Happy Easter

Smash: Musical Chairs

In the game of musical chairs, when the music stops, someone loses a seat and isn't in the game anymore. Well, the game of musical chairs started in "The Fringe," and it continues in this episode. The outcome, however, was pretty predictable. Luckily, there is some good music while our characters play the game of musical chairs.

Observations:

When the little kids come into the theater, I'm sure the director of the TV show's direction for the child actors was "I want you to bounce in the seats," because, of course, that's what all kids do. Not.

Karen has become so entitled. I can't believe that she argues with Tom, right in front of the cast. I just wonder sometimes if these writers have ever been in a stage production. It shows such a sign of disrespect for the director to question all of his direction. However, it must be difficult for an actor to change directors midstream and then get conflicting direction from the new director. And yes, you definitely don't want your director to give you a line reading.

Note to writers: More Bobby (I originally wrote "Danny." I see him so little I forgot his name) and Jessica. Please.

I think it's hilarious that Terry thinks he should play Valmont as if he has smallpox. How random is that?

Jerry is complaining that Tom is making his "star," Karen, feel uncomfortable. So, he thinks that Derek never made any of his actors feel "uncomfortable"?

Kyle and Jimmy have such extreme personalities. Kyle is always understanding and agreeable. Jimmy is always ticked off and argumentative. How can these two be such good friends? I guess they balance each other out.

Again, I hate the fact that Jimmy thinks the reason the rehearsal for Hit List didn't show well to Scott was that Karen wasn't in it. Hello! There are other people out there who have just as much talent as she does. I hate that this show makes her everyone's savior. "It will be a hit if Karen's in it, simply due to her presence." Arrgghh!

It's funny that it's okay for Karen to contradict Tom and not want to play the part as he directs, but with Derek, he firmly says that's he's the director. That's what he does. He directs. I guess Tom really needs to just tell Karen, that this is the way he wants it, and that's it.

I think it's funny that Derek tells Karen she should quit Bombshell and defect over with him to Hit List, and his reasoning is that Gwen Verdon would have left a show if Bob Fosse quit as director. Karen jokes that Derek is thinking of himself as Fosse, but it's funnier that he's comparing Karen to Gwen Verdon. Gwen was married to Bob Fosse, so that would be a determining factor if she stayed with a show he quit, and Gwen really did have lots of talent (singing: A little brains, a little talent; with an emphasis on the latter. Name that musical)

Why does Jimmy have to be so unlikable? He's so rude to everyone. This show is full of unlikable characters, and the ones I do like are minor characters, like Danny and Jessica. Except maybe Tom. Please, don't make me not like Tom!

And, of course, Karen gives Jimmy the answer he's looking for about how to change Hit List to make it relevant to all audiences. What a shocker!

Julia and Scott know each other. Hmm.

How did Julia know exactly where Derek would be to give him the contract to sign?

I wonder who Derek's "spies" are who are telling him what's going on with Bombshell.

Oh dang. Tom is "groveling" to Karen. Why is it his fault?

The music starts for the musical chairs again, and Karen does the unselfish thing and gives the part of Marilyn back to Ivy. Shocker! She's so perfect.

Did Jimmy just smile? Wow!

Eileen says that Jerry paid Ellis for information on Nick so he could turn him in and "get the show back." Jerry never had the show in the first place. Eileen was always the producer of Bombshell. How could he get something "back" that he never had in the first place?

Eileen didn't throw a drink in Jerry's face. That was one thing that was unpredictable.

It looks like Jerry is the one who didn't have a chair when the music stopped.

Now Julia says that the connection between Marilyn and her mother is the heart and soul of the piece. Just a few episodes ago she was saying the whole thing was about how the men in her life shaped Marilyn. We've gone from lots of men shaping who she was to one woman shaping who she was. Hmm. Those two stories are very different.

So, back a few episodes, when Jimmy was telling Derek the plot to Hit List, he gave the back story of the main character and said that all of that exposition would be in the opening number. Now, there's a new opening number (which, by the way, I love), so how is the audience going to learn all of that important information about the leading man? Will it be in the second number? *wink*

I am really sad that we didn't get to see Tom tell Ivy that she was going to be Marilyn again.

Derek is really a jerk. For some reason he thinks that he owns his leading ladies. Just because he is the director, it doesn't mean he can direct the lives of his cast too. And Karen is so quick to do whatever Derek tells her to do. She's not his muse. She's his puppet.

Quotes:

Blake: We sort of get our own coffee around here.

Danny: Did he just give her a line reading.

Tom: Ooo, maybe that's how I should connect with Karen - talk with a British accent.
Julia: I've seen it. Don't do that.

Terry: What about if, in that scene, Valmont has smallpox?

It's incredible, it's like you're the Terry-whisperer.

Derek: I might have left Broadway, but I didn't do it for 80 seats.

Eileen (to Katie): Listen, I've made a lot of mistakes in my life. Somehow I've managed not to screw you up. I'm not going to start now.

Derek: Gwen Verdon would have bailed if Fosse quit.
Karen: Oh, so now you're Fosse, huh?

Karen: The boys will figure it out.
Derek: Yea, well, "the boys" need to grow up.

Kyle: If you're not going to help me, you can at least stop mocking me.

Jimmy: What are you doing here?
Karen: I was just... gonna lie and say I was in the neighborhood.
Jimmy: Yea, I always tell people I'm going to lie before I do it. It really catches them off-guard.

Jimmy: As nice as it is to see you, this isn't your problem. Maybe it would be if you were still in the show, but...

Julia (to Derek): Stop playing games, okay? If you want to come back, just say that. But if you don't, sign the papers... and let go.

Terry (to Ivy): Did you know our show was "meh"? Yea, I've been called a lot of things in my career, but "meh"? Is there anything worse.

Terry: You said we made it better.
Ivy: Yea, we did make it better. From terrible.

Ivy: I wish I could get out of this show. I really hate it.
Terry: Oh! I hate you in it. I'm sorry, I do. You're too good. It's annoying.

Jimmy (re: Karen): Look at her. She fits right in.
Derek: Of course she does. She's a star.

Katie (re: Jerry): You really loved him, didn't you.
Eileen: Of course I did.
Katie: He loved you too.
Eileen: He still does. That's why he's doing what he's doing.

Julia: How did we get here? Three grown women digging through an office looking for a silver bullet.
Eileen: Desperate times.

Derek: Jerry! Last person in the world I wanted to see tonight.

Actress: What do you mean it's not your fault?
Terry (as Valmont): Let me explain it to you. In song.

Tom (to Ivy re: her performance): It's very Irene Dunne in The Awful Truth.
Ivy: You mean when she does the recital? That's totally what I was going for.

Karen (to Tom): I'm not your Marilyn, she is.

Derek: For some inexplicable reason I still believe in you two. Enough to stick around anyway. Even if it does means directing your completely unaltered show in a space not much larger than my bathroom.

Derek: You know how it is. You work on something you care about, sometimes it's a bit difficult to let go.

Tom (to Julia): If you can't live without it, then neither can I. End of conversation.

Jimmy: So, are you okay with where you landed? No buyer's remorse?
Karen. None. Whatsoever. Isn't that strange?

Doctor Who: New BBC Trailer for The Bells of Saint John

Tomorrow!

Go to Blogtor Who for even more clips from and information on "The Bells of Saint John."

Classic British Comedies: The Good Life (a.k.a. Good Neighbors)

Britain is well known for its great television. It has produced wonderful period dramas; Downton Abbey and the 1995 version of Pride and Prejudice are probably the most successful. There have been many other popular period dramas, such as North and South, Bleak House, Little Dorrit, Lark Rise to Candleford, Crandford, and many versions of Jane Eyre. (Someday soon I plan on writing up a post of all of the period dramas I would recommend.) British television has also given us many of the great comedy series. Fawlty Towers, Black Adder, Keeping Up Appearance, Are You Being Served?, To the Manor Born, and Red Dwarf, just to name a small number. British comedy is very different from American comedy. Some Americans love it, and some Americans just don't get the humor.

I would have to say that my favorite of all of the British comedies is The Good Life (known in the U.S. as Good Neighbors.) Richard Briers and Felicity Kendal play Tom and Barbara Good who live in Surbiton, a suburb of London. Paul Eddington and Penelope Keith play their neighbors, Jerry and Margo Ledbetter. On his 40th birthday, Tom leaves his job as a draftsman making plastic toys for breakfast cereal, because he doesn't feel fulfilled, and he's no longer able to take his job seriously. He convinces Barbara to try to adopt a self-sufficient lifestyle, and they turn their yard (front and back) into gardens to grow their own fruits and vegetables, and they buy chickens, pigs and a goat. The generate their own electricity, and they also try to make their own clothes. Jerry is confused as to why Tom would leave a perfectly good job to try self-sufficiency, and Margo simply horrified by the fact that she is now living next door to a couple who grow their own food, have chickens, pigs and a goat in the backyard, and create electricity using methane (i.e.,manure). Not to mention how it reflects poorly on her that they are her friends.

All of the characters in the series are excellent. The situation itself is ripe for comedic scenes, and the actors are perfect in their portrayals and have great comic timing. All of the actors are great, but I have to mention Penelope Keith's Margo specifically. Margo Ledbetter is one of the greatest characters ever to be seen in television. The character is well written, but it is Keith's portrayal of the Margo that makes it so wonderful. Someone just has to say to me, "Thank you very much, Jerry," imitating Margo's haughty manner, and I bust up laughing. I love this show!



Episode 1: Plough Your Own Furrow

Quotes:

Tom (reading a birthday card): "Mendelssohn and Mozart were dead by 40. Why aren't you?" How thoughtful.

Tom: When I get a birthday card from my wife, I expect a sentimental, loving, sickly verse. Not, "Another nail in your coffin, you wreck."
Barbara: Blow your candle out and eat your cake.

Barbara: Life begins at forty.
Tom: That's a fallacy for a start.

Tom: It's quality of life. That's what I'm after. If I could just get it right.
Barbara: What's "it"?
Tom: It? Well, "it" is... it.
Barbara: Well, if I see it lying about, I'll say, "Look here 'it,' my husband's had enough of you."
Tom: Not being very specific, am I?
Barbara: Borderline.

Tom: You look like an advert for gracious living.
Jerry: I am.

Commissionaire: Good morning, Mr. Ledbetter. Good morning, Mr. uh...
Tom: I've really made an impact with you over the years, haven't I?
Commissionaire: No. I've got sciatica.
Tom: Good.
Commissionaire: Charming.
Tom: No, no, no, that's my name. I've only been here eight years.

Brian: It really is something, isn't it?
Tom: Yes, it is. It's a mold for a plastic hippopotamus that's going to end up in a package of breakfast cereal.
Brian: You've gotta hand it to the ideas men on the fifth floor, haven't you?
Tom: Electric shock treatment probably. Ideas men? They sit up there like the gargoyles on top of Notre Dame.  Every now and again, one of them jumps up, puts on his jester's cap and says, "Eureka! Hippopotamus, oh!"

Brian: Oh, come. You wouldn't want us to go back to the dark ages, breakfast cereal without little plastic gifts?
Tom: It still tastes the same.

Tom: Listen you lot! I am a run machine! A run machine! And I bowl!

Tom: Will you mind explaining to those children in my office that I play cricket?
Jerry: Do you?
Tom: Well, no. But I could if I were asked!
Jerry: Still got the middle-age blues, have you?

Jerry: You use about 1/10 of your ability. I have to use all mine, and what I lack, I make up for with sheer, bloody crawling.

Tom: I can't see the world as a giant plastic toy. How can you make it your life's work.
Jerry: I don't. It just brings in the goodies.

Jerry: You're not going to walk into another job at your age, are you?
Tom: I'll hit you with my crutch in a minute.

Tom (on intercom): Miss Martin, it is funny, but not out loud.

Jerry: Don't go, Tom. (to Sir) I think that Tom ought to sit in on this one, Sir.
Sir: Why? Where's he from?
Tom: Fourth floor.
Sir: Oh, yes, yes. I'm afraid I don't get down to the fourth floor as often as I'd like.

Sir: How is it, um, uh...
Tom: Going?
Sir: Coming.

Sir: Now, look here. A bubble has just come off the top of the think tank. And I don't mind telling you that this is an absolute blockbuster of an idea. It's going to put our wildlife preservation series in the "Van Guard" of world, and I do mean world moldings. [Tom tries to hold in his laughter] Can you guess what it is? No, you can't, can you. Our next mold is going to be... a giraffe! And Tom, I'm thinking of putting this giraffe on your plate! [Tom runs out of Jerry's office and finally laughs]

Tom (to Barbara): Honestly, you should have heard Sir. You would have thought that he discovered penicillin. I couldn't help laughing.

Tom: I'd run off with you if you weren't married. I even love your varicose vein.
Barbara: I'll grow it in the shape of your initial.

Barbara: We don't need a lot of things.
Tom: No. We're a very spiritually advanced couple, aren't we?
Barbara: Yes. Anyway, you don't make enough for a lot of things.
Tom: No.
Barbara: I'll tell you what's at the bottom of all this. All this "it" business you were on about this morning. I had a think in the garden after you left.
Tom: You know, why do you always go into the garden to think? You're not having an affair with the gnome we haven't got, are you?

Tom: Hey! I was brilliant at algebra in school, wasn't I?
Barbara: I don't know.
Tom: I was.
Barbara: Big head.
Tom: X, the unknown. "It." In order to track it down, all you have to do is what they do in algebra.
Barbara: What are they?
Tom: I can't remember.
Barbara: We're both really firing on both cylinders today, aren't we?

Tom: You've heard of the "don't knows." I've come across the "don't want to's."

Tom: New page. [rips off page and hands it to Barbara.] File that.
Barbara: All right. [wads it up and throws it in the corner.]

Tom: I want... it.
Barbara: Shall we go to bed?
Tom: Yes. No. No. I'll be up in a minute.
Barbara: All right. Happy birthday.
Tom: Big deal.

Tom: What do you think?
Barbara: I need to think.
Tom: Garden?
Barbara: Yes.
Tom: Right.

Barbara: Self-sufficiency in Surbiton?

Barbara: I couldn't kill chickens.
Tom: Right. I'll chop their heads off with my Black and Decker while you're not looking.

Barbara: What happens when we need new clothes.
Tom: I'll have made the loom by then.

[Barbara comes in from thinking in the garden]
Tom: Well? Well? Well?
Barbara: You're on. We'll do it.
Tom: Now look, have you thought about this?
Barbara: What do you think I've been doing? Taking my wellies for a walk?

Jerry: Sir sacked you for laughing?
Tom: Other way around. I sacked Sir.

Jerry: You're mad, you realize that, don't you? You're... you're... I'm looking for a superlative.
Tom: Totally insane.
Jerry: Yes.
Tom: Rubbish.
Barbara: (calling to Tom from the window): Tom! The man said the goat will be here by noon.
Tom: Lovely.
Jerry: A goat? This is sheer folly. It just won't work. You're... you're... totally insane.
Tom: Jerry, we've never been saner in all our lives. Now, if you'll excuse me, I've got 300 weight of spuds to put in.

Favorite Doctor Who Episodes: The End of the World

One of the things I remember most from the first time I saw "The End of the World" was the big grin on the face of the Doctor when all of the alien species arrive on the spaceship to witness a historic event. He watches Rose's amazement as she sees each one, and smiles the whole time. You know that the Doctor has met many, many aliens in his many years of traveling through multiple universes, yet he still has so much joy and excitement in meeting new species. And he's so excited for Rose to see things she's never seen before.

Rose has just decided to leave her boring life behind and travel with the Doctor. He asks her if she wants to go backward or forward in time, and she says forward. Does he take her 100 years into the future? Ten thousand years into the future? No. He takes her 5 billion years (i.e., the year 5.5/Apple/26) into the future to witness the day the sun expands, the burns the Earth. If you can go anywhere in time, you might as well go to the ends of the Earth.

I love that when the Tardis arrives at their destination the Doctor rings a service bell. It's as if he's telling Rose, "Order up!"

We meet the Face of Boe for the first time in this episode. The Doctor will meet the Face of Boe a few more times in his future travels, and he will prove to be very significant.

We also meet Cassandra, the very last human. She has had so much "plastic surgery" that all she she is now is just a thin layer of stretched-out skin with only two eyes and a mouth. She's quite the sight for Rose. Cassandra brings an old-fashioned jukebox as a gift, and tells the guests that, according to the archives, it was called an iPod. When they play "Tainted Love" on the jukebox, and the Doctor starts to jam with the music, it's such a great moment.

Rose, however, isn't feeling the love. It's an emotional time for her. She's far away from home (in miles and billions of years), the only alien she's ever met is the Doctor, and now suddenly she's surrounded by a bunch of them (even Cassandra isn't technically human now). And to top it off, her home planet is going to burn in 30 minutes and everyone is partying.

I love it when the little blue alien valets are parking the Tardis in a "proper" place, and one of the valets hands the Doctor his valet ticket and the ticket says, "Have a Nice Day."

In the middle of a growing threat that no one on the spaceship is aware of, there is a wonderful exchange between Rose and the Doctor. Rose is so overwhelmed by everything she has seen, especially watching the sun as it slowly burns the Earth, and hearing the countdown of "Earth death" over the intercom. The Doctor comes in and thinks that Rose must be having a great experience, simply because he brought her there. Rose talks about how everyone is just so "alien." The Doctor knows that she's talking about him as well. And a friendly conversation turns very tense. When the Doctor tells Rose that everyone speaks English because the Tardis has a "telepathic field that get into your brain and translates," Rose becomes very upset that he didn't tell her that the Tardis is able to get inside her brain and change her mind. Then the Doctor gets upset when Rose tries to get the Doctor to tell her where he's from. She has realized that she's "hitched a ride with a man" that she doesn't even know, and she's scared. And then, the Doctor jimmy's her mobile phone so she is able to call her mom. Rose talks to her mother when she's 5 billion years in the future. It's a great scene, and very well acted by Christopher and Billie.

Quotes:

Rose : You think you're so impressive.
Doctor: I am so impressive.
Rose: You wish.
Doctor: Right, then. You asked for it. I know exactly where to go.

Doctor: You lot. You spend all of your time thinking about dying, like you're going to get killed by eggs or beef or global warming or asteroids. But you never take the time to imagine the impossible - that you'll survive.

Rose: So, when it says "guests," does that mean people?
Doctor: Depends what you mean by 'people."
Rose: I mean people. What do you mean?
Doctor: Aliens.

Doctor: The great and good are gathering to watch the planet burn.
Rose: What for?
Doctor: Fun. Mind you, when I say "the great and the good," what I mean is the rich.

Rose: The planet looks the same as ever. I thought the continents shifted and things.
Doctor: They did, and the Trust shifted them back. That's a classic Earth.

Blue Alien: Who the hell are you?
Doctor: Oh, that's nice. Thanks.

Doctor: I'm a guest. Look, I've got an invitation. Look. (shows his "psychic" paper) You see. It's fine. You see. "The Doctor plus one." I'm the Doctor and this is Rose Tyler. She's my plus one. All right?

Doctor: The paper's slightly psychic. It shows them whatever I want them to see. Saves a lot of time.
Rose: He's blue.
Doctor: Yea.
Rose. Okay.

Blue Alien: Representing the Forest of Cheam, we have trees, namely Jabe, Lute and Coffa.

Cassandra: Behold, I bring gifts. From Earth itself, the last remaining ostrich egg. Legend says it had a wingspan of 50 feet, and blew fire from its nostrils. Or was that my third husband? No, don't laugh. I'll get laughter lines.

Rose: So, you're a plumber?
Raffalo: That's right, miss.
Rose: You still have plumbers?
Raffalo: I hope so, else I'm out of a job.

Raffalo: Where are you from miss? If you don't mind me asking.
Rose: No, not at all. Um... I don't know. A long way away. I just sort of hitched a lift with this man. I didn't even think about it. I don't even know who he is. He's a complete stranger.

Blue Alien (over the intercom): Would the owner of the blue box in Gallery 15 please report to the Steward's office immediately. Guests are reminded that the use of teleportation devices is strictly prohibited under peace treaty 5.4/Cup/16. Thank you.

Rose (picks up the baby tree in a pot): Hello. My name's Rose. That's a sort of a plant. We might be related. I'm talking to a twig.

Doctor (to the little aliens parking the Tardis): Oi, now. Careful with that. Park it properly. No scratches.

Doctor: What do you think, then?
Rose: Great. Yeah. Fine. Once you get past the slightly psychic paper. (pause) They're just so alien. The aliens are so alien. You look at 'em, and they're alien.
Doctor: Good thing I didn't take you to the Deep South.

Rose: All right. As my mate Shereen says, "Don't argue with the designated driver." Can't exactly call for a taxi. (gets out her mobile phone) There's no signal. We're out of range. Just a bit.
Doctor: Tell you what, with a little bit of jiggery-pokery...
Rose: Is that technical term? Jiggery-pokery?
Doctor: Yea. I came first in jiggery-pokery. What about you?
Rose: No. I failed in hullabaloo.

Rose (on the mobile talk to her mom): What day is it?
Jackie: Wednesday. All day.

Rose: I was just calling 'cause I might be late home.
Jackie: Is there something wrong?
Rose: No. I'm fine. Top of the world. (hangs up)
Doctor: Think that's amazing, you want to see the bill?

Rose: That was 5 billion years ago. She's dead now. Five billion years later, my mum's dead.
Doctor: Bundle of laughs you are.

Jabe: And your wife?
Doctor: Oh, she's not my wife.
Jabe: Partner?
Doctor: No.
Jabe: Concubine?
Doctor: No.
Jabe: Prostitute?
Rose: Whatever I am, it must be invisible. Do you mind? Tell you what, you two go and pollinate, and I'll catch up with the family. Quick word with Michael Jackson. (points to Cassandra)
Doctor: Don't start a fight. (to Jabe) I'm all yours.
Rose: And I want you home by midnight.

Doctor: I was on board another ship once. They said was unsinkable. I ended up clinging to an iceberg.

Doctor: So, what you're saying is, if we get in trouble, there's no one to help us out?
Jabe: I'm afraid not.
Doctor: Fantastic.
Jabe: I don't understand. In what way is that fantastic?

Doctor: So, tell me Jabe, what's a tree like you doing in a place like this?

Jabe: And what about your ancestry? Perhaps you could tell a story or two. Perhaps a man only enjoys trouble when there's nothing else left.

Jabe: I know where you're from. Forgive me for intruding, but it's remarkable that you even exist. I just want to say... how sorry I am.

Doctor: That's a great bit of air conditioning. Nice and old-fashioned. I bet they call it retro.

Cassandra: The planet's end. Come gather! Come gather! Bid farewell to the cradle of civilization. Let us mourn her with a traditional ballad.
(They play "Toxic" by Britney Spears on the jukebox)

Doctor: Anyone in there?
Rose: Let me out!
Doctor: Oh, well, it would be you.
Rose: Open the door!
Doctor: Hold on. Give us two ticks.

Doctor: The whole things jammed. I can't open the door. Stay there. Don't move.
Rose: Where am I going to go? Ipswich?

Cassandra: This whole event was sponsored by the Face of Boe. He invited us. Talk to the Face! Talk to the Face!

Doctor: Five billion years, and it still comes down to money.

Doctor: You lot, just chill.

Jabe: Stop wasting time, Time Lord.

Doctor: You've seen how dangerous it is. Do you want to go home?
Rose: I don't know. I want... Can you smell chips?
Doctor: Yea.
Rose: I want chips.
Doctor: Me too.
Rose: Before you get me back in that box, chips it is. And you can pay.
Doctor: No money.
Rose: What sort of date are you? Come on, then, tight wad. Chip are on me. We've only got five billion years 'til the shops close.

Buffy the Vampire Slayer: season 2, ep. 21 Quippy Quotes

We're almost done with season two, and the last two episodes are two of the best in the Buffy oeuvre. In the first of the two-parter, "Becoming, Part 1," there are flashbacks of Angel before Buffy, and of Buffy before she discovers she's a Slayer. We are taken back to the moments when Angel loses his soul, and when the Gypsy curse restores his soul. And we see Buffy when she meets her first Watcher, and discovers her calling as The Chosen One.

It's great to see Buffy in her air-headed, clueless pre-Slayer state, and watch as she learns not only what she can do, but also what she must do.

Quotes:

Narrator (Whistler): Here's the thing. There's moments in your life that make you, that set the course of who you're going to be. Sometimes they're little, subtle moments. Sometimes they're not. I'll show you what I mean.

Angel: Why don't you rest right here.

Angel: Milady, you'll find that, with the exception of an honest day's work, there's no challenge I'm not prepared to face.

Buffy (to a vampire): I want you to get a message to Angel for me. Tell him I'm done waiting. I'm taking the fight to him. You got that? You need me to write it down for you? (vampire attacks and Buffy "stakes" him) All right, I'll tell him myself.

Xander: I'm good. Don't worry about me.
Buffy: You know you don't have to patrol with me.
Xander: I had that guy under control until he resorted to fisticuffs.

Buffy: I haven't even started studying for finals yet.
Xander: Oh, yea! Finals! Why didn't you let me die?

Xander (reenacting the previous evenings events for the rest of the Scooby gang with fish sticks): "Tell Angel I'm gonna kill him. No, wait. I'm gonna kill you. Die! Die! Die!" "Arggh! Mother."
Cordelia: Is that it?
Xander: That's it. Scene.
Buffy: Exactly how it happened.
Oz: I thought it was riveting. I was a little unclear about some of the themes.
Buffy: The theme is, Angel's too much of a coward to take me on face-to-face.
Xander: And the other theme was "Buy American," but it got kind of buried.

Willow: Do you think you're ready to fight Angel?
Buffy: I wish people would stop asking me that. Yes, I'm ready. I'm also willing and able. It's the one test I might actually pass.
Willow: Don't say that. You're going to pass everything. I will get you through this semester if I have to sweat blood.
Xander: Do you think you're likely to? 'Cause I'd like to be elsewhere.
Willow: It's only metaphor blood.

Cordelia: Willow, you've really got the teaching bug. Taking over computer class, tutoring...
Willow: I love it. I really do.
Cordelia: I think it's great to do that before you fail in the real world. That way you're not falling back on something. You're falling, well, forward.
Xander: And almost 65% of that was actual compliment. Is that a personal best?

Willow: Do you really expect Angel to turn up tonight.
Buffy: No, I don't expect him to. But that's usually when he does.

Angel (to Drusilla): You can see all that in your head?
Spike: No, you ninny. She read it in the morning paper.

Buffy (studying with Willow): Ah! This doesn't make any sense!
Willow: Well, sure it does. See... (looks at her work) Oh no, this doesn't make any sense.
Buffy: It's senseless.
Willow: It is, but at least you know that, so you're learning.
Buffy: Yay me! Well, it doesn't matter anyway. I mean, when in the real world am I ever going to need chemistry or history or math or the... English language?

Willow: You can learn this real easily, but if you're just gonna give up, then don't waste my time.
Buffy: Wow, you are a good teacher.

Xander: Hi! For those of you who've just tuned in, everyone here is a crazy person.

Giles: Let's not lose our perspective here, Xander.
Xander: I'm Perspective Guy. Angel's a killer.

Cordelia: Xander has a point.
Xander: You know, for once I wish you'd support me! And I realize right now that you were, and I'm embarrassed, so I'm gonna get back to the point, which is that Angel needs to die.

Buffy: You know, polite people call before they jump out of the bushes and attack you.

Spike: It's a big rock. Can't wait to tell all my friends. They don't have a rock this big.

Spike: Let me guess. Someone pulls out the sword...
Angel: Someone worthy.
Spike: ...the demon wakes up and wackiness ensues.

Angel: My friends. We're about to make history... end.

Buffy: And you're sure this was the tomb of Alfalfa?
Giles: Acathla.

Buffy: If I don't get there in time, or if I lose, then Willow might be our only hope.
Willow: I don't want to be our only hope. I crumble under pressure. Let's have another hope.

Giles: How close are you to figuring out the ritual of the curse?
Willow: I need about a day. And... an orb of Thesulah. Whatever that is.
Giles: A spirit vault for rituals of the undead. I've got one. I've been using it as a paperweight.

Willow: This means I can't help you study for tomorrow's final.
Buffy: Ah, I'll wing it. Of course, if we got to Hell by then, I won't have to take 'em. Or maybe I'll be taking them forever.

Whistler: My name's Whistler. Anyway, lately it is.

Watcher: You must come with me. Your destiny awaits.
Buffy: I don't have a destiny. I'm destiny-free. Really.

Watcher: You alone can stop them.
Buffy: Who?
Watcher: The vampires:
Buffy: Huh?

Buffy: Oh. Not the heart.

Angel: I wanna help her. I wanna become someone.

Angel: I wasn't sure you'd come.
Buffy: After your "immolation-o-gram"? Come on, I had to show. Shouldn't you be out destroying the world right now? Pulling a sword out of Al Franken, or whatever his name is?
Angel: There's time enough. I wanted to say goodbye first. You are the one in thing in this dimension that I will miss.
Buffy: This is a beautiful moment we're having. Can we please fight?

Whistler (voice-over): Bottom line is, even if you see 'em comin', you're not ready for the big moments. No one asks for their life to change. Not really. But it does. So, what are we? Helpless? Puppets? No. The big moments are gonna come. You can't help that. It's what you do afterwards that counts. That's when you find out who you are.
Cop: Freeze!
Whistler: You'll see what I mean.

"To be continued..."

Once Upon a Time: Welcome to Storybrooke

The flashbacks in this episode were not of Fairy Tale Land, but the time right after the curse (1983 to be exact) when everyone woke up in Storybrooke in their new lives (not knowing that they had forgotten their old lives). The flashbacks had touches of Brigadoon and Groundhog Day in it. The best part of the episode, of course, was seeing Graham again. It was nice to see him alive in the flashbacks, but sad to know that he's still dead in the present. Of all of the evil things that Regina has done, his murder is the one thing I can't forgive her for.

Observations:

Regina has a closet full of little business suits. After being such a snappy dresser in Fairy Tale Land, it's interesting that she would have such a bland wardrobe in her "happy ever after" place.

I can understand why all of the fairy tale characters don't have any problems accepting all of the technology of modern day (well, 1980's modern day), because they don't know to know any different. But how does Regina assimilate herself into our modern age and culture from the beginning of life in Storybrooke? She seems more excited with the fashion than with seeing things like electricity and cars, etc. I want to see her discovery of all of the new fan-dangled gadgets of the modern world.

The first place Regina goes after she wakes up in Storybrooke is to the school to find Mary Margaret to take her to see the John Doe who is in the hospital in a coma to make sure she doesn't know who he is. She has to make sure her plan to make sure that Snow White doesn't live "happy ever after" worked.

Mary Margaret's hairstyle is so not a style from the 1980's. For one thing, it's much too flat. *wink*

How does Regina know that the little boy and his father are not part of "The Enchanted Forest"? Does she know everyone who was part of the curse personally? I wouldn't think so. Maybe people from our world has a certain smell. *wink*

Henry says about Mary Margaret, "She's Snow White, she wouldn't hurt anybody." Has she read Henry's book that tells the tales of Snow White? Snow White was quite the, how do you say? Action hero. I think she took a few of Regina's guard out in her day, didn't she?

Regina certainly likes routine. And she gets angry if anyone messes with her routine. Actually she likes everyone to keep the same routine and doesn't like it if anyone messes with anyone's routine.
However, she does realize that routine can get a bit boring. Who wants to live the same day over and over and over? (Certainly not Bill Murray *wink*) And what is a good remedy for routine? A child. A child who isn't under a curse.

Cora brought a very large trousseau over with her on Hook's boat. That must have taken a while to pack. Oh, that's right - she probably used magic.

How does Gold know what the missing potion does? Is there a way to organize your spell-making ingredients that every person with magic knows? *wink*

Poor Henry. If he has Gold/Rumplestiltskin hating you, then there's going to be problems for Henry in a future episode.

Great way to show we're back in 1983 by showing a bus stop bench with a 1983 computer on it. The ad on the bench says, "Make 1983 the start of your personal digital revolution." I wonder if that was a real ad campaign for a real computer.

When you're looking for someone, of course you'd employ the skills of Ruby, the wolf.

I wonder how Greg got the private cell number for Regina?

Regina really wants a child. Badly. So, we know why Regina wanted to adopt Henry, eventually. I wonder why it took almost 20 years for her to get Henry. And why didn't she just grab a child who was already in Storybrooke. Find an orphan. I'm sure there were some. Maybe she wanted a child who wasn't under the curse.

If Regina let Owen go, why wouldn't she let Kurt go too? Why keep him there?

Regina tells Henry that Mary Margaret needs to pay for what she did to Cora. But Henry knows that Regina killed a lot of people too. She did horrible things. Doesn't she need to pay for what she did? How can she convince Henry that Mary Margaret needs to pay for killing someone when Regina's not willing to pay for the murders she's committed?

That's a touching scene when Owen is looking at the road to Storybrooke and seeing nothing and Regina watching Owen even though he can't see her. I really love how multi-faceted Regina's character is. You hate her, yet you feel sorry for her.

Mary Margaret can't take the guilt anymore. She wants Regina to put her out of her misery. But Regina tells her that she doesn't have to destroy her because Mary Margaret is doing it herself.

Surprise! Owen found his way back to Storybrooke. But where is Kurt?

Quotes:

Kurt Flynn: It's like someone dropped a town right in front of us.
(Me (singing): Brigadoon. Brigadoon, Bloomin' under sable skies)

Granny (to Ruby): When I put over-easy on the menu, I was talking about the eggs.

Mary Margaret: As we build our bird houses, remember - what you're making is a home, not a cage. A bird is free and will do what it will. This is for them, not us. They are loyal creatures. If you love them, and they love you, they will always find you.

Regina: I don't like surprises, Sheriff. I find them threatening. And do you know what happens when I feel threatened? Bad things.

Regina: I will have my son and I will have my vengeance. I will find a way to have everything.

Emma: What does that do?
Gold: In theory it has the power to make someone love you.
Emma: Doesn't that break magic laws? You can't bring someone back to life. You can't force someone to love you.
(That's not a magic law, it's a Genie's three-wish law. Well, a Disney's Aladdin's Genie's three-wish law (and that's a lot of apostrophes *wink*), however, this is ABC, who is owned by Disney, so I guess it breaks their magic laws).

Regina: I know I'm not the greatest cook. Unless it involves apples.

Regina: I came here looking to start over too. It hasn't turned out quite the way I'd hoped.

Mary Margaret: How do you do it?
Gold: Do what?
Mary Margaret: Live with yourself. Knowing all the bad things you've done.
Gold: You tell yourself you did the right thing. And if you say it often enough, one day you might actually believe it.

Regina: Do you know what my problem is? I've never learned from my mistakes.

Grimm: Natural Born Wesen

This episode starts off right where "Face Off" ended, with Nick unconscious after taking the "blood-red/rice pudding" potion. Juliette, of course doesn't have any idea what's going on. And then, when Nick comes to, Juliette and Renard have to drink a disgusting potion of their own (luckily, neither of them know what the main ingredient is). And then Juliette has to deal with the side-effects.

But that's not all. We get another Wesen crime that Nick, Hank, and Monroe have to deal with. And the Wesen community is up-in-arms with all of the events. Ah, I love Grimm. I'm so glad it's back.

Observations:

I love how Monroe tries to explain why they had to give Nick a potion that knocks him out and turns his face all red, just to try to make the obsession between Juliette and Renard go away.* He's very eloquent.

I knew there had to be some side-effects to the potion for Juliette, but I didn't expect that her floor would disappear. And the fun of detox begins.

Wesen started the great witch hunts of the 17th century.

There is no love lost between Nick and Renard.

Renard doesn't seem to have any floors missing. *wink* What are his side-effects?

The question still remains - what is Renard's agenda. He has kept Nick safe, he wants to work with Nick, but is it because he's a good guy, or because he wants to beat his royal family's proverbial "rear-end"? Renard says he trusts Nick more than he trusts his family.

I love how not subtle Monroe is in the Wesen bar. He went in looking for information, and instead he ended up starting a lot of action.

The Wesen criminals think they have committed the perfect crime because no one can ID them, but they don't know that the cop they're dealing with is a Grimm. They're goin' down. But not for 20 more minutes. *wink*

Monroe makes quinoa blueberry pancakes and spinach, basil and walnut puree maple syrup. Where does he get these recipes?

Are Rosalee and Renard reporting the crime to the same organization?

When you have three criminals working together, and two of them are a couple, the third one usually starts having second thoughts about the whole thing, with tragic results for the third wheel. I've seen the plot in so many other shows.

Those flashlights are a dead give-away that someone's there. Don't they know that?

Renard didn't look surprised at the attack on the criminals. Hmm.

Quotes:

Renard: How can I explain something I don't fully understand?

*Monroe: There are a lot of things in the human body, hormonal and chemical, that can trigger these inexplicable emotional nuclear meltdowns. And what we're dealing with is sort of a "pheromone gone wild" fiasco. All we're attempting to do is to reverse the pheromonical behavior before something even worse happens.

Juliettte: What is that?
Rosalee: Just a flavoring to cut the bitterness.

Monroe: I think the "alone" was a step in the right direction.

Monroe: When this gets out, it's gonna spread fast. And a lot of Wesen are gonna freak. And when you get the Wesen community freaked, somebody is going to know somebody who knows somebody who knows something. So, I'm gonna start askin'.

Sergeant Wu: That is one heck of a mask.

Nick: Still having feelings for Juliette?
Renard: You wanna go there first?
Nick: I do.

Renard: I've protected you in situations you're not even aware of.
Nick: Do you want a bouquet?

Renard: If you and I can overcome our differences, we can make history.
Nick: And if we can't?
Renard: Well, then history will bury us.

Monroe: This is a Wesen bar. You gotta "woge" your ID at the door.

Monroe: Nick, you know, this is a pretty serious situation. If you can't get the hard evidence you need, you might just have to put your badge aside and deal with this as a Grimm.

Monroe: Taste is a small price to pay for health.
(I say health is a small price to pay for taste. *wink*)

Sergeant Wu: Deja vu all over again.

Renard: Nick tells me you know what's going on.
Hank: Let's just say I've been initiated.
Renard: Welcome to the club.

Disembodied voice: I just want you to know the truth.

Doctor Who: Prequel to The Bells of Saint John

Thanks Ruth at Booktalk & More for making me aware of this prequel.



It's nice to get a fix of Doctor Who before the premiere of season 7 part 2. Even if the fix is only two and a half minutes.

Only one more week!

Smash: The Fringe

All of the episodes so far this season have been leading to this... Derek makes a big decision and Tom's role in Bombshell takes a huge turn. Also, Ivy takes control of her own performance in Liaisons. Julia continues to freak out about everything. And so does Jeremy. Not much change there. And Karen continues to be, well, Miss Perfect.

Observations:

Why isn't Karen at rehearsal when they're rehearsing her number? Doesn't she have a contract to be at rehearsals?

It's so funny that Jerry says they might have to cut something because "it's a lot of music." Uh, Jerry, that's why it's called a "musical." Because it has "a lot of music."

Oh, Karen isn't at Bombshell rehearsal because she's with the Hit List group. She certainly is committed to that show. 

Jimmy is finally positive about something! The little tiny black box where they're performing Hit List for The Fringe. Boy, if that's all it took for him to be happy, I wish they would have given him a black box at the beginning of the season. I'm glad his joy motivated him to sing. Sing, Jimmy, sing.

Hit List can't make noise in their space because there's a performance upstairs. When are they supposed to rehearse for the performance that's in 10 hours if they have shows going on upstairs?

Karen and Ivy almost seem like friends now.

I'm so much more interested in Ivy and what she's doing, than in perfect Karen whom everyone loves and thinks she's so wonderful, for I don't know what reason.

It seems that Julia always has to have someone to gripe about. Last week it was Peter. This week it's Jerry. Julia the Complainer just won't seem to go away.

Poor Karen has to choose between Bombshell and Hit List. The show that can make her a Broadway star, and the show that will probably make her a Broadway star. *wink*

Jimmy tells Karen that because she's choosing Bombshell, in a way she's saying that her career is more important than her friends. She's known the people in Bombshell longer than she's known Jimmy and Kyle. So, why does he think he is a more important "friend" than everybody else? Oh, yes, it's because the world is all against Jimmy, and instead they should all drop everything to do what's best for Jimmy. His character is so  unlikable, dang it. I wish they would make him likable in some way other than his great voice.

Peter wants Julia to go to London with him.  Hmm.

I love all of the "musical dropping" in this show. Musical posters all over, and dropping the names of musicals out of the blue. 

Karen runs into Ellis's ex-girlfriend, and she says what everyone knew last season. He's a psychopath. And he's gay. And Karen learns that Jerry made a deal with Ellis about something. Ooh! Who is she going to tell?

And, of course, the first performance of Hit List is a disaster because Karen wasn't in it. Pleeeeeease! We know what's going to happen. Karen will find some way to be in it tonight and she'll save it by her mere presence. Yes, I am tired of the perfection they have made Karen. 

Julia really is a coward. If she wants the song back in the show, she should fight for it herself.

I still want to know the history between Tom and Derek.

Derek quit Bombshell, and I think I know what his next directing project will be.

Karen tells Eileen about Ellis. 

Isn't Ivy the one who said that Liaisons was a drama? If so, why does she make her song a comedy? And Terry doesn't look to happy about her performance. 

Oh, Terry loved Ivy's performance. But he isn't happy because she was better than he was. 

Somebody really needs to call Jimmy out on his being such a jerk to everyone. And they need to do it with as much passion as he deals out his anger. Everyone just lets him get away with it, because he's the one with all the talent, so he has a right to just be angry when things don't go his way.  Just because some artists have a lot of talent, it doesn't give them an excuse to be a jerk to people. It reminds me of something I heard once about artists being "temperamental - more temper than mental." That can really be true about some people. Or about some characters that artists write. 

I'm so glad to hear Ivy tell Terry the truth. Karen could learn so much from Ivy.

We get to see what the staging of "Heart Shaped Wreakage" from Hit List would look like if Derek were to direct it, which I'm sure he will.

Terry wants to hear the truth about Liaisons from the cast, and the only thing they tell him is it's bad. They don't give any specifics. And in the end, only Ivy tells him what was good about the show. So, what was the point? Ivy already told him it was bad when they spoke before. He didn't need the rest of the cast to tell him that. Would he not have changed anything if the whole cast hadn't told him it was bad?

Karen is quick to just go home after the show at The Fringe when Jimmy asks her if she has rehearsal in the morning. It's like, "Jimmy doesn't think I should go out with everyone else, so I'd better go home like he suggests." What the heck was that? And really, why didn't Jimmy want her to go with them? Just because he thinks she's dating Derek and Jimmy didn't want Karen to be with them if Derek's there too?

And, I called it... Tom is now directing Bombshell.

Quotes:

Derek: Go up stage left. You don't go up stage right because oh, look out! Here comes the enormous, expensive, and totally unnecessary plane that's about to land on the stage.

Anna: It's The Fringe. You get two days in a shoe box. 

Ivy: These aren't going to be real sheep, are they?

Terry: Of course they are. Stuffed sheep can't act. I am worried about the peacocks, though. They are notoriously difficult to work with.

Julia (to Eileen): You just said, "Jerry's right," for the third time in the last week. Has everyone lost their mind.

Julia (to Tom): Get me my song. Then we'll talk.

Derek (to Karen): Sorry, love. I guess we're both stuck here. Whether we like it or not.

(I feel a bit of foreshadowing here.)

Derek: You look like you've just some from a funeral.

Ivy: I have. From the death of careers.

Derek: Can't be that bad.

Ivy: Tomorrow's press day. We're considering going to that really bad sushi place on 50th and praying for food poisoning.

Derek: You're in prime position. Everyone expects you to be good in a good show, but if you're good in a bad show, you stand out. That is time-honored tradition.

Ivy: Thanks for the advice.
Derek: Only thank me if it works.

Tom: The song is really important to Julia.
Eileen: So important that you came instead of her.
Tom: She kind of hates Jerry with a burning passion. Like you used to.
Eileen: Oh, I still do.
Jerry: I don't need people to like me. I need them to deliver a good show.

Anna (re: Jeremy): He's like the Incredible Hulk. One little thing and he's ripping through his shirt.

Karen: Break a leg, okay?
Anna: Don't wake the Hulk.

Tom: It's not like we've got the problems Wicked had.

Ivy: Tell him how bad it is and we can make it better.

Actor in Liaisons: I've never been so embarrassed about my work before. And I was in Urban Cowboy.

Rumors of a Once Upon a Time Spinoff

There may soon be a Once Upon a Time spinoff starring... wait for it... Alice. Yes, she of Wonderland fame. Unfortunately, the Mad Hatter probably won't be a part of the series, because Sebastian Stan is busy with other projects. Darn, darn, darn!

It's rumored that the series will be set in the post-curse universe. It could be a very interesting series, and I look forward to see what they will do with it. If the rumors are true, of course.

Favorite Doctor Who Episodes: Rose

In honor of the 50th Anniversary of Doctor Who, I will be blogging about my favorite Doctor Who episodes (I have not seen many of the classic Doctor Who episodes, so my list will only include episodes since its return in 2005). There are, of course, episodes I love more than others, but I had a hard time putting them in any order of preference. So, I've decided blog about my favorite episodes in order of their airing, starting with the premiere of the ninth Doctor, Christopher Eccleston.

Side note: If I end up blogging about more than 50, I'm sorry. Unless you love Doctor Who as much as I do, then I won't apologize to you, I'll just say, "Enjoy!"

"Rose" is one of my favorite episode mainly because this is the first Doctor Who episode I saw (except for some bits and pieces of the old Doctor Who on PBS when I was growing up). This is where I, along with Rose, met the ninth Doctor for the first time. Christopher Eccleston was my first Doctor, and because of that, I have to say that he's my favorite Doctor. I think David Tennant and Matt Smith are wonderful too; I have nothing bad to say about either of them as the Doctor. However, Christopher Eccleston will always be my Doctor. I love the moment when we first meet him, how he grabs Rose's hand right as she is about to be attacked by a dangerous, animated mannequin (or Auton), and tells her to "Run!" It's a great introduction to the Gallifreyen Time Lord.

However, before we meet the Doctor, we first meet Rose Tyler. She's a London girl with a mundane job at a department store, who lives with her mother in a small flat. She doesn't seem extraordinary in any way, but her life is about to change, drastically. I would say that Rose and Donna Noble are tied as my favorite companion. They are so different, yet there are so many things about each of them that I love. They are both very tenacious. They bring the Doctor "back to Earth" when he gets a bit too big for his britches. They aren't afraid to face danger to help the Doctor save people in danger, and even save the Doctor himself a few times.

I love how the danger in this episode is from an object that most of us have seen many, many times. And just like Rose, we don't expect to see one move. The writers take a common object, vilify it, and make you just a little freaked out the next time you see one for real. The moment the first mannequin moves his head is so creepy. And then it starts moving toward Rose. It's creepy in a very absurd kind of way. Just like Doctor Who should be. And then more and more mannequins begin to move toward her, until she is cornered. Then suddenly our hero is there, grabbing her hand and saying, "Run!"

It's great to see Rose walking around the streets of London, dazed after meeting the Doctor, with a plastic arm in her hand, wondering what to do next. And then, after a huge explosion on the roof of the department store, Rose runs past a blue Police Box. Our first glimpse of the new Tardis.

I love the comedy in the show. It doesn't take itself too seriously. There's a great scene when Rose is making tea in the kitchen, talking away, and behind her the Doctor is being choked by a disembodied, plastic arm. And Rose is totally oblivious. He tries to get her attention when she walks into the room, but she still yaks on and on. Great comedic moment.

One of the things I love about Christopher Eccleston's version of the Doctor, especially in this first episode, is that he has so much joy. It feels like he just enjoys life, even though danger follows him (or he follow danger). He finds joy discovering new things. He finds joy in saving people. He finds joy in traveling. You know that there is some sorrow deep down in him, but when he smiles, you just want to smile with him.

The first time the Doctor describes who he is to Rose, it is so eloquent and poetic. I love it. See the quote below (*) This is the way I like to think about the Doctor. Yes, he's an alien. Yes, he's a Time Lord. Yes, he can travel in time and space. Yes, he's from the North (*wink). Yes, he's the last of his kind. However, that first answer he gives to Rose when she asks who he is fits the Doctor to a 'T."

Mickey drives a yellow Bug. Cool people drive Bugs. Well, cool people and Mickey. *wink*

When the Doctor is in Rose's flat, and he looks in the mirror, the remark he makes makes it seem like he just recently regenerated, but he's already been a few places (and times) since the regeneration. Kennedy's assassination, the Titanic, the coast of Sumatra.

Okay, I've seen the inside of the Tardis many times, in its many regenerations, so I know that it's bigger on the inside than it looks on the outside, but I still love to see the wonder and absolute disbelief on Rose's face when she realizes that there is something strangely wonderful about this blue wooden box.

I love that the Doctor wants peace for the universe. He doesn't want to just kill the bad guy, and he does all he can to reason and negotiate with the alien trying to take over Earth. However, when that doesn't work, and the danger to the inhabitants of Earth (well, mainly London) becomes imminent, the Doctor's got to do what the Doctor's got to do, and so does his companion. Rose is the perfect companion. She doesn't break down in the face of danger. She acts.

The villainous alien is a bit ridiculous, and the special effects are not the highest quality, but it's not so much about what the villains look like, or the greatness of the special effects, or even the danger they're in. It's about the relationship between the Doctor and those around him, particularly his companion. It's about the wonder the companion feels in discovering new worlds, and going back in time to see historic places and people. That's what I love so much about the show - the characters. They make you care, and when you care about the characters, you are willing to go on a journey that can be scary, funny, ridiculous, dangerous, fun, and uniquely "Doctor Who."

Quotes:

Doctor: Run!

Rose: You pulled his arm off!
Doctor: Yep. Plastic.

Rose: Who are they then, students? Is this a student thing, or what?
Doctor: Why would they be students?
Rose: I don't know.
Doctor: Well, you said it. Why students?
Rose: 'Cause, to get that many people dressed up and being silly, they've gotta be students.
Doctor: That makes sense. Well done.
Rose: Thanks.
Doctor: They're not students.

Doctor: I'm going to go upstairs and blow it up, and I might die in the process, but don't worry about me. No. You go on. Go and have your lovely beans on toast.

Doctor: I'm the Doctor, by the way. What's your name?
Rose: Rose.
Doctor: Nice to meet you, Rose. Run for your life!

Jackie (Rose's mother, on the phone): I know. It's on the telly. It's everywhere. She's lucky to be alive! Honestly, it's aged her. Skin like an old Bible. Walking in now you'd think I was her daughter.

Doctor: What are you doing here?
Rose: I live here.
Doctor: What do you do that for?
Rose: Because I do.

Doctor: I must have the wrong signal. You're not plastic are you? (knocks her head) No. Bonehead. Bye then.

Jackie: I'm in my dressing gown.
Doctor: Yes, you are.
Jackie: There's a strange man in my bedroom.
Doctor: Yes, there is.
Jackie: Well, anything could happen.
Doctor: (pause) No.

Doctor (looks in the mirror): Ah. Could have been worse. Look at the ears.

Doctor (throws the arm at Rose): 'Armless.
Rose: Do you think?

Rose: Hold on a minute. You can't just go swannin' off.
Doctor: Yes, I can. Here I am. This is me swannin' off. See ya!

Rose: Who are you?
Doctor: Told ya. The Doctor.
Rose: Yea, but, Doctor what?
Doctor: Just the Doctor.
Rose: The Doctor?
Doctor: Hello!
Rose: Is that supposed to be impressive?
Doctor: Sort of, yeah.

Rose: So, what you're saying is the entire world revolves around you.
Doctor: Sort of, yeah.
Rose: You're full of it!
Doctor: Sort of, yeah.

Rose: Really, though, Doctor. Tell me. Who are you?
*Doctor: Do you know like we were saying, about the earth revolving? It's like when you're a kid, the first time they tell you that the world's turning and you just can't quite believe it 'cause everything looks like it's standing still. I can feel it... [takes Rose's hand] ...the turn of the earth. The ground beneath our feet is spinning at a thousand miles an hour. And the entire planet is hurtling around the sun at 67,000 miles an hour. And I can feel it. We're falling through space, you and me, clinging to the skin of this tiny little world. And, if we let go... [let's go of Rose's hand] That's who I am. Now forget me, Rose Tyler. Go home.

Rose: Hello. I've come to see Clive. We've been emailing.
Boy: Dad! One of your nutters!

Clive: The Doctor is a legend woven through history. When disaster comes, he's there. He brings a storm in his wake, and has one constant companion.
Rose: Who's that?
Clive: Death.

Rose: Open the gate! Use that tube thing. Come on!
Doctor: Sonic screwdriver.
Rose: Use it!

Rose: You can't hide inside a wooden box.

Doctor: The assembled hordes of Genghis Khan couldn't get through that door. Believe me, they've tried.

Doctor: Where do you want to start?
Rose: Um. The inside is bigger than the outside?
Doctor: Yes.
Rose: It's alien?
Doctor: Yep.
Rose: Are you alien?
Doctor: Yes. Is that all right?
Rose: Yea.

Rose: If you are an alien, how come you sound like you're from the north?
Doctor: Lots of planets have a north.

Doctor: Fantastic!

Doctor: I'm not here to kill it. I've got to give it a chance.

Doctor: Can we keep the domestics outside? Thank you.

Doctor: I am talking! This planet is just starting. These stupid people have only just learned how to walk, but they're capable of so much more.

Doctor: That's not true. I should know. I was there. I fought in the war. It wasn't my fault. I couldn't save your world. I couldn't save any of them.

Mickey: There's nothing you can do.
Rose: I've got no A levels. No job. No future. But I'll tell you what I have got. Jericho Street Junior School under-sevens gymnastic team. I've got the bronze.

Doctor: Now we're in trouble.

Jackie (answers her mobile phone): Rose! Rose! Don't go out of the house. It's not safe.

Rose: You'd be dead if it wasn't for me.
Doctor: Yes, I would. Thank you.

Doctor: This box goes anywhere in the universe. Free of charge.
Mickey: Don't! He's an alien. He's a thing.
Doctor: He's not invited.

Doctor: What do you think? You could stay here. Fill your life with work and food and sleep. Or you could go, uh... anywhere.
Rose: Is it always this dangerous?
Doctor: Yea.

Doctor: By the way, did I mention that it also travels in time?

Rose (to Mickey): Thanks.
Mickey: Thanks for what?
Rose: Exactly.

Buffy the Vampire Slayer, season 2, ep. 20 Quippy Quotes

As the Slayer and Chosen One, Buffy Summers has to face many kinds of creatures. Vampires are easy to kill because they are no longer human and they have no soul. It's difficult when she has to face a monster who turns out to be human. And I'm not only talking about the sea creatures she has to fight in "Go Fish." This episode also deals with what extent people will go to in order to win.

Quotes:

Xander: All I'm saying is, it's a stupid idea to have a victory part at the beach. It's officially nippy.
Willow: I think it's festive. A party with nature.
Cordelia: Well, it's the team's choice. It was their victory.
Xander: Team? Swim team. Hardly what I call a team. The Yankees. Abbott and Costello. The A. Now those were teams.

Xander: He actually told you to alter his grade?
Willow: Exactly. Except for actually telling me to. But he made it perfectly clear of what he wasn't telling me.
Xander: That is wrong. A big fat spankin' wrong. It's a slap in the face to everyone of us who studied hard and worked long hours to earn our Ds.

Buffy: So, something ripped him open and ate out his insides?
Willow: Like an Oreo cookie. Well, except for, you  know, without the chocolaty cookie goodness.

Buffy: Any demons with high cholesterol? [Giles gives Buffy a look] You're gonna think about that later, mister, and you're gonna laugh.

Xander: Too much research. Need beverage.
[Cameron runs into Xander]
Cameron: Hey! Watch it!
Xander: Oh, forgive me, your swim teamliness.
Cameron: Loser.
Xander: Liking the nose, Cam.

Giles: Is that what you saw, Xander?
Xander: Yea. I think so. Pretty much.
Giles: Are you sure?
Xander: Well, it was dark, and the thing went through the window so quick. And I was a little shocked when I saw it, and --
Cordelia: Go ahead. Say it. You ran like a woman.
Xander: Hey, if you saw this thing, you'd run like a woman too.

Buffy: If my theory's correct, Gage Petronzi, the third-best swimmer, would be the next item on the menu.
Cordelia: This is so sad. We're never gonna win the state championship. I think I've lost all will to cheerlead.
Xander: Raise your hand if you feel her pain.

Giles: If these killings aren't random, it would suggest that someone's out for revenge.
Buffy: And raises the possibility that someone brought forth this sea monster from whence it came to exact that revenge. From whence it came? I'm spending way too much time around you.

Xander: Who would hate the swim team that much, though? Besides me, I mean.

Buffy: It's a good call. You should question him.
Willow: Really? Me? I'll crack him like an egg.

Xander: What about me? What can I do?
Cordelia: Well, you could go out to the parking lot and practice running like a man.

Principal Snyder: It's a terrible, terrible tragedy. We all feel you pain, Coach. I don't know two finer boys than Cameron and... that other one.

Gage: Was that the thing that killed Cameron?
Buffy: No. That was something else.
Gage: Something else?
Buffy: Yea. Unfortunately, we have a lot of "something elses" in this town.

Gage: Hey! Walk me home?

Buffy: Any luck researching our fish monster?
Cordelia: Zippo. We couldn't find any sea demon that matches the description that Xander gave us. Not that Chicken Little's much of a witness.

Cordelia: Xander! What are you doing here?
Xander: I'm undercover.
Willow: You're not under much.

Xander: Okey dokey, Coachie.

Buffy: Where's Gage?
Xander: Uh, right behind me, putting his sneakers on. But it's not the Velcro kind, so give him a couple of extra minutes.

Xander: I'm "lookin' around " guy.

Buffy: Giles loaded up the tranquilizer gun. We're going fishing.

Xander: What am I gonna do?
Cordelia: You, you, you! What about me? It's one thing to be dating the lame unpopular guy, but it's another one to be dating the creature from the Blue Lagoon.
Xander: Black Lagoon. The creature from the Blue Lagoon was Brooke Shields.

Buffy: You're really getting into this interrogation thing.
Willow: The trick is not to leave any marks.

Coach: Boy, when they were handing out team spirit, you didn't even stand in line, did you?
Buffy: No. I was in the line for shred of sanity. Which you obviously skipped.

Willow: Everyone's accounted for, except Sean.
Cordelia: I think we can safely say we found Sean. He was in the pool, skinless dipping.

Buffy: Those boys really love their coach.

Xander: Turning into a creepy-crawly wasn't on my list of things to do before I turn 20.

Cordelia: I want you to know that you've really proven yourself to me and you don't have to join the team next year if you don't want  I'd be just as happy if you played football.

Once Upon a Time: The Miller's Daughter

We finally get Cora's backstory. She is the Miller's Daughter, and she meets Rumpelstiltskin when he helps her to spin straw into gold. We also find out why and how she became the evil woman she is today. In Storybrooke, Gold gets back to the town where he is slowly dying. And the only person who can save his life is Mary Margaret. Will she save him? And if she does, will there be dire consequences?

I still love this show, but every episode just brings up more and more questions. I like things to make sense. I understand that there has to be some questions that come up that will be answered in future episodes. That's what makes it interesting, but I'm talking about things that feel like plot holes to me. The show is so complicated. There are so many characters to keep track of, and so many plots lines and stories.

Observations:

Rose McGowan is perfect as a young Cora.

So, Snow's mother, Eva, was a bratty teenager?

That's pretty slow acting poison.

Mary Margaret is holding an apple. I would think that she would avoid apples for the rest of her life.

That's right Regina. You need to catch on that your mother is only doing this for herself. Not for you.

Cora really is an insolent girl. She could be killed by talking to the King in that way.

Cora said that she can "turn" straw into gold, and the king tells the guests that she can "spin" straw into gold. How did he translate "turn" to "spin"?

Is Prince Henry smiling because he wants to marry Cora if she's able to spin straw into gold? Or is he smiling because he knows she won't be able to?

It's been quite a while since we've had a flashback based on a real fairy tale, and not just based on a fictional character.

I wish that Mr. Gold would cut his hair. Maybe I'd like him better if his hair wasn't always getting into his face. His hair looks better when he's Rumpelstiltskin. I think Mr. Gold needs a crimper. *wink*

That attitude of yours got you into a bit of a pickle, now didn't it Cora?

Why does Rumpelstiltskin  tell Cora his name? That's the biggest part of the story. The Miller's daughter had to guess his name.

Where did Emma get her magic? Is it because she went through the wardrobe? In that case, August has magic too. By the way, where is August?

If it's true that anyone can create magic by picturing the moment that made you angriest, then a lot of people could really create magic. It also makes it sound like there is no good magic, only evil. So, is Emma's magic bad too?

What was the point of Emma's spell to protect them from Regina and Cora when it didn't work? It should have been harder for them to get in. They're able to get through the door even with Emma's protection spell and the invisible chalk. But the invisible chalk keeps Cora out of the back room of the shop. So, Emma must have missed a spot at the front door. *wink* Or it was because she and Regina worked together.

How does Mary Margaret know that that is Cora's heart?

Why is Belle still in the hospital? I just don't get that. She got to wear such cute clothes and shoes when the curse was broken, and now she's back in a hospital gown. Poor Emilie de Ravin.

I'm still not a fan of the Rumpel/Belle relationship, but what Gold says to Belle is really sweet. It's also a nice (and very moving exchange) between Gold and Neal.

Who is King Xavier? If Eva is at the castle, visiting, is she there to marry the King's heir? Is King Leopold, Snow's father, Henry's older brother? Is Prince Henry  Snow White's uncle? That would make Regina Snow White's cousin? Did Regina marry her own uncle? This is so confusing!

Cora can't love because she doesn't have her heart. She's evil because she didn't have a heart. What is Regina's excuse?

If Rumpel can see the future, why didn't he see that Cora was going to trick him and rip out her own heart? Instead of selective amnesia, Rumpel has selective precognition. *wink*

Quotes:

Cora: I don't like what that enchanted box was saying. I'm not wicked.
Regina: It's not an enchanted box, it's a phone tap.

Cora: I'm a goose, aren't I?
Prince Henry: I don't know. Let's find out. Can a goose waltz?
Cora: I don't want to stand in the way of someone purchasing you.
Henry: What are you doing here?
Cora: I just came for the free food.
[Side note: By the way, that wasn't a waltz. Or maybe it's The Enchanted Forest's version of the waltz. *wink*]

Henry: Yea, my Dad showed me how.
Neal: That's me.

David: You have the purest heart of anyone I have ever know. That's who you are. And that's who you're going to stay.

Cora: Who are you?
Rumpel: Who are you?
Cora: Cora.
Rumpel: Not a very pretty name, is it? Sounds like something breaking.

Cora: You want to help me?
Rumpel: No, I want you to help me. And you will. 'Cause the future is my gift... in a manner of speaking.
Cora: What could you possibly get from me?
Rumpel: Funny you should ask, (a contract magically appears in his hand) can you read?

Neal: Missed a spot.
Emma: You're hilarious.

Emma: You're not allowed to opinions about surprises Mr. "Son of Rumpelstiltskin."

Emma: I drew the invisible line. I think.

Emma: I can't cast a spell. I can spell "spell."

Rumpel: Love the dress.
Cora: Bride's have to be snow white.
Rumpel (laughs): When you see the future, there's irony everywhere.

Cora: If the choice is between love and power, then even having a heart is a liability, don't you think.

Cora: This would have been enough. You would have been enough.

Doctor Who: Preview of The Bells of Saint John

The second half of the the season 7 of Doctor Who starts on March 30 in America on BBC America.

And here's a preview:

I. Can't. Wait!

Grimm: The Face Off

Oh, Grimm, Grimm, how I've been looking forward to your return. And thank you for not disappointing! The episode wasn't based on any fairy tale. The quote at the beginning, "The will to conquer is the first condition of victory," is a quote by Ferdinand Foch, a French commander in World War I. But we Grimm fans got what we wanted - the face-off between Nick and Renard.

Grimm has gone in such a different direction than I ever thought it would when I first learned about the show, and although I like the episodes that are based on fairy-tales, and that feature new Wesen (there was only one new Wesen in this episode, and he was on for a very short time), I loved this episode. It satisfied my need to see things moving in the "Juliette under a spell" story.

Observations:

Nick is about to confront Renard, and he gets a phone call about a quadruple homicide. That's right, he's called in to investigate his own dirty work of getting rid of the Verrat who beat up Hank.

Renard calls an owl-like Wesen who, quite handily, is a locksmith, to open up Aunt Marie's trailer for him. I kind of wish Renard showed a bit of wonder and interest in seeing the inside of the trailer of a Grimm. But he's focused on his task, to find the key.

Oh! Nick finally comes face-to-face with "the other man." What is he going to do? Wait for the commercial break. *wink*

Nick's not doing anything yet.

Juliet calls Renard while Renard is talking to Nick. Awkward.

So, aren't Nick and Monroe's fingerprints all over the bodies? They went through their pockets to get their IDs. I wonder if that will come up, or if that will just be ignored.

Nick is in Renard's office, and he doesn't confront him, again. When will it happen?

Rosalie is coming back to Portland. Yay! She will be able to figure this all out. I'm sure it will involve some sort of weird potion. After all, that's her specialty.

I will say it again, as I have many times before - poor Nick. Now he has to see Juliette kissing Renard. He's going to confront them both.

Nope. Monroe calls and he doesn't do "something crazy." But Juliette and Renard start doing something crazy. I'm not talking about just kissing each other. They actually get violent with each other, in between kissing, and Juliette shoots off Renard's gun. This spell is spinning, as Monroe says, "like, totally out of control."

The police get to Juliette's house pretty quickly. Her neighbors must have been quick to call 911.

For such a cocky witch, Adalind certainly is scared. Maybe she'll learn that if you threaten people, they might not like you very much, and yes, that can put you in a bit of danger.

Renard isn't telling Adalind where the trailer is until she fixes what's wrong with him. He has the upper hand now.

Only a Hexenbiest (or former Hexenbiest) would want to make out with Renard with him looking like that.

Monroe is so cute as he waits for Rosalie to get off the bus. He's like a giddy teenager who has a crush on a girl. He's so nervous, and then Rosalie just kisses him. It's sweet.

Renard has quite the art work in his apartment. I wonder if any of his colleagues have been in there, and wondered how he could afford those on a Captain's salary. *wink*

Adalind looks like she's plotting something more than just getting the key for Eric. Hmm.

Nick just found out that Renard is the royal in Portland. And that's it? There's no real surprise on Nick's part. That's a pretty big revelation and they just skate right past it.

Oh oh. Renard just figured out where Nick is hiding the key.

There are a lot of flashbacks in this episode. Nick fighting the Verrat, the dead guy in the park, Nick opening his drawer at work, the cat running away and getting hit. I'm surprised we didn't get a flashback of Nick's mother killing Adalind's mother.

And... Renard has the key. Did I say, "oh oh"?

That potion looks horrible. I wouldn't want to drink something that looked like liquid rice pudding and then turns blood red in the blender and then back to a rice pudding mess. Yes, I'll say it again, poor Nick. I hope that soon I won't have to constantly feel that way about the poor Grimm.

Nick is going to drink it! Nope. He gets a phone call. Boy, those calls come at just the right moment to keep him from acting, don't they?

Nick knows that Renard has the key. Now will we get the face-off?

Hank's trying his best to keep Renard there, but to no avail.

Boy, Juliette has a temper.

He lied to Adalind about finding the key. What is his agenda? And Adalind accepts his answer pretty easily. She doesn't tell him to try again. She just leaves. Hmm.

Renard calls Nick to meet him. Here it comes. Only five minutes left. It has to happen now.

Another flashback. Renard asked Nick to meet him at the cottage of "the big bad wolf" from the pilot episode. I love how we're coming full circle. Also, that cottage is so "Grimm fairy tale" looking. I love it.

And the fight begins. Nick discovers Renard's "Wesennes," and Renard just wants to talk. Nick is having nothing of it.

Renard gives Nick the key. I so want Renard to be good, for them to work together.

There's a knock on Juliette's door and, surprise! It's the old boyfriend she can't remember, and the new guy she wants to kill. Awkward. I love how Juliette looks at both of them and says, "Now what?"

Rosalie has to whip up a fresh batch of the blood-red/rice pudding potion. And this time Nick drinks it. He seems confident enough. But Renard knows what's going to happen. Too bad he didn't give him a heads-up in advance. But then, who knows if Nick would drink it. I guess we know he would. He'd do anything to get Juliette back, I'm sure.

I'd like to know what they told Juliette about what they're going to do in the spice shop.

Adalind is pregnant?! Dun dun dun! How much time has passed when we see Adalind get the pregnancy test results? Is the baby Renard's or Eric's? Whose baby does she want to have? So, this has been her plan all along?

Quotes:

Monroe: So, you know him?
Nick: Yea, I know him. I'm under his command.
Monroe: Your girlfriend and your boss? That's about as gnarly as it gets. (Nick starts to leave) Hey, wait a minute, where do you think you're going? You're not going where I think you're going, because if it were me, I would be going there, but you can't. Nick, hold on! This is one of those "pause, take a deep breaths" situations where you can't be going off half, full, or any other degree of cocked.

[Nick gets a takes a call on his cell]
Monroe: What is it?
Nick: Quadruple homicide.
Monroe: See. Your life's not so bad.
Nick: In the parking lot near the Deluxe Hotel.
Monroe: Oh, that quadruple homicide.
Nick: Yea.
Monroe: Well, at least you know who did it.

Renard (regarding the crime scene): It's a hell of a mess.
Nick: Yea, it sure is.

Sergeant Wu: If these guys are all members of the same lodge, it's not one I want to belong to.

Rosalie: Monroe, wait a minute, I think I know what this means.
Monroe: Yea, it means Nick's not in a very good place right now. In fact, he's moved in with me. Not that that's not a good place. I mean I got his room for him and...

Monroe: I just think we should get down to the shop and see if we can't stop this before it really, it spins, like, totally out of control.

Monroe: I say we find Adalind's mother and we do whatever it takes to --
Nick: It's not going to work?
Monroe: Why not? It makes perfect sense.
Nick: She's dead.
Monroe: Dead? What? Who killed her?
Nick: My mother.
Monroe: Why? (Side note: Silas Mitchell Weir's delivery of this line was absolutely perfect.)
Nick: She was trying to find out where Adalind was and --
Monroe: It didn't go so well.
Nick: Right.
Monroe: My head hurts.

Sergeant Wu (talking to Nick on the cell): I'm just really happy to know you had nothing to do with what I'm seeing.

Adalind: What are you doing?
Female Cop: You've been released.
Adalind: What? Why?
Cop: Most people are happy to get out.
Adalind: What if I don't want to leave?
Cop: This is not a hotel.

Adalind: I could scream.
Renard: Or you could die. That's the kind of mood I'm in.

Monroe: Look, it's late. I'm tired, you're tired. Why don't I make us a little warm milk...
Nick: Really?
Monroe: Yea. You know, just like your mom... [Nick gives Monroe a "look"] ...never made. I'm sorry. Bad idea. I'm shuttin' up. I'm goin' to bed. Good night.

Adalind: You're just going to have to trust me.
Renard: It hasn't worked so well in the past.

Monroe: The flowers are too much, aren't they? Maybe you should give them to her. Okay, okay. No, you're right. You're right. It's just, I shouldn't have gotten roses. That's like, you know, presumptuous.

Nick: Does anything not end in death?
Rosalie: Not really.
Monroe: Not that I know of.

Hank: If I could explain the motives of women, I'd still be married.

Renard: Be sure to watch your back.
Hank: I'll be looking in all directions, Captain.

Monroe: How bad is this going to be?
Rosalie: I don't know. (to Nick) You're just gonna have to drink it, and it's gonna do what it's gonna do.
Nick: Is it going to help Juliette remember me?
Rosalie: I don't know. but it's the first step of what you're going to have to go through to break the spell between Juliette and the Captain.
Nick: How many steps are there?
Rosalie: Two.
Nick: And what's the second one?
Rosalie: It involves all three of you.
Monroe (laughs): I can't wait to write the invitations to that party.

Nick: If he is who I think he is, he's been playing me for a long time.

Renard: You can kill me, and this won't end. Or I can kill you, but this still won't end.

[Nick drinks the potion and waits a few seconds]
Nick: That's it?
Renard: No.
[And it isn't]
Renard: That's it.