of this show. The close-ups of a rather menacing face have a suspenseful, film noir-like feel to them, until they pull back and it is revealed that the character in question is more oversized teddy bear than a baddie, as evidenced by the fact that post house explosion he's more concerned about his comic book collection. Hap the blutbad has clearly hit the booze or drugs one too many times in his past -- he's so not got his life together, Nick (David Giuntoli) is shocked to learn that Hap used to be a close friend of Monroe's. I never stopped to think about it, but Monroe has clearly been exercising stellar amounts of self-control in order to contain his inner wolf. I have not given the cuddly ol' clockmaker enough credit. :P

I was actually rather horrified by Monroe's ex-girlfriend, Angelina (Jaime Ray Newman) and her sociopathic tendencies. I mean I get the whole wolf/hunter/raw meat thing, but killing for fun...that's a whole other thing entirely. I suspect that this will increasingly become the crux of Nick's involvement in the fairy tale world -- the struggle to determine attackers versus victims, to reconcile his birthright as a Grimm with the responsibilities of his job as a police officer.While I liked the introduction of Monroe's past, and the stark differences between his life now and the life on the edge that we can imagine he lived with Angelina, I do so wish she'd been played by pretty much anyone beside Newman. I have never warmed to her as an actress -- couldn't stand her on Eureka as Tess, really couldn't stand her here. *sigh*

The whole wolf/pig feud had a very Hatfield/McCoy vibe to it, and despite my antipathy towards Newman as an actress she did an excellent job reminding me of what Monroe is capable of, should he choose to unleash the beast within. I thought it was interesting that the bauerschwein on the flip side of this feud turned out to be a police officer, and is the first fairy tale creature in several episodes that hasn't recoiled in fear when they realize Nick is a Grimm. (Aside: the mud bath at the end of the episode -- completely creepy and disgusting! LOL!) Similar to the mellifers in episode three, Nick's dedication to his job seems to be placing him in the position of alienating creatures historically friendly to Nick's kind -- I'm looking forward to seeing how that plays out over the course of the show.

Considering the rapidity with which Nick is encountering and being recognized as a Grimm by creatures in all levels of the fairy tale hierarchy, I have to think it is only a matter of time before Hank (Russell Hornsby) or Juliette (Bitsie Tulloch) start to question what is exactly is going on with Nick. In the comments section of my post on episode five, Tasha posited the theory that Juliette could be a member of the fairy tale world -- that is a twist I would LOVE to see, especially since her chemistry with Nick makes her role prime for expansion on-screen. Thoughts? Perhaps she's a princess or something, only she has amnesia!! *wink*

This episode gave some fantastic depth to Monroe's character, and since the door is open to a reappearance by Angelina I expect we'll see her again at some point, testing Monroe's resolve to stay on the straight and narrow. Nick's real life and Grimm life are getting increasingly messier and intertwined, and I am loving every second of this journey. Bring on the next installment! :)

White Collar returns January 17th!

2011-12-10T09:07:00.000-08:00

Neal and Peter, I've missed you so. Best preview I've seen for White Collar's upcoming return yet!

Pan Am 1.8: "Unscheduled Departure"

2011-12-09T14:36:00.000-08:00

Pan Am's eighth episode aired before Thanksgiving, but given ABC's sadly erratic scheduling of this gem of a show (not doing this one any favors ABC, just sayin'!), I held off watching it to review episodes eight and nine (which aired this past Sunday) closer together. This episode was thoroughly enjoyable and highlighted one of the main reasons I fell in love with this show -- its sense of adventure and possibility, There were no spy-related shenanigans, no characters I like hooking up with the wrong people (here's looking at you, Dean, with your stupid Ginny obsession and you, Laura, with your random sailor).

This time the Clipper Majestic is headed to Caracas, only there's more than one storm brewing -- the actual hurricane they're headed towards, and the drama that will erupt among the passengers when one unexpectedly falls ill. The substitute navigator, Chuck (Matthew Rauch), was endlessly entertaining with how he got on EVERYONE'S nerves, but especially Ted's (Michael Mosley). Ted can be a cocky jerk, but over the course of the show he's slowly revealed a heart beneath the bluster. Chuck is like Ted unrestrained -- BAH. *wink* It killed me when Ted tells Chuck that Laura (Margot Robbie) is off-limits because she's waiting for Mr. Right. Seriously, Laura, you had to start the whole sleep with a random sailor thing?? Ted is RESPECTING you for your restraint. (Excuse me while I go bang my head against the wall...)

Kate (Kelli Garner) appears to have made something of a recovery from losing Niko to spying -- but curiously enough it is a kindly older passenger who gets her to thinking about what she wants from life. Henry (Harris Yulin) is flying to Caracas to commemorate the fortieth anniversary of his marriage to his beloved late wife Blanka. Henry's passion for his wife's memory seemed to suggest to Kate that her earlier passion for spying at the expense of her personal life was too costly a trade -- but maybe I read her reaction wrong? Either way, it was refreshing to see Kate as just Kate, not the spy, not the woman with the secret agenda, just someone making a meaningful connection with a passenger.

Henry's heart attack and eventual death is the stuff high melodrama is made of, but when it comes to this show I can't fault its predisposition for soap opera. For my money Pan Am does a decent job balacing the soapiness of some of its storylines with real humanity, because for all the characters may frustrate me occasionally, they are so dang likable and genuine and real. In a desperate attempt to save Henry's life, Dean (Mike Vogel) makes the call to land the plane in hurricane- and revolution-ravaged Haiti. It's a dicey situation as they run the risk of a plane full of passengers being taken hostage. Since Colette (Karine Vanasse) is a native French speaker, she and Ted take off to find a doctor -- and instead come across a desperate refugee. This sequence highlighted a couple of things I want to mention -- first, Ted can't shut up when he's nervous -- hilarious! Second, Colette is by far (at least so far, anyway) the classiest and most interesting member of this team. Her childhood under Nazi rule makes her particularly sensitive to the refugee's plight -- and her insistence on trying to save one life is admirably portrayed.

Maggie (Christina Ricci) is relegated to the background in this episode, and I can't say I mourned the loss of focus for her character. However, it is worth mentioning that I loved how the wealthy passenger (Aaron Diaz) she's charmed by at the beginning of the flight turns out to be a total, selfish, cowardly LOSER. And she recognizes his lack and calls him out on it -- the zingers she flings his way are pretty humorous.

And third -- and most important to me (HA!) -- this episode brings the electric attraction that has been simmering below the surface between Dean and Colette to the surface. Yes, FINALLY. After the plane leaves Haiti and is safely diverted to Miami, the stewardesses pull an "I am Spartacus" routine to save Colette from taking the blame for smuggling a refugee into the United States. It was a very nice touch have Kate call Richard (Jeremy Davidson) and insist that he arrange the girl's immigration papers (speaking of characters I'd like to see together, forget Niko -- ultimately I am all about Kate and Richard!). This whole episode gave Dean a chance to return to pre-Ginny form. He really is a good guy, he really is capable of being a leader (see Ted defending his decisions to Chuck!), and when Colette finally, finally kisses him at the end of the episode I may or may not have cheered. :)

Hopefully I'll have a post about episode nine up soon!

Grimm 1.5: "Danse Macabre"

2011-12-09T11:33:00.000-08:00

Grimm is a show that is just MADE of one awesome thing after another, isn't it? Seriously, this show rocks. After being sadly absent and sorely missed due to the Thanksgiving holiday, Grimm returned last night with the first of two new episodes this week. This episode took its cue from "The Pied Piper of Hamlin," which is another fairy tale that has always rather creeped me out (hello?? charismatic stranger luring away children by the truckload??), and the Grimm writers translated the gist of the Piper's story just brilliantly into a modern-day setting. The episode opens with the murder of a strict music teacher at an exclusive prep school -- and the whole getting eaten by rats while trapped in your car thing is easily the show's grossest case yet. I'm talking Bones levels of grossness. But that aside, this show starts to depart from the formula of previous episodes, and in doing so introduces Nick (David Giuntoli) to a whole new aspect of his life as a Grimm, namely how Grimms are perceived by those they have historically "hunted."

Prior to this episode, the fairy tale creatures Nick encountered were almost always baddies, guilty of perpetrating crimes against other creatures or regular humans who, unlike Nick, can't recognize their true nature. In this episode Nick meets Reinigen, ratlike creatures who are among the lowest of the low on the fairy tale creature "food chain." Roddy is a bullied teenage musical prodigy, kicked out of his exclusive prep school after being framed by fellow students who looked down on his blue collar antecedents. Roddy is a reinigen, from a family of the same, who all just happen to be rat catchers -- of course. I loved how the show transformed rats into social outcasts, complete with the edgy mannerisms you'd expect from...ahem...rodents. I was fascinated with the idea of making Roddy as a human "Piper" an underground DJ -- of course it is completely beyond my capacity to understand how calling yourself Retchid Kat while wearing a giant pink cat head to raves makes you cool, but whatever.

So of course based on the pattern of previous episodes, and knowing the Pied Piper storyline, I expected Roddy to be some sort of sociopath rat. I was pleasantly surprised by the way the show subverted those expectations, by making those who'd bullied Roddy the guilty party, having staged the disgusting prank that (accidentally) killed their teacher. It brought to mind the warning from Nick's aunt, that as a Grimm he as to hunt down the bad ones. The reinigen are textbook examples of creatures who are easily victimized in the creature world. As are the hamsters, or whatever it was the refrigerator repairman transformed into when he saw Nick at his home (that was a hilarious scene!). Both encounters introduce Nick to the reality that some of the Grimm-creatures he's going to meet will fear him just because of who he is, not because of anything he's done. I hope the show reveals either more Grimms or delves into Nick's family history -- that could be fascinating!

This episode was a nice break from the more mythology-heavy introductory episodes this season. It was chock-full of the humor and chills I've come to expect from this show, and a great example of how Grimm can deliver an enjoyable, interesting hour featuring an investigation that is turned on its head by a fairy tale, sans the Grimm mythology the show has been working to establish. (And I've enjoyed that, just to be clear -- but this episode is a great indicator of the longevity the show's concept is capable of sustaining.)

My favorite part of this episod was when Nick asks Monroe (Silas Weir Mitchell) to meet with Roddy, creature to creature, to try and convince the teen that despite the fact Nick is a Grimm he doesn't mean Roddy any harm. Any scene with Monroe is guaranteed to be an episode highlight, and Mitchell delivers in spades here. I like how Monroe seems to really enjoy shocking fellow fairy tale creatures by revealing that yes, he IS in fact on friendly terms with Nick the Grimm. His "pep talk" to Roddy is an exercise in self-help hilarity -- the blutbad and the rat whisperer. LOL!

I also thoroughly enjoyed the continuing "buddy chemistry" between Nick and Hank (Russell Hornsby), especially when Nick surprises Hank with a rubber rat squeaky toy in their pizza box -- that moment had me rolling. I think it is interesting how Hank subtly envies Nick's relationship with Juliette (Bitsie Tulloch). His longing for a relationship opens the door for Captain Renard (Sasha Roiz) to send the witch woman Adalind Schade (Claire Coffee) in his path. Which brings up the whole question again of who the heck is Renard? Some sort of hexenbiest pimp (ewww, right?)?? ENQUIRING MINDS WANT TO KNOW. And speaking of Juliette, this episode starts to play with the idea that given Nick's "Grimm aura" she's going to start suspecting that something is up with her boyfriend -- all that remains is to figure out when she'll start asking serious questions, and will Nick own up to his secret life or lie, blowing up his happy home life?? Oh the possibilities... :)

Grimm returns tonight with another new episode -- NBC is seriously spoiling fans this week! I'd love to hear your thoughts on Grimm's return!

Oskar the Blind Cat

2011-12-08T17:38:00.000-08:00

My uncle sent me a link to an article and video about a kitten and its owners in his area that have become something of a internet sensation. Oskar the cat was born without eyes, but that certainly hasn't stopped this little guy from living life to the fullest. I am such a cat person, I have to admit that watching these videos brought tears to my eyes -- this little guy is amazing! Click here to read the news article about Oskar and his owners, and here are some of his videos --

Oskar and his first toys:

Oskar versus the hair dryer:

Oskar and the Christmas tree:

Review: Single Sashimi by Camy Tang

2011-12-07T17:04:00.000-08:00

Single Sashimi (Sushi Series #3)
By: Camy Tang
Publisher: Zondervan
ISBN: 978-0-310-27400-1

About the book:

Venus Chau is determined to start her own game development company and launch the next Super Mario-sized phenomenon. However, she needs an investor to back her idea. When Drake Yu, an old nemisis, approaches Venus with a contracting opportunity at his sister's startup, the offer tempts Venus to think the unthinkable.

Venus would rather throw away her PS3 than work for Drake again...but then Grandma bribes Venus to do this favor for Drake's wealthy family. With the encouragement of her three cousins, Lex, Trish, and Jennifer, Venus discovers that even a wounded heart can undergo a beautiful transformation...

Review:

Venus, the business-minded, career-driven "sushi" cousin, has a life most people would envy - she's drop-dead gorgeous, makes good money, and is brilliant to boot. As her close-as-sisters cousins begin to find love and settle down, her life on the career fast-track begins to feel as though it's lacking something. It doesn't help that her devotions time has become rote, just one more item to squeeze into a packed day. Venus has struggled for years to be taken seriously in the male-dominated gaming industry, since she's often overlooked for promotion or seen as only "eye" candy, particularly since her dramatic weight loss. When Drake, a charismatic former boss, offers her a high-profile, temporary job plus help starting her own gaming company, Venus is torn. If she can overcome her latent insecurities and give Drake a chance to prove himself, she might just discover that this God appointed chance at love is a once-in-a-lifetime opportunity she can't micro-manage or schedule...

Single Sashimi is chock-full of Camy Tang's trademark humor and spiritual insights that also made the first two novels in the Sushi Series such enjoyable reads. It's particularly fun watching the always proper Venus get taken entirely out of her comfort zone (like volunteering to work with a wild church youth group). As her life spirals out of control, Venus gradually rediscovers her identity in Christ and the joy of surrendering every aspect of her life to God. It's a hard call to make, but I think Drake is my favorite hero of the series - his reintroduction to Venus took my breath away. His transformation from driven, amoral exec to sensitive, growing believer is realistic and compelling. The tension between Venus and Drake practically crackles with electricity - she doesn't know what to make of him, and he's more than up to the task of overcoming her prickly armor.

Tang excels at creating very real characters. Over the course of three books, these four cousins are so real they've grown to feel like friends, and their journeys of faith and self-discovery are challenging and thought-provoking. The Sushi Series is smartly written and the characters are unforgettably real, the novels striking a delicate balance between thoroughly enjoyable escapism and life-changing, thought-provoking truths. I can't wait for Camy's next book!

******

My final review of Camy Tang's Sushi Series, originally published in September 2008.

Great Expectations trailer

2011-12-07T16:46:00.000-08:00

Thanks to Gina from Dickensblog for posting this trailer! This new miniseries version of Great Expectations will be airing on Masterpiece in April.

Review: Only Uni by Camy Tang

2011-12-06T16:49:00.000-08:00

Only Uni (Sushi Series #2)
By: Camy Tang
Publisher: Zondervan
ISBN: 978-0-310-27399-8

About the book:

Senior biologist Trish Sakai is ready for a change from her wild, flirtatious behavior. So Trish creates three simple rules from First and Second Corinthians and plans to follow them to the letter. No more looking at men as possible dates, especially non-Christians. Second, tell others about Christ. And third, she will persevere in hardship by relying on God. And just to make sure she behaves, she enlists the help of her three cousins -- Lex, Venus, and Jennifer -- the only Christians in their large extended family.

But Trish's dangerously tempting ex-boyfriend, Kazuo the artist, keeps popping up at all the wrong moments, and her grandmother, who has her eye on his family money, keeps trying to push the two of them back together again. Then there's Spencer, the hunky colleague at work who keeps turning Trish's thoughts in the wrong direction.

It just isn't fair! She's trying so hard, but instead of being God's virtuous woman, she's going nuts trying to stand firm against two hunky guys. Trish thought following her three rules would be a cinch, but suddenly those simple rules don't seem so simple at all.

Review:

Trish, next in line to inherit her family's title of "oldest single female cousin" now that Lex (from Sushi for One?) has a boyfriend, wants to take control of her life. Her wild, flirtatious behavior has left her unfulfilled and alienated her cousins and best friends, but most devasting of all has created a chasm between her and the Lord. Her desire for a turning point hits an all-time high when she discovers that her father's having an affair, her mother has a heart attack, and her control-freak Grandma keeps throwing Kazuo, her too-tempting (not to mention non-Christian) ex-boyfriend in her path. More than anything, Trish wants to feel pure before God again, but she doesn't know how He and her long-suffering cousins can possibly accept that her desire for change is real and genuine after witnessing so many failures. To prove her resolve, she creates three rules to follow from First and Second Corinthians - 1) no more looking at guys as potential date material, especially non-Christians, 2) witness to others about Christ, and 3) persevere and rely on God. However, her three simple rules turn out to be not so simple after all when Kazuo, bolstered by her grandmother's support, becomes temptingly considerate and attentive and handsome work colleague Spenser proves to be an irritatingly attractive distraction. With two temptingly handsome guys with vastly different motives pursuing her, can Trish ever hope to stick to her rules and transform her life?

I absolutely loved Lex's story in Sushi for One?, and couldn't imagine how Camy could possibly top that novel with a sequel - especially one that focused on cousin Trish, who I found to be rather self-centered and unlikable. However, Tang reveals that underneath Trish's bravado and occasionally flaky exterior is a heart full of hurt and confusion - having gone so far and given away so many pieces of herself, Trish doubts if she can ever be redeemed. Only Uni takes the strengths of its predecessor - the family dymanic, the snappy dialogue, the yummy food *wink*, and a sensitively handled spiritual thread - and deftly tackles the issue of a "backsliding" believer's journey into grace. Trish's desperate search for redemption and change, while liberally peppered with humorous episodes, is one of the most moving portrayals of God's grace that I've ever read. Tang's characters are so real they practically leap living and breathing from the page. Their emotions are so real you'll want to cry with them when they hurt, laugh out loud at their nutty escapades, and rejoice with their successes. Camy is one of the funniest authors I've ever read, but she balances humor like few can with healthy doses of real issues and emotional depth. I can't wait to read the prickly Venus's story in Single Sashimi, releasing in September. Bravo to Camy for delivering another winner!

******

This review is another one from the archives, originally written in March 2008.

Once Upon a Time 1.5: "That Still Small Voice"

2011-12-03T07:17:00.000-08:00

So, I've been trying to get a blog written about the fifth episode of Once Upon a Time all week, and good grief has it not cooperated with me. *sigh* Which is odd, since I really enjoyed this episode -- so let's try something novel and make this (relatively) short and sweet, shall we?

That Still Small Voice devoted itself primarily to revealing Jiminy Cricket's (Raphael Sbarge) backstory, before he became Henry's therapist and Dr. Hopper in Storybrooke. I was particularly curious about what makes the fairy tale world's most famous conscience tick, since I have been rather frustrated by his (seemingly) blind acquiesence to Regina's every whim concerning Henry's treatment. Jiminy as MAJOR parent issues. As a child he was trained to be a grifter and pickpocket, roles he reluctantly played for his controlling parents. Constantly beaten down, it is this unsavory aspect of Jiminy's past that the curse has brought forth in Storybrooke -- he knows what is right, but he lacks the courage and self-confidence to act on his conscience. So while Jiminy grows up with a completely weird fascination with crickets and understandable parent issues, I was still rather shocked that his attempt to "fix" his life involved making a deal with Rumplestiltskin (Robert Carlyle). OF COURSE this is going to backfire, as Jiminy's scummy parents pawn off the potion on an kind and unsuspecting couple and it turns them into FREAKY WOODEN PUPPETS! Guilt-ridden, Jiminy wants nothing more than to make things right for the couple's now-orphaned son (a young Gepetto! parents = puppets -- explains a lot!), so he agrees (practically begs, really) to turn into a cricket and serve as Gepetto's friend and conscience through life. This is a friendship that has translated to Storybrooke, as a now adult Gepetto (Marco in Storybrooke, played by Tony Amendola) is Dr. Hopper's closest friend.

Having made the commitment to live right in Fairy Tale Land, Dr. Hopper has to find the courage to do the whole thing all over again in Storybrooke. After Emma (Jennifer Morrison) clips on the deputy's badge, making a literal commitment to the town, there's a collapse at an old mine. It seems Emma has the curse quaking, literally. Regina (Lana Parrilla) wants to bulldoze the area, but Henry (Jared Gilmore) rightly suspects that the land is hiding a fairy tale-related secret. In a rage Regina commits the cruelest act against Henry yet -- promising to ruin Dr. Hopper if he doesn't crush Henry's "delusions," she blackmails the therapist into altering treatment to meet her whims. People, that ticked me off probably more than anything Regina's done thus far -- Henry holds a special place in my heart and it just tears me up when he gets upset on-screen. This Gilmore kid is GOOD. *wink* Henry determines to prove Dr. Hopper wrong and enters the mine -- and horrified by the danger he's put Henry in, Dr. Hopper follows and the two are caught in a cave-in, where they can have some serious therapy time and talk out their issues.

Couple of things -- one, Dr. Hopper's dog is named PONGO. This just confirms what I've thought from the beginning, that Once is just a live-action Disney show. I fully expect to see Timon and Pumbaa from The Lion King at some point (crazier things could happen, right?). Two, Regina's idea to dynamite the mine open was the DUMBEST IDEA EVER. Clearly no one in Fairy Tale Land had the necessary skills to translate into a decent real-world mining engineer/explosives expert. But it did drive home an aspect of her character that I'd forgotten about -- the cost casting this curse brought to her own life. Regina CAN'T love Henry -- she's incapable of loving anyone. So all of her grabbiness and worry about Henry are control issues, a show she puts on to mask the void in her life that she's incapable of making real, meaingful connections with those closest to her.

I think the thing I love most about Henry (besides the fact that Gilmore is one of the most adorable and talented child actors to grace the screen in I don't know HOW long) is his faith and never-say-die attitude. Even though he has yet to win someone over to his belief in the curse and everyone's secret identities, he refuses to give up on his belief in something more. He's that reminder of what it's like to be a child and to believe anything and everything is possible -- something that is lost to some degree or other en route to adulthood. Henry's belief in possibilities and his ability to forgive are not just endearing qualitites but an illustration, I think, of walking out a life of faith. By the end of this episode I had a lot of respect for Dr. Hopper, not only because he actually listens to Henry, but for how he stands up to Regina, daring to suggest that she might lose custody of her son someday. That, my friends, was an awesome moment.

While all of this was going on, Mary Margaret (Ginnifer Goodwin) and David a.k.a. John Doe (Josh Dallas) are all flirty and adorable, completely oblivious to the fact that their flippin' GRANDSON is stuck in a cave-in. David is completely irrisistable, and to Mary Margaret's credit she does a better job than most withstanding his considerable charms ("you're the only thing here that feels real" -- yes, I did turn into a puddle, I confess). I love how even thought Mary and David don't know why they're drawn to each other, the curse was incapable of negating the connection between them -- true love conquers all indeed! But this brings up an interesting point -- do you think that David is actually married to Kathryn (Anastasia Griffith), the blonde snob from Fairy Tale Land? Or is the marriage a fiction of the curse? I also thought it was interesting that Emma counsels Mary against getting involved with a married man -- the way she said it made me wonder if Henry was the product of her own affair with a married man, and that's why his father wasn't in the picture when she gave birth -- thoughts?

A friend of mine sent me this link on Facebook that lists some important takeaway points from a recent Entertainment Weekly article on Once. Please check out the post when you get a chance -- the two points that probably intrigue me the most are that Henry's father is important & when we meet him we might not realize his identity, and that Sheriff Graham (Jamie Dornan) is pivotal to the story. Yes, my friends, my darling Sheriff is PIVOTAL TO THE STORY. This goes a long way towards restoring my faith in his possible redemption after last week's sleeping with the enemy revelation. *whew* Oh, and before I forget -- the episode recap on the show's website confirms what I suspected -- the piece of glass Regina tosses into the mine lands on Snow White's coffin!

Downton Abbey Season 2: "I Wonder" preview

2011-12-01T18:35:00.000-08:00

Masterpiece has released a new trailer for season 2 of Downton Abbey and it is pretty spectacular in my book -- oh how I am looking forward to the start of the new season on January 8th!