That was pretty sneaky, New Girl writers. You started off last night's episode "Mars Landing" with another rousing round of True Americans on purpose, didn't you? You taught us new rules to the game (if you invented the cotton gin, you have gin poured in your mouth) and gave us hilarious new shots of the gang having fun (except for poor Winston, who had the plague) just as a way to throw us off our course. The whole episode would have to be as fun and carefree as the latest installment of True Americans, right? Wrong! It was all leading us to what is, quite possibly, the end of Nick and Jess. Granted, their relationship has put Season 3 in a rut and these two were probably doomed from the get-go, but it was still a complete bummer. Especially because I have a hard time believing this is truly the end, when it will more than likely be the beginning of a lot of off-and-on. (This should prove to be especially tough when Jess moves to Portland, and Nick is living in outer space.) Here are the do's and don'ts of moving to Mars, especially when everything is still such a mess back on Earth:
When we first watched this pilot last summer, we saw it alongside the similarly themed Hostages and this show was the far superior debut. It had some interesting twists and turns plus the added bonus of putting Gillian Anderson back on our TV sets. But after suffering through Hostages, and seeing how poorly it all played out, the idea of committing to more episodes of another show that is predicated on a kidnapping is a pretty big pill to swallow. (Note: spoilers for last night's twists below.)
How do you make a half-baked idea look like a polished piece of televised craftsmanship? Hire an ace shooter like Alfonso Cuarón to direct it. Exactly a week after picking up a well-deserved Oscar for helming Gravity, the Mexico-born filmmaker takes his talents to the small screen for Believe, a series he created and produced in conjunction with J.J. Abrams. And if you found some of the spiritual hokum in that multi-award winning blockbuster hard to take, be forewarned it plays an even more pronounced role here given that the show's premise is built around a little blonde girl in possession of some heavenly -- or at least otherworldly -- powers.
How you already felt about Lena Dunham going into this weekend's episode of Saturday Night Live more than likely dictated how you watched and, thus, felt about the episode as a whole. If you're cool with Dunham, you probably got a kick out of the episode, but if you're not -- what appeared to be the entirety of the Internet -- you couldn't stand it. Even though I've had some issues with Girls this season, I tend to lean closer to Team Dunham, so I thought overall this was a pretty damn good episode. (Though, maybe compared to last week's Jim Parsons disaster, everything seems like a damn good episode.) Still, there were overwhelmingly better sketches than weak ones, and after a shaky monologue, Dunham settled in as the night went on. Sure, the SNL writers kind of went the obvious route with her (nudity!) but it was, overall, one of the stronger showings in 2014 so far. Here are the best and worst moments from Lena Dunham's debut as SNL host, with a little help from Liam Neeson and Jon Hamm:
The Doctor is outta here.
Not since CBS's Great Alex O'Loughlin Campaign of 2007-2010 has a network invested as much effort in making an actor "happen" as NBC has with David Walton. The actor's relationship with the Peacock dates back to 2006, when he had a supporting role on Heist, that creatively-named heist series that vanished after five episodes. Roles on such short-lived "Wait… that was a TV show?" series as Quarterlife (which premiered online before moving to terrestrial television), 100 Questions and Perfect Couples followed, eventually culminating in 2012's Bent, an ensemble comedy starring Walton, Amanda Peet and Jeffery Tambor that NBC felt so confident in, they burned it off over the course of three weeks in March. If nothing else, at least they're giving Walton's latest series, About a Boy -- based on the 2002 Hugh Grant movie and the 1998 Nick Hornby novel -- a prime post-Olympics berth on its way to an inevitable cancellation.
Boy, when Girls gets something wrong, it gets it so wrong, but when it gets something right, it gets it so right. Case in point: the soaring feeling you can get breezily walking through the streets of downtown Manhattan when everything in your life briefly, inexplicably falls into place and/or the crushing defeat that can surprise the hell out of you during what was supposed to be a routine trip to get frozen yogurt. Life in New York City changes on you on a dime, and sometimes you're zipping through Times Square having just heard the best news of your life, and other times you're carrying a pizza with you after having been dumped in Brooklyn.
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