2011: The Run-Down

Continuing with tradition, I've decided to rehash some of my favorite things in 2011 (mostly in pop culture, admittedly), and take a look back at the year that was.
*Fun fact: While compiling this list, I realized I might be one of the only people in America who earnestly did not pay any attention to coverage of the Royal Wedding.

Favorite Performers:

Ryan Gosling:  I think pretty much everyone else on the planet can think of at least one reason why he makes the list, but I’ll try to jog the memory of anyone drawing a blank.  First of all, he was everywhere at the movies this year, from Blue Valentine to Crazy Stupid Love to Ides of March to Drive.  He’s just plain awesome in 99% of his public appearances, from bringing his dog to Jimmy Fallon’s show for an interview to intervening in a brawl on the streets of New York.  Not to mention the unf factor.  I mean, seriously, have you LOOKED at the man?

The HP Trio (aka Dan Radcliffe, Rupert Grint, Emma Watson):  True, it’s very possible that none of them will really have a career to speak of now that the biggest franchise of their lives has drawn to a close, but even if these three never do anything of note again, all the memories they’ve given us are more than enough to last a lifetime.  I know I’m not the only one who enjoyed every minute of growing up alongside them while they brought my favorite stories to life.  I’ll miss all the hype and the anticipation of a new HP film every two years, but it’s undeniable that these three absolutely went out on top.  So to Daniel, Rupert, and Emma—thanks for a decade of magic.

Amy Poehler:  Ms. Poehler has always been both hilarious and extremely innovate (and very underrated-ly so), but she really took 2011 by storm.  Parks and Recreation aired its entire flawless 3^rd season during 2011, and continued its winning streak in season 4.  As if that weren’t enough, Amy also delivered a commencement address at Harvard this spring, in which she imparted her unique brand of wisdom to an audience of young people who genuinely need to live in the same spirit of passion, determination, and kindness that is evident in everything this fantastic woman does.

People I’m Sick of Hearing About:

Anyone with the last name Kardashian (second year in a row, congrats ladies!). 
All the batshit crazy Republicans running for President in 2012. 
Anyone who is or has been a contestant on Dancing with the Stars.

Best Shows:

Parks and Recreation
How I Met Your Mother

Great Episodes:

Parks and Recreation:  “Road Trip” and “The End of the World”
Community:  “Remedial Chaos Theory”
Modern Family:  “Phil on Wire”
The Office:  “Goodbye Michael”
How I Met Your Mother:  “Symphony of Illumination”

Top 5 Films:

1. Harry Potter and the Deathly Hallows, Part Two
2. The Ides of March
3. Contagion
4. Bridesmaids/Horrible Bosses (tie)
5.  The Girl with the Dragon Tattoo

Disappointments:

Codes and Keys:  Death Cab doesn’t work when Ben Gibbard is happy.  There, I said it.  This album is boring and repetitive.  Additional note:  now that he’s divorcing Zooey D, maybe the magic of DC’s initial gloom will return (silver lining, yes?)

America/the American economy:  No jobs, no money, no concern from the men in charge; no wonder the 99% have taken to the streets.

Honorable Mentions (no category, but they kept me interested/intrigued/excited throughout the year):

ADELE:  Remember the first time you heard Someone Like You?  Did you cry in public a little bit, like I did?  This woman’s voice is magic.  Case closed.

Steve Carrell:  Since he didn’t get an Emmy, I’m giving him my equivalent.

The cast of Parks and Recreation (especially Aziz Ansari and Adam Scott):  Flawless, and the fact that they didn’t snag a SAG nod for their work as an ensemble is criminal.

Jason Sudeikis:  This is rumored to be his last season on SNL, and I’m psyched to see if the career momentum he’s had recently continues.

Alexandre Desplat:  If he doesn’t get an Oscar (or at least a nomination) for the DH2 soundtrack, I’m considering it a crime.

Arrested Development:  It’s coming back!!!

JK Rowling:  Always and always, because none of the magic would’ve been possible without her.

Seth Meyers:  Killed it at the White House correspondent’s dinner, head writer at SNL in his 11^th year, remains absolutely charming in everything he does.

That's all I've got!  Here's hoping that 2012 brings even more laughter, epic moments, and joy (and you know, not that pesky apocalypse).  Happy New Year, and thanks for reading!

Christmas is All Around: Love Actually, Questions and Curiosities (Pt. 2/2)

As we've already seen in part one, Love Actually has a lot of threads running in just about every direction imaginable.  There are so many nuances, plots, characters, and connections to appreciate, especially if you're a repeat viewer like myself.  Here are some of the things that always come back to me:


The connections:
This may be bordering on unrealistic (London's not that small, after all), but so many of these characters have ties to one another, and half the fun of watching this movie is trying to track all of them.  For example, Karen's brother is Prime Minister David, whose love interest Natalie is next door neighbor to Mia, the slutty secretary hell bent on seducing Snape Harry, who just happens to be married to Karen, who is BFFs with recently-widowed Daniel... You get the idea. 


Unclear connections:
Jamie (Colin Firth) and just about everyone. Juliet, Peter and Mark meet him at the airport in the end, and Sarah seems to be sitting with him at Peter and Juliet's wedding, but his ties to them are unclear-- are they all just friends/acquaintances?

Unrealistic lifestyles: 
We see a lot of the characters at their respective jobs throughout the film, and I have to say, I'm not sure they'd all be able to afford living in central London in, let's face it, some pretty snazzy digs.  Sarah, Harry, Carl and the gang work at what I've determined is either a magazine of some kind, or a non-profit organization (or a magazine for a non-profit, I guess); Juliet appears to maybe be a fashion designer (although she is the most consistently terribly-dressed character in the film); Mark...makes movies, I guess, though he also works in an art gallery?  Anyway, they're all very artsy and eclectic, but I have to wonder how likely it is that so many creative types can swing the ritzy-looking lifestyle they have in this movie.  But then again, maybe a bit of a posh appearance comes with the British accent and the crisp look of London.

Lingering questions:
 Where exactly is Carl from/what is that beautiful accent?

What is ailing Sarah's brother? His few shown behaviors in the film don't seem to point to anything definitive.

What exactly is going on behind the scenes with Harry's affair? When does he actually find the time to sleep with Mia/give her the necklace, etc.?

Are we supposed to be happy for Karen and Harry's apparent reunion at the end?  Because I'm not.  I get staying together for the kids and all, but there's a kind of deep discontent evident in that final exchange that just leaves a bad taste in my mouth.

Why, exactly, is Colin in this movie?  I mean, it's good for a bit of a laugh, but nearly every other story line teaches a lesson or sends a message about love.  All we learn from Colin's misadventures is that American girls are sluts, and lots of us have Southern accents (usually corresponding with an uptick in sluttiness).

Why does American Joanna (who has the singing voice of a goddess) attend Sam's school in London, especially when she apparently has a home in the U.S.?  I mean, obviously, it allows us to have the almost-too-exciting rush to the airport scene, but other than that, this seems a little strange.

Christmas is All Around: An Ode to 'Love Actually' (Pt.1 of 2)

Some films just don’t hold up with the passage of time.  Their jokes are too topical, their soundtracks are too contemporary, or their stories simply fade as our culture evolves.  But Love Actually continues to hold up year after year, warming hearts and eliciting chuckles even on the hundredth (or thousandth) viewing.  There are many reasons this movie stands the test of time, but I think a few merit discussion, whether you’ve never seen it (you should), or haven’t watched it in a while and want to appreciate it with new eyes.

1.  Christmas without the Saccharin:  Yes, this is a film that takes place at Christmas.  And yes, the film’s most climactic scenes take place on Christmas Eve.  But it also veers away from the typical Christmas film in some respects, refusing to be preachy or overly trite.  Too many Christmas films set out to teach a lesson just in time for the season, or over-emphasize the importance of a particular kind of acceptable family unit with which to pass the holiday.  Love Actually does neither of these things.  In fact, there are several characters (Billy Mack, for one, and Colin Firth’s Jamie, for another) who reject spending Christmas with the people society tells them they should in favor of connecting with the person they each truly care about most.  If that’s not a fantastic message for the 21^st century holidaymaker, I don’t know what is. 

2.  Genuine Performances + Earnest Storytelling:  Sometimes when more “serious” actors appear in a romantic comedy, you can tell that they are performing at less than their usual capacity, phoning it in or, as they might say “just having fun with it.”  Not so with this cast (and it is a large, intimidatingly talented one).  Laura Linney gives a performance that is both lastingly endearing and compelling; Hugh Grant’s David makes the perfect awkward-but-charming politician; and Alan Rickman’s Harry possesses a self-awareness (or lack thereof) that I struggle to comprehend to this day.  And if the performances aren’t enough, the writing and directing shows a dedication to storytelling with integrity, something that is absolutely evident both in the film and its behind-the-scenes features.  Director Richard Curtis put this film together with an intentionality I rarely see in this kind of film, and the payoff is clear.

3.      Something for Everyone:  There really is something for every kind of romantic (and even those who lean more toward the cynical).  You might be looking for a storyline that is both visually hilarious and genuinely cute; I’d refer you to Jack and Judy, who by day serve as stand-ins in various nude scenes in films, but by night are actually shy and somewhat bumbling in their flirtations with each other.  Maybe you’re a fan of adultery stories in films (this is a small demographic, but an existent one nonetheless); then watch Emma Thompson’s Karen get her heart slowly broken as she uncovers evidence of her husband Harry’s affair.  Or perhaps you just like seeing the underdog get what he or she wants the most—if this is the case, you have your pick of stories, from 11-year old Sam’s crush on a classmate, to secretary Natalie’s infatuation with the Prime Minister, to Jamie and Aurelia’s struggle to communicate (literally, they speak 2 different languages).  And there are a few unhappy endings for those of you who crave them:  Andrew Lincoln’s Mark is forced to come to grips with his unrequited love for his best friend’s wife, and Laura Linney’s Sarah allows her own compassion to turn against her, keeping her from the person she loves.

4.      Big Romance:  There are many romantic gestures made by the characters in this film, large and small, elaborately planned and completely impulsive.  And gentlemen, this is where you should be taking notes:  there is a lot to be learned about romance from the men in this film.  I have never watched this movie with another woman and not heard her gush over at least one scene, wishing that her boyfriend/crush/husband would rise to the occasion in such a way.  There are lots to choose from, but perennial favorites include Jamie’s impulsive restaurant proposal, as well as David and Sam’s respective races to reach the girls they love in time for Christmas.  My personal choice for the best gesture goes to Mark, for his final, peacemaking effort with Keira Knightley’s Juliet.  It’s beautiful because he expects absolutely nothing to come of it, yet does it anyway.  I guarantee if a guy showed up on my doorstep with cards like that, I’d probably tackle him.  In the good way, of course.

5.      It’s Still Funny:  This movie came out 8 years ago, and I’ve watched it at least a dozen times each Christmas season since.  Ergo, I have heard all the jokes approximately 10,000 times.  But I still always find something to laugh at, and it’s almost always something different than the last time, because each character brings his or her own brand of humor to the film.  Take Colin, for example:  his entire role in the film is purely somewhat obnoxious comic relief, and it obviously works as a counterbalance to all the melodrama, because I chuckle every single time.  

6.      The Real Star, London:  As a huge Anglophile, my adoration of this film has another dimension entirely.  This movie gives a beautiful view of London all dressed up for the holidays, all twinkling lights and brisk, foggy air.  In my mind, it really couldn’t be set anywhere else and possess the same charm.

7.      All-Star Cast (Really, though):  Let’s just reiterate the list, in case you aren’t aware.  Colin Firth.  Bill Nighy.  Laura Linney.  Hugh Grant.  Liam Neeson.  Emma Thompson.  Alan Rickman.  Andrew Lincoln.  Keira Knightley.  Rodrigo Santoro.  Martin Freeman.  Rowan Atkinson.  January Jones.  Have I made my case yet?

8.      On a Serious Note, the Message:  As Hugh Grant states in the opening narration, this film is first and foremost an attempt to prove that “Love actually is all around.”  This film came out in 2003, a time when the world not only craved but needed such a message, and I honestly don’t think that is something that has changed much in 8 years’ time.  Turn on the news or open the paper and you’ll read almost exclusively about things lacking in love and compassion for our fellow humans.  That doesn’t mean love isn’t there; we’ve just lost sight of where to look for it.  This film is one that attempts to put us back on the right track, and for me it does every single time.  There’s a reason I keep coming back to it, after all, and it’s not just because it warms my heart during my favorite season of the year.

Golden Globe Nominations 2012: Just Stick to Movies, Guys

Dear members of the Hollywood Foreign Press Association:

I respect you.  I do.  In the past you've nominated some of my favorite performances and films, if only because you have more room for them than the more crowded Oscars, for which you also usually set the tone.  And this year you've come through again, giving praise to some films, actors, and actresses who haven't gotten all the credit they deserve for the work they've done this year.  I'm very happy with the film nominations, particularly the heavy presence of The Ides of March, which thus far has my unswerving vote for most well-crafted film of the year.  You've also confirmed my hunches about which movies I must see before awards season really kicks up, including (but certainly not limited to) My Week with Marilyn, J. Edgar, The Girl with the Dragon Tattoo, The Descendants, Hugo, and The Iron Lady. 

There are some specific nominations I'm very happy about and/or intrigued by, and most of them are the ones I know will evaporate just in time for the Oscars.  I love that you nominated Joseph Gordon-Levitt and 50/50, which is one of the more underrated movies of the year-- the only icing on the cake would've been if Seth Rogen could have sneaked into the Supporting Actor mix.  I love that Ryan Gosling is nominated twice; I think we can all agree that he just deserves some kind of "Best Human Being" award for everything he's done on and off screen this year.  Putting Rooney Mara in there for Dragon Tattoo is bold, and if I weren't already planning on seeing the film at midnight next week, I'd be even more inclined to watch it now.  Overall, I think you guys pretty much nailed it on the films front, with the only outrageous robbery being of Alexandre Desplat for the Deathly Hallows Part 2 musical score. 

Let's talk about television.  Namely, the burning question of whether we're watching even remotely the same shows.  Have you actually seen New Girl or Glee, or were you merely blindsided by the cuteness of Zooey Deschanel (who you nominated for best actress in a completely incomprehensible move), and the iTunes sales of Glee?  As two of the most overrated and wildly inconsistent shows on TV right now, there is no way either of those shows should be within 18 miles of a nomination for any kind of award, let alone one of the most prestigious in the bunch.  And on top of that, you refused to recognize anything about Parks and Recreation (with the exception of the brilliant Amy Poehler), which is currently in the midst of the television equivalent of a no-hitter.  There is so much wrong with this that I can barely articulate it. 

Therefore I move that the HFPA stop pretending it knows anything about quality television, and just play to its strengths, which is acknowledging movies that deserve recognition.  Just consider it, ladies and gentlemen; it might save you some time in the future, and fans of shows that are actually good a lot of needless frustration.

Sincerely yours,
Andrea

TV Review: Community 3.10-- Regional Holiday Music

If there is any episode that could have shown NBC what a mistake they're making in sending this show to hiatus, it might just be "Regional Holiday Music."  It isn't, perhaps, Community's best episode, but it illustrates the potential of this show in an absolutely delightful way.  This episode somehow manages to be a hilarious play on many of the quirks we've come to know and love in these characters, a spot-on parody of Glee, and in the end a heartfelt holiday episode, ending with a dose of good old-fashioned friendship.

The little digs at Glee in this episode are almost too numerous to count, but some of my favorites include SNL's Taran Killum as an only slightly creepier Mr. Schue, the bearded piano accompanist who appears as though from nowhere, and of course, the constant talk about the vague but certainly impending Regionals. 

And the music itself offered a lot of laughs, too.  From Troy and Abed rapping to "Baby Boomer Santa" to a children's choir prompting Shirley to sing with them about Jesus, there were many lyrics that were just pure gold.  Of course, there are a few obvious low points (Annie, I love you, but I can't listen to your voice when it sounds like that, or look at you when you're literally acting like a baby), but overall the music added to the episode in a logical way rather than seeming dropped in and random (like a certain other show I can't quite think of...).

This might not have been a holiday special on par with "Abed's Uncontrollable Christmas", but it was charming in its own way, and it achieved exactly what I hoped it would: ensuring that I will be wholeheartedly nostalgic for this show until it returns sometime in the unforeseeable TV future.

Until then...

TV Review: Parks and Recreation 4.10-- Citizen Knope

I love this episode because it's such a great ensemble episode, in the vein of many of the great moments from season 2.  This season has given us a lot of individual character development, which is enjoyable in its own way, but it was nice to see the Parks Department banding together for Leslie again, and just in time for Christmas too.

I think maybe Ben should've taken the job with the accounting firm-- think how amazing it would be for his ego being surrounded by co-workers who think he's hilarious rather than ones who are constantly pointing out his nerdiest tendencies.  On that note, though, this episode has me a little concerned for Ben and his role in the show going forward.  I am really hoping they don't simply relegate him to "Leslie's boy toy" status, especially after all they've done with his character this season.

The PCP storyline is just fantastic, and so typically Leslie (also, I really want a "PCP Makes It Fun" t-shirt).  I only hope that this group comes back to haunt her in some way once she's actually working in the Department again.  But even if it doesn't, I thoroughly enjoyed her tasking this group with harassing Chris, who can always stand to be taken down a peg.

But the best and most endearing part of this episode is the group's brainstorming and executing Leslie's Christmas gift.  Not only do I love all of them putting aside their usual tomfoolery to actually accomplish something, there are so many great, hilarious details in these scenes that are the trademark of this show, and a huge part of why it's so fabulous.  I loved Leslie's gifts to everyone (especially the painting she gave April-- did she do that herself?), and I loved their idea for a gingerbread replica of the office.  I think the funniest part to me, though, was the word cloud Tom compiled from Leslie's email.  There were many of the things you'd expect, "Pawnee" occupying the largest space and so on, but there were also some hilarious other additions that make you just want to read all of Leslie's correspondence (among these: "Hogwarts", "Biden", "Taylor Swift", "jeggings", all of which were predominant enough to be visible during the brief camera pan).  I also find it hilarious and adorable that Ann continues to outrank all the other people in Leslie's life, even Ben.

And last but not least, that final scene, where the gang finally presents their gift to Leslie.  I'm not ashamed to say I got a little choked up (did I mention that in addition to the gingerbread Parks Department, they've also decided to become her new campaign team?), and I can't wait to see the second half of the season.  There is absolutely no way this is going to be a smooth ride with this group in charge, and the bumps along the way are sure to be hilarious.

TV Review: How I Met Your Mother 7.12-- Symphony of Illumination

It's difficult to articulate what I felt about this episode after only one viewing (and a lot of reading other people's opinions on it), because yes, it was controversial, but it was a lot of other things too, and I think those things are more important.  There is a huge divide over whether this episode is fantastic or terrible, and I may be the only one who is hovering somewhere in the middle.  And I don't mean it was mediocre or forgettable, I just mean that it felt each minute like it could be tipped either way, and then the episode ended without leaning fully one way or the other.

As a seasoned (and borderline obsessive) viewer of this show, I knew there was no way that opening could be real.  Dropping a bomb like that about the endgame of the show in the first ten seconds of an episode is far too easy for a show that has been notoriously twisty and trickster-y since the pilot.  Therefore I spent most of the next two commercial breaks speculating wildly on what the twist would be, my favorite prediction being that perhaps future-Robin was at a memorial service for Barney, and telling stories about him to console his kids (I was stuck on the fact that she next explicitly said they were her kids, she just kept naming Barney as the father).  Of course, I was outsmarted once again by the magicians behind this show, and I think I'm okay with the way things went.  I know many many people felt cheated or betrayed by the reveal that Robin was imagining the kids, (and this must be the thing that Thomas and Bays worried would turn some viewers away), but I liked it because of the way it punctuated the journey Robin takes in this episode. 

After the previous episode, I worried that by going the baby route the writers were doing Robin's character a serious disservice-- she's always been adamant about not having kids, and the show (and her friends) have always seemed okay with that decision.  Most importantly, Robin was secure in that choice, and I loved that about her (of course, I'm biased because I happen to feel the exact same way).  The way this plot was executed allowed the writers to stay true to her character, and really flesh out how she feels.  With Robin it's always been kind of a stock answer that she doesn't want to marry and have kids, but they've never delved into the emotional underside of that decision.  By first taking away the opportunity to one day change her mind, then having her confront the idea of her potential kids in the most direct way possible, we the viewers got to accompany Robin on a journey through the ways she's changed over the seasons, and the ways she hasn't.  She tells her imagined kids that she's glad they aren't real, and you know what?  I'm glad too.

And I love that they gave Ted that moment at the end.  I was half-expecting Barney to have done something nice for Robin (and okay, maybe hoping a little), but I'm really glad it was Ted.  He hasn't had a whole lot to do this season, but this was a nice little touch for his character, reminding us that when Ted's not wrapped up in his own drama he's a really great friend.  It also shows the importance of these characters in each other's lives, and why his friends are such an integral part of the story of how he met the mother.

Overall, this episode served almost the same purpose as "Bad News" back around this time last year.  It gave us a tone and a hinge upon which the rest of the season will hang.  Keep in mind that we still have to find out what's going to go down with Barney, Ted, and Robin as well as who the heck Barney's marrying at that future wedding.  I have no doubt that this episode's events will influence both of those plots, and whether it will be for better or worse remains to be seen.

TV Discussion: A Controversial Prediction for How I Met Your Mother

If you haven't seen the most recent episode of How I Met Your Mother (which aired two weeks ago, begging the question of what, exactly, you're doing with your life if you haven't watched it), you probably don't want to read this, as I'll be discussing a particular plot point in heavy detail.

In my initial review, I proposed several possibilities concerning Robin's pregnancy and what it means for the show.  I felt equally not-confident in each prediction, but now having thought it over and (more importantly) gathered some revealing intel, I have reached two possible outcomes, and I'm not sure what to make of either one.

First, let's go over what we know.  In my excitement over the possibility of a Robin/Barney baby and subsequent reunion, I forgot that narrator Ted has previously told us that "Aunt Robin" doesn't have children of her own.  This was pointed out to me in a discussion, and though I have yet to corroborate it by tracking down the exact episode Ted says it, I do vaguely recall getting this information.  Therefore, unless the writers plan to unravel a thread established long ago, the options for Robin have diminished to two: abortion or miscarriage.

I have narrowed it down thus far because of a couple tidbits revealed by promotional materials and interviews with the executive producers of the show, Craig Thomas and Carter Bays (who I just realized I've been referring to on this blog as "Carter and Bays" for some reason, oops).  The first is that, much to my relief, the baby can't possibly be Kevin's, because according to Robin the two haven't had sex yet.  Additionally, Thomas and Bays dropped the revealing hint that Ms. Scherbatsky "really is pregnant, but whether she'll stay that way is the question."  In another article they are quoted as adding that this episode (presumably revealing the fate of Robin's potential child), is controversial, and that "some people might stop watching" the show in its aftermath.  Now, I can see the case for this being an obvious hint at an abortion storyline, but I'd argue that done in a certain way, miscarriage is still a possibility.  Let's break it down:

If she miscarries:  The reason for this turning audience members away seems obvious-- it might simply be too dramatic for a show that is predominantly a comedy.  Yes, part of the brilliance of season six was the somber storyline about Marshall's father, but that helped push all the characters into some positive character development and maturing.  I think a Robin miscarriage might be something that would just leave a dark mark on both her and Barney's characters, and maybe even the group as a whole.  It's difficult to imagine the gang bouncing back from something like that.  Also, if we want to get into a bit of a feminist debate, you could argue that the writers having Robin lose the baby takes away from the power of the choice she'd made, way back prior to season one, to not have children and pursue a career instead (that is, pulling the decision out of her control might imply that she would have inevitably had the baby if she could, and that doesn't necessarily jive with what we know of her character).

If she has an abortion:  The reason I'm hoping it isn't this (and simultaneously the reason I feel in my gut it's more likely), is because I don't think Barney would be able to forgive her.  Yes, it is absolutely Robin's choice and you will not see me fault her for it, but I'm thinking of it from a character development/writing standpoint. Barney has made huge leaps in terms of his views on family in past year (and the promos show him being excited about the prospect of fatherhood, though this could be taken out of context), and I think this kind of blow from the woman he loves would completely unseat him.  And that hint from narrator Ted at the beginning of the season is poking at the back of my mind again: what if this has to do with why Ted, Robin, and Barney can't all co-exist in harmonious friendship?  This would also be controversial for viewers because (apart from the obvious loss of staunch pro-lifers who are watching the show), over the course of the show we've primarily seen Robin softening as a character, becoming more well-rounded and even, in a few instances, motherly.  To have her return completely to her stance of kids not even being a vague option might feel to some viewers like a step backward, or something that makes her less likable (again, to be clear: arguing this from a TV standpoint, not debating the ethics of abortion).

I'll admit that I'm relieved we aren't going to have two babies introduced to the show at once (it's a notorious comedy killer), but I am anxious to see what this story line will do to the characters and relationships most concerned.  One thing I will say is that I don't think any outcome will make me stop watching (and I suspect many other viewers feel the same); I've come too far on this journey with Ted and the gang, if you think I'm not holding out until we actually meet the mother (maybe sometime in like... 2015), then you're nuts.

TV Review: Parks and Recreation 4.09-- The Trial of Leslie Knope

I don't usually share personal anecdotes about episodes (and lucky for you, this isn't too long an anecdote), but this Thursday I had a very long, exhausting, and moderately annoying day at work.  I was bone tired when I arrived home, and I made what was perhaps an ill-advised decision to stay up and watch this week's Parks episode instead of going to sleep.  To say that I am happy I made the choice I did would be an understatement.  Getting to come home to a heartwarming and hilarious half hour of comedy is one of the little joys I live for, and I'm not ashamed to admit it.  "The Trial of Leslie Knope" is different from any previous episode in many ways, but it still manages to capture the spirit of the show while continuing to have some of the best, most well-written plot progression of any comedy currently on television.

First, I'm pretty sure all the Ben and Leslie goodness of the past two weeks exists solely to make fans like me happy, and maybe also to serve as a kind of apology for the angst we had to endure for a few weeks there at the beginning of the season-- remember their breakup in "I'm Leslie Knope"?  All that seems just a distant memory now, and I couldn't be gladder.

The cold open this week is perhaps one of my favorites ever-- not only do I love Ron being his crazy, anti-government self, any scene where he and April interact is usually pretty much guaranteed gold.  And while most of the episode centered on Leslie and the trial to investigate her and Ben's transgression, I liked the way the supporting characters were utilized, both as witnesses and as the people staunchly in Leslie's corner, no matter what.  I think it's great when this show reminds us just how much the Parks Department gang love Leslie, and really do look up to her despite their frequent shenanigans.

Honestly, there was not too much about the trial and punishment plot itself that I hadn't predicted-- the bribe emerging in some form and Ben resigning were kind of obvious possibilities, in my mind-- but it's a mark of this show that neither development came off that way.  I will be interested to see how they incorporate Ben now that he doesn't work at City Hall (because I definitely don't want to lose the rapport he's built with the other members of Leslie's department this season), but I'm sure they'll find a way to make it work.  After all, Ann was a city government outsider for almost three whole seasons, and we definitely saw her often enough.

Hands down, though, the best part of any of Leslie's defense was that video she sent Ann.  It was simultaneously creepy and adorable (so much that I had real difficulty deciding between those two adjectives), and just so Leslie.  Ms. Knope has been making progress from some of her wacky ways, but I love seeing that she's still got some madness up her sleeve, and hope we'll continue to see glimpses of it.

And Ethel! I loved her in "The Bubble" clashing with Tom, and I loved her even more as the go-between in Leslie and Ben's declarations of their feelings.  Yet another great thing about this show is their memory for very minor characters who later show up in big ways.  Each appearance just makes Pawnee feel more and more like a real place, one you could easily love just as much as Leslie does.

In conclusion, there is probably nothing about this episode that didn't make me smile.  The only negative thing about season 4 of Parks so far is the level of anger I will reach if it doesn't earn an award (Globe or Emmy, or even People's Choice, I'm not picky) for the brilliance it churns out every single week.