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Waiting in the Wings

Dev and the Lovely Girl (whose name, IMDB tells me, is RJ Quigley, because she has arrived in this show via a wormhole from Aaron Sorkin's new HBO joint) are having somber downtown drinks to mourn Dev's career. (I would point out that all the characters ever do on this show is work, swill booze, and lie in their beds, but that's actually a very accurate representation of my experience in New York.) RJ says there's a press opening at the White House and she can get him an interview. Dev is intrigued, but he's tied to New York because of Karen, who still doesn't know what he's been going through, because she is totally uninterested in his job and inattentive to his needs. RJ does not actually throw her knickers at Dev, but she appears to consider it.

Tom is walking out with the director of Three on a Match, saying he and Julia loved every minute. But Julia, who doesn't love any minutes of anything except banging Michael Swift up against a dirty, dirty wall, is sulking on her car. Tom chastises her for being an ego monster and opens up a big discussion about their relationship, which she cuts off by telling him about Shrek, who won't return her calls. Tom coddles another of the disastrous ladies in his life, and Debra Messing cries prettily.

Commercial for Depends. Lisa Rinna and Harry Hamlin: REALLY?! I believe it of Kirstie Alley, but you two were on Veronica Mars, for crissake. Have some dignity.

At the Bereft Brooklyn Brownstone, Julia pumps Leo for information about whether Shrek will attend his wrestling match. Of course, wrestling is the right sport for that smudge of a child. When he leaves to get a jacket, Julia snakes his iPhone. Upstairs, she calls Shrek on Leo's phone. God, their bedroom is so ugly. No wonder he ran away. Julia pleads with Shrek to talk to her.

Tom and John are reading the paper over breakfast. After bemoaning the theater critic's immolation of End of Daze and subsequent condemnation of the entire institution of The Theater, Tom flips to the sports page and points out that the Knicks beat writer doesn't suggest abolishing the team because they lost a game. John finds it odd that Tom knows where to find the sports page. "I like to look at tall men in mesh shorts," he counters. John stops being nice and starts getting real, telling Tom that he's okay with going to the theater all the time and okay with being a pariah because he's a Republican but that he's not okay with Tom having feelings for someone else -- Sam. Poor Lawyer John's devastation is written all over his face when he says, "You light up like a candle when you look at him, and you never look at me like that." He leaves. Tom is either too stunned or too smart to congratulate John for the Rent reference during this highly emotional moment.

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