Soundtrack Series, Part Four: On the Road

Summer is just about here (even if some of us are still waiting to graduate), and for me that means travel.  At least, in a roundabout way it does.  Yes, budget permitting I would love to go somewhere new and unfamiliar, but looking at things practically my journeys will most likely take place on the streets I already know.  And that's okay for now, because I feel like there's still something to be learned, and maybe even some new part of it to experience. 


But no matter where my travels (or lack thereof) lead me, I find myself thirsting for the perfect soundtrack to provide the essential musical companionship.  These are some of the tracks that will most definitely be making it into the rotation when the first of my journeys, Seattle to Chicago, kicks off next week.

Holiday in Spain -- Counting Crows
This song is kind of heartbreaking, but in an awesome way.  It's about escaping, which for me is most definitely a big part (if not the biggest part) of traveling.  I had a friend once say that she thought Adam Duritz makes his best music when he's depressed, and as much as I'd hope he's happier now, based on this song alone I would be inclined to agree.

Chicago -- Sufjan Stevens
No, I'm not biased just because the song title is my hometown.  This song is fantastic in a way that is uniquely Sufjan, and it's such a great travel song, especially for car rides (I honestly think there's something he did on purpose with the instrumentation that forces you to picture road-tripping across the country).

Good Man  -- Josh Ritter
This isn't really a traveling song, but it's catchy in a similar way.  Josh Ritter is one of my favorite artists because I feel like he has a song for every occasion and ever mood.  I like the idea of rolling along a highway with the windows open and this song on the radio, listening to its Western-y tune and picturing Josh's adorable smile when he sings it.

In the Sun -- Joseph Arthur
I think this is a great contemplative travel song, one that I'd probably play while walking through a quiet landscape or maybe looking down at one.  There are so many beautiful elements to this song, and it's one that makes me stop and pay attention every time I hear it.  I think it'd be a perfect way to put myself wholeheartedly into the present moment.

City of Blinding Light -- U2
This song is super catchy and super upbeat.  I like most of what U2 does, but speaking from experience this is a fantastic song for driving at night (especially in the city...with lights).  It just has one of those hooks that makes you feel like the night (or day) could go on forever.

Cape Canaveral -- Conor Oberst
 This is another one that I just enjoy listening to.  It makes me want to tap my foot a little and just let it wash over me, wherever I am and whatever I'm doing.  That, and I think the part about the actual Cape Canaveral probably has something to do with it-- because what means of travel is cooler than a rocket ship?

No Sound But the Wind -- Editors
Not only is this song about McCarthy's novel The Road (and I love me some songs about books, naturally), but it's just so epic.  For me it conjures the image of a dark road at night, quiet and abandoned, rolling along and watching the lines on the pavement swim past you.

Transatlanticism -- Death Cab for Cutie
I would posit that this song is terrific background music for a lot of the more solemn occasions in life.  And for me, travel often qualifies as one of those.  This track is great for a long walk, for staring out the window of a plane or train, or even sailing.


Bittersweet Symphony -- The Verve
This song is probably on this list almost solely because of the scene in Cruel Intentions where it plays as Reese Witherspoon drives away.  Is it not the perfect "heading out on the (literal or metaphorical) road" song?  I defy you to disagree.

Sound of Silence -- Simon & Garfunkel
 Maybe it's the amount of TV and movie montages in which I've seen this song used, but for me it evokes thoughts of transition, of change and of the inevitability that things will move forward, with or without you.  This is a thought I have often when traveling, even when that traveling is just a walk around my own neighborhood.  I feel very small sometimes, in the best way, especially compared to the nature around me, and this song accompanies that feeling very well.

What a Difference 4 Years Makes

In thirteen days I will be on a plane.  I will have gotten my diploma, a piece of paper that verifies how much debt I've accrued and how many dry dusty books I've read.  I will have said goodbye to the most wonderful people I've ever met, many for the last time.  And I will be closing this chapter of my life, stitching it neatly shut behind me without knowing what's ahead.

When I left Chicago for Seattle four years ago, I was bursting with hope.  I'd been trying to break out of the place and the life I'd known for so long, and here was my chance, finally.  I was ready for anything, good and bad.  And I've been lucky, because most of it, the vast majority really, has been good.  No, good doesn't do it justice.  It's been tremendous, life-changing, and educational in more ways than I ever expected.  I took a risk and, in a rare twist of fate for me, it paid off.  It paid off and I am so grateful it did.

Yes, I gave some things up to come here.  But the things I gave up then were all maybes, all possibilities, all question marks.  I might have found what I was looking for if I'd stayed, but probably not.  People looked at me strangely, didn't understand why I thought I needed to leave, to strike out on my own.  Some days even I didn't understand why, I just knew it was something that had to happen.  I didn't want to spend my life wading among the question marks, and wake up one day with a whole lot of would-haves and should-haves.

What I'm walking away from now is much different.  There aren't any maybes here, not really.  There are certainties, and a lot of them.  I could be happy here for the rest of my life.  I would get to keep the friends who have become my family.  I would feel safe, surrounded by the amazing landscape that makes up this place.  I would get to continue being this version of myself.

But the restless part of me recognizes that for the disadvantage that it actually is.  The wanderer inside of me isn't ready to stop moving, to settle for what I've found at 22, even though I feel more alive here than I ever have.  There's an optimism in this next step, the biggest question mark I've yet encountered-- if four years here can change me so much for the better, who's to say I can't find even more in the next place I decide to call home?  And even if that's not on the table yet, that feeling of instability, of not knowing quite what's going to happen tomorrow, it pushes me to strive for more, to be better.  It's the reason I've taken so long writing my novel while I've been here-- I didn't need to use writing as my escape nearly as often as I used to.  But do you know what?  In the weeks leading up to my departure, I've been more dedicated to it than ever; some part of me feels like if I can just finish telling the story, everything will be okay.

And really, that's been the case my whole life, probably always will be.  As long as I can write, as long as I can keep telling stories, things will turn out all right.  That, at least, has never been a question mark.

Discussion: Will Deathly Hallows Part 2 Live Up to the Hype?

It has begun.  (Actually, it began a few weeks ago, but it's only now I have time to pause and reflect upon it, take it all in.)  The hype train is in full motion for Deathly Hallows Part 2, and it is shaping up to be quite the campaign.  Yes, the major advertisements and such have been cropping up quietly in various corners of the Internet, but I think this is just because WB has learned that word of mouth is these films' most valuable marketing tool.  The trailer went viral approximately 10 seconds after it made its appearance (I posted it here only to find that all my blogger friends had done the same within the same 10 minutes or so), and the amount of stills and clips and the usual jumble of spoilers has been much more sparse this time around. 

I for one like that the marketing team seems to be going minimalist for this film.  Even the posters that have just been released are understated, just a photograph and the "IT ALL ENDS" caption, which for me is more than sufficiently epic, but when compared to your average movie poster is incredibly scaled down.  This leads me to believe that not only are they relying on us fans to spread the word and generate buzz due to our tragically mingled excitement and sadness about the series' final film, but that the film may just be capable of speaking almost entirely for itself.  I tend to judge films before their release based on the choices made in their marketing (how early, how frequent, etc), and generally the movies that truly blow us all away are the ones that didn't have the loudest, most explosion-y commercials or a million and one scenes leaked on the web.  They're the ones that some sects of the movie-going community started talking about ages before their actual release, and that have the least to prove at the box office.  Because let's face it, even if Deathly Hallows 2 tanks (which it won't, because I'm pretty sure myself and my nerd friends' ticket money could single-handedly keep it afloat), the franchise is already swimming in cash.  Even if this movie is a huge financial disappointment, there is so much emotion behind it for everyone who made it and everyone who'll watch it that it is impossible for it to be a true failure.

My optimism, however, doesn't blind me to some of the nagging questions I have about the final installment.  I am always slightly wary of these films, just because there are so many tiny places where re-writes of the text can make or break my favorite scenes and characters.  What does give me hope is that Deathly Hallows Part 1 was my favorite by far in terms of accuracy and interpretation, so I'm going to venture a guess that it's sister film can't diverge too widely from this achievement.  I am concerned, though, about some of the changes they seem to be making.  The first is something we all got a glimpse of halfway through the trailer, and something which the producers talked about during filming:  Harry and Voldemort are going to have a physical altercation during the final battle, trading blows that do not take place anywhere in JK Rowling's book (and rightfully so-- writing a fist fight is hard enough; writing a fist fight between a 17 year old boy and a 60-something year old man would be doubly strange).  I understand the motivation here-- it is a movie after all, and that kind of drawn-out fight appeals to the thrill seeker in us, and if I'm being honest I think we can (halfheartedly) admit that in Rowling's version, the final actual confrontation (that is, the moment when Voldemort is actually killed) is just a wee bit anti-climactic.  I could write you a thesis on why it's written that way (I have no doubts it was very intentionally done), but that isn't the point.  What I'm concerned about is whether this scene will come off in the film as well as those responsible for the re-write seem to be hoping.  I can make peace with it as long as it's believable, but if it isn't I worry that this critical moment could turn into a near parody of the text it seeks to bring to life.

My other primary concern (and it's kind of miraculous that at this point I've really only got two) is the Snape and Lily relationship and how it will be portrayed/revealed.  The films have already flubbed this once, cutting Lily completely out of the "Snape's Worst Memory" scene in Order of the Phoenix, so it will be that much more difficult for them to make the Snape plot twist both clear and believable without a whole lot of exposition.  As far as movie-watchers know, Snape and Lily might never have even met one another-- this is a problem as by the film's end we have to buy that he was in love with her, and so much so that he was willing to die for her son with the man he loathed.  And don't forget that this all has to be done without turning the film into the Snape Show.

Overall, I'm excited.  Everything looks pretty great so far, and I think there is an inflation factor for many of us that will make the film seem even better than it truly is just because of our emotional investment in it as the end of an era.  If ever there were a time when "graduation goggles" were going to work in someone's favor, it would be now, and I think the marketing gurus at WB are just savvy enough to realize that.

Film Talk: "Exit Through the Gift Shop"

I tend to go through extended periods where I'm not particularly inclined to watch documentaries, if only because my attention span doesn't seem to want to permit it, but I broke my streak with "Exit Through the Gift Shop."  I've finally jumped on the Netflix bandwagon, so I think you can reasonably expect an increase in film reviews/discussions on this blog, especially as I go to heroic lengths to avoid homework.

This film was so intriguing on several levels, I literally couldn't look away from it.  I've thought Banksy is a genius for a while now (I did a research piece on him for a class a few months ago), but seeing the influence of his work as well as the breadth of the street art movement was just plain cool.  I love the idea that this secretive, subversive community exists and is doing such interesting work despite the increased threat of arrest.  But the aspect of the film that I think really appealed to the casual viewer in me was the focus on Thierry Guetta, the cameraman who filmed hours upon hours of street artists doing their work, initially without any intention of actually making a film.  I loved what he had to say about the value of capturing moments on camera, of preserving his memories because he'll never see them the same way again-- there was something just beautifully striking about that, and it made me agree with Banksy, who at the film's beginning says that when he met the man hoping to make a documentary about him, he found Guetta to be much more interesting than himself.

And of course, I loved it just because the entire concept of street art appeals to my inner anarchist.  I wholeheartedly believe that street art should be allowed and even encouraged, especially if the people doing it are talented or spreading a message.  No, I don't think some forms of it are necessary (I think people writing their names or making a mess for the sake of it, for instance, should stop wasting their time), but on the whole I think art needs to be more liberated in this way.  There is less and less emphasis on it in the public school system, especially in this country, and it saddens me to think that every time we suppress an aspiring creative, we miss out on the full realization of his or her talent and potential for greatness.

I'm not sure how I felt about the last third or so of the film, which focused on Guetta's foray into the world of street art.  His attempts to emulate Banksy rapidly spiraled into what felt largely like a ploy for attention and money, which of course goes against everything the movement he's spent the film documenting is about.  Yes, Banksy and fellow street artist Shepard Fairy sounded more than a little resentful in their commentaries on the huge success of Guetta's show, but can you blame them?  They must have been feeling how I felt when Snooki got a book deal, or how musicians feel when people like Rebecca Black strike it rich with no talent.  It's just a disappointment, and I think Banksy summed it up best when he said it made him question whether art is just a joke.  As much as Guetta's change in attitude bothered me, I did like that the film ended here, on a note of uncertainty.

TV Review: Glee Gets in Touch with Its Roots

(I picked this photo because of how excited they all look.)


My biggest problem with Glee this season (and parts of last season) has never been the show's theatricality.  I started out legitimately interested in a show that frequently referenced Broadway and made off-beat jokes that not everyone would get.  But this season has been spent too largely on trying to increase Glee's "cool factor" by featuring random guest stars, topical plot lines, and way too much unnecessary drama.  What I liked about last night's episode "New York" was that the writers seemed to remember what the initial forces behind this show were, and remind us all why we started caring in the first place.

It wasn't a perfect episode, of course, but it would have been difficult for anyone to pen perfection in the face of this season's mountain of plot debris.  The kids' excitement about New York felt authentic at times but too over-the-top at others, and I still don't know how I feel about the show basically whoring out a single 10-block radius of Manhattan in order to add color and interest to the show.  I'm also wondering if the people who own Broadway theaters are aware of the apparent break-in epidemic going on in their buildings.

But joking aside, there were some things I really did like about this episode.  Rachel finally did what I've been hoping she'd do all season, which was commit herself to her dream over boys (she got back together with Finn in the end, but it was very clear that the relationship now has an expiration date, and I hope the writers don't conveniently forget that conversation come Season 3).  Rachel's dream of being on Broadway was one of the first really intriguing points of the show, and so I was glad to see the finale revisit that.  I loved (loved, loved) her duet with Kurt, not least because "For Good" is my favorite track from the Wicked soundtrack--they were both phenomenal in that scene.  On that vein, I also loved Kurt serving as Rachel's go-to gal pal/guide in this episode; it gave us another chance to see how well their friendship works. 

I'm glad they didn't draw out the Schuester story too much; we all knew he was going to go back to the kids at some point, and though I predicted they might leave it up in the air over the summer, I think I'm glad he's already sure to be back for another year with the Glee club.  Speaking of people returning for another year, one of the episode's definite highlights was the scene between Santana and Brittany at the episode's end.  I loved Brittany's break down of the New Directions family and the honesty of her feelings toward it and toward Santana.  I liked that we finally got a glimpse of how much she has changed since the show started from the ditzy cheerleader indifferent about who she bullied to someone who actually cares, and not just about herself.  I also got the feeling that only the things she said would have persuaded Santana that she wanted to come back for another year.

Last two things, I promise, both of them praises.  Loved the Blaine and Kurt scene (if you remember, I was hoping, as I'm sure many others were, to have one more glimpse of them before the show went to summer hiatus); the way they said "I love you" was just about perfect, nonchalant and genuine in equal measure.  Another development, and one I was wondering about following the prom episode, was Sam and Mercedes' secret relationship.  I'm legitimately intrigued to see how this one pans out, not to mention excited for the possibility of a duet between the two of them somewhere down the line, because I don't think we've gotten to hear them together before.  Why are my favorite shows choosing right now to write really cute secret couples?  I don't know, but I like it a whole lot.

So Glee is done for the summer, and not much was left hanging.  This episode felt in many ways like both a conclusion and like the show coming full circle back to the beginning of its run, so I will be very interested to see how they intend to proceed for the third season.  My advice:  cut down on the guest stars, etc, and focus on the characters we know and love.  "New York" did exactly that, and I think that's the biggest reason it was a successful episode.

Soundtrack Series, Part Three: Times of Change

 Well, here I am.  Less than 3 weeks till I'm a college graduate and till I'm on a plane back to Chicago, leaving behind so much of what I've gained over the past four years.  It feels like there's no good way to describe this rush of feelings, no way to truly encompass everything that's been going through my head.  Everything feels bittersweet and almost impossible to categorize-- every event, every outing and experience is fun and wonderful because I'm with the people I love most in the world, but everything also feels tinged by the ever-present knowledge that very soon I won't be.  Every conversation I have with someone from here on out could be one of the last, every time I visit my favorite haunts might be the time when I ought to be taking a mental snapshot, lest I forget the details of what it looks, sounds, and feels like.

Of course, this has prompted a shift in the music I've been listening to (but then again, it doesn't take much for that to happen).  The point is, I've been discovering more and more songs lately that seem to speak to this weird feeling in my chest, the overwhelming idea that something's ending and that I've got to grab hold of every second of joy that I can before that time comes.  These are just a sampling of the songs that have been my soundtrack during this time of transition, of goodbyes and attempts at making plans and new hopes.

Run -- Snow Patrol
One of my all-time favorite songs (and the all-time most played song on my Ipod, fun fact).  It's just such a poignant song about leaving, specifically leaving the one you love.  For me graduating and leaving Seattle doesn't carry quite the gravity this song does, but I can't omit it from this list because it is so wrapped up in the idea of change for me, of transition and of the power the people you love have over you. Also, there will never come a time when that epic instrumental portion just before the song wraps up doesn't blow my mind.

23 -- Jimmy Eat World
If I had to pick a song that most accurately sums up my feelings toward this upcoming transition in my life, this one is a definite contender.  This is just a fantastic song about the weirdness of being this age (I'm not 23 but I'm close enough, and I more than understand the sentiment), not knowing where things are going to go and feeling just a little bit out of control in the face of how fast life is passing you by.  It also has a great message about going after what you want:  "You'll sail alone forever if you wait for the right time/ What are you hoping for?"  That line just strikes me in a fresh way each time I hear it, and it reminds me of the need I have to evaluate what, exactly, I'm hoping for, and how I can reach it.

American Pie -- Don McLean
Not only is this a great story-song, but it expresses so much of what I think everyone feels on the precipice of a major life change.  McLean isn't excessively emphatic about it, but he's clearly devastated by the tumultuous times in which he finds himself, and regardless of whether you can appreciate the actual events he's singing about, chances are you can relate to the feeling behind it.  I know I can-- this is the kind of song that makes me wish I were a songwriter, so that I could encompass my feelings so flawlessly in such a versatile format.

I Must Belong Somewhere -- Bright Eyes
Love the catchy tune of this one, and the fantastic imagery.  It's a great commentary, but it also lets the listener establish his own sense of place in the world. I like this as a "change" song because there's so much in it about the way some things will inevitably remain the same.  

More Adventurous -- Rilo Kiley
I think the reason this song made the list (apart from the fact that Jenny Lewis is just downright marvelous), can be summed up in my favorite two lines:
"...With every broken heart we should become more adventurous"
"And [I] thought about how we are all as numerous as leaves on trees and maybe ours is the cause of all mankind-- get loved, make more, try to stay alive..."

In My Life -- The Beatles
"I know I'll never lose affection for people and things that went before/ I know I'll often stop and think about them..." This is one of my all-time favorite songs--short and to the point.  Reflect on your life, and remember all the people, places, and events that have shaped it.  This is a song that gives me motivation to move forward even into an uncertain future, because there are so many more memories to be made.  And even if it's all downhill from here, I'll be able to carry the things I've loved with me wherever I go.

Wild World -- Cat Stevens
This song just gives me a kind of warm fuzzy feeling.  It feels like a parent's kind-hearted, well-intentioned warning, filled with that distinct feeling of being cared for.  Not to mention, something about Cat Stevens just gives me the feeling like a friend is singing to me, like he knows how afraid I am of the "real world" and wants me to feel better about it. If that's not a good enough reason to put it on the "change" playlist, I don't know what is.

Somewhere Only We Know -- Keane
 This song is just fantastic.  If Keane had never recorded anything ever again, or if it had all been awful, this song would have been enough of a contribution for them to forever have my respect and affection.  There is something so beautiful about this song, about its imagery and its message, and it makes me feel better about damn near everything.  This song makes me think of community, and of the value of shared experience, and shared memories. 

Leaving Town Alive -- Bethany Joy Lenz
Little known song, but definitely a great little tune about the nature of change, and the little ways it impacts us.   There is a sense of how much life can wear you down, but there is also the shadow of victory, of being able to weather it all so long as you let your heart rule you.  It's about missed opportunities and letting those experiences teach you, guide you, so that you don't miss the next great chance that comes along.

100 Years -- Five for Fighting
One of several "life is short" songs on this list, because I think for me the notion of change and the idea of the fleetingness of time are very tightly linked.  Just as this song flies by, the years of your life that John Ondrasik is singing about can pass you by in the same exciting, wonderful, painful blur.  And if you're not careful, you might miss it. I'm hoping that when I'm "99 for a moment" I'll be able to look back on this part of my life as a time when I really did something, really put forth my best efforts and strongest energies to better the world around me.

Live Like We're Dying -- Kris Allen
I need to learn how to live the message of this song so much more fully.  It resonates with me so strongly every time I hear it, and I want to be that person who embraces every moment of my life to the fullest, yet somehow I find myself coming up short.  I know it's going to be especially tempting to just coast or kill time after graduation (particularly until I find a job), but I want to be very intentional about living each day with meaning, even if it feels like there isn't any.

Parks and Recreation Season Finale: Two Roads

Wha...?  But they were (I was) so happy!  And then--but are they--wait, what did I just watch?

That's the summation of how I felt about the last five minutes of "Lil Sebastian," when we saw Leslie's game-changing moment and hints at the potential fallout.  But there is almost a full two episodes to cover before we get to that.  First, let's check how I did on my finale predictions:

*Lil Sebastian was the one to die, as expected.

*We did in fact see Tom hand in his resignation to pursue his dreams

*Ann did have an interaction with Chris, though it was different from what I expected.  Chris is surprisingly still in the dark about Ben and Leslie, and so their conversation had nothing to do with the wayward couple.  I did like that Ann seems to finally be over her past with Chris, and that they were able to talk as friends.  I initially hoped that Chris' musing after she left was a sign that he might relax his policy about inter-office dating just a little, but by episode's end that wasn't even the biggest problem on the Ben/Leslie front.

*In fairness, I think the interview I cited in my predictions oversold the Ron/Tammy thing a bit.  I was expecting an actual storyline rather than a relatively minute interaction, though I am interested to meet Tammy #1 (and see who'll be playing her), and to find out why she strikes so much fear(?) into Tammy #2, who bolted upon seeing her.

*As I forecasted, little developments with Andy and April were all we saw, like the show was trying to check in with them every time we needed a cute moment.

*I admit that I was completely off the mark in my assessment of what would happen with Leslie and her job.  Chris' overhaul of the Parks Department seemed not to affect her at all, busy as she was with other matters, and the political recruitment plot was not something I was expecting to see this early in the show's run (though in fairness I guess they want to move it along and set up for a potential game-changer in a season or two.  Leslie isn't going anywhere any time soon, but Ben might be?  I was disappointed and surprised by this, but we'll get to that, I promise.

First, let's go all the way back to the beginning of "The Bubble" when things were a little bit sunnier.  Ben was super awkward this episode, in a way that was almost difficult to watch.  His meeting with Leslie's mom was a particular example of this, and  I'm just glad they didn't put us through watching the entire exchange.

We saw Tom and Andy get banished to the fourth floor per Chris' revamping of the department, and I loved Andy's irrational enthusiasm about helping out with such a menial task, in contrast with Tom's loathing, which built nicely (I especially enjoyed him bickering with the elderly women in the office).

Leslie teaching Ben how to deal with her mother was amusing, and Ms. Knope Sr. liking him maybe a little too much was doubly so.  Two things bothered me about this plot initially:  one, Leslie and Ben were spending way too much time together to be legitimately passed off as just work, and two, I don't think Leslie actually did any of her own work all day.  These things both proved to be a hint of things to come in the night's second episode (their many failures at secrecy and the relationship in general impacting the quality of their work), but it seemed like they were being too reckless right off the bat.  Both of them said on several occasions that they both didn't want to break up and didn't want to get fired, I just thought that neither did a very good job of showing that they meant it.  The only person I was glad to have find out about their relationship was Leslie's mom, especially because her approval of Ben clearly meant a lot to her daughter.


 Let's move on to talk about "Lil Sebastian," where my heart started to crack (and not because of the mini-horse funeral upon which the episode's plot focused).  There is a lot that happened in a very short time, and a lot of questions left unanswered, which means I will undoubtedly spend my summer wondering where things are headed.

Right off the bat we got more of Ben and Leslie just sucking at keeping their relationship a secret, to the point of it being really frustrating.  I mean, they kept their attraction to each other secret for ages (Ben didn't even know for sure that Leslie was into him until "The Fight"), but now they're suddenly incapable of behaving like adults?  I know why it was written this way, and what it was intended to do, I just still don't know if I buy it.


I really liked Ron being the first one to find out about the relationship, although I'm a little disturbed by how long he stayed on the line after Ben accidentally called him (and more than a little disturbed at the content of the conversations he overheard).  I liked that he was upfront with Leslie about the risk she was taking, assuming that fatherly role he sometimes does (reluctantly) when it comes to her.  You could tell that he doesn't actually oppose their relationship, just opposes losing his most valuable employee.

Chris' struggle with death during the funeral proceedings and his health "scare" probably should have humanized him a little, but I couldn't not laugh.  It was just so absurd to think that someone so obviously concerned with prolonging his life and health has never fully realized that he's eventually going to die.



And of course that last scene with Leslie.  She and Ben had just agreed to really try to tone it down (in other words, to do what they should have been doing the entire time) and be as professional as possible, when she was approached by political recruiters (would that be their official title?  I know nothing about this).  The Leslie Knope enthusiast in me was overjoyed that she's finally being recognized for her work and offered an opportunity that she desperately wants, but the Ben and Leslie "shipper" part of me wanted to cry.  Of course they aren't just going to let her get away with choosing between her current job and her boyfriend; they're going to throw another wrench entirely into the machine and make her choose between him and her biggest aspiration.  The episode left it up to us to speculate on what her "no" to the scandals question meant (is she going to break up with Ben?  or did she just do herself in by lying about the first thing they asked?), not to mention that sad look through the window. 

I honestly don't know which way it will go; there are obvious downsides no matter what.  If she stays with Ben she risks her political career blowing up in her face before it's even gotten off the ground; if she dumps him she's sacrificing a relationship that at least two people in her life have expressed support for (not to mention the implication that she's already happier with Ben than she has been with anyone in the past).  Both the relationship and the career can make her happy, but Leslie (and the viewership) is learning that in a non-ideal world, you usually only get to choose one path to potential happiness.

I'm going to count down the days until September trying to find a loophole wherein she can have both.  Because Leslie is above all else an average gal, like you and me.  And if she can have the best of both worlds, maybe we can too.