“Our Mysteries”

December 22nd, 2009

As Scrubs continues into its ninth season, one can’t help but feel as if the greatest mystery is why said season needs to exist.

It’s not that “Our Mysteries” or any other episode of the season thus far is terrible, but rather that what we’re seeing lacks any sort of emotional punch beyond a desperate play at some sort of nostalgia. And unfortunately, that was already the focus of the show’s creative resurgence in its eighth season, which I found myself absent-mindedly revisiting over the weekend. There, the show used a new crop of interns in order to raise questions of maturity and “moving on” in the characters we knew and loved, which was a good strategy for transitioning a character like J.D. from buffoon to father/husband.

However, the problem with the ninth season thus far is that it seems to want to go beyond that, to actually build these med students into characters, and yet the only parts of their stories which are really connected on an emotional level (Scrubs’ strong suit) have more to do with the returning characters than Lucy, Cole, or Drew.

And what that is, precisely, is still a mystery to me.

I don’t dislike Lucy, but I also know nothing about her character beyond the fact that she’s neurotic. So when the show gave her a storyline they gave to numerous med students/interns in the show’s original run, the inability to perform basic procedures due to nervousness, it seemed like this was an ideal chance to just let the character have a straightforward bit of character development: she leans heavily on J.D. for support, which does little to strengthen her resolve considering how blindly supportive she is, but then is forced to do it without him and is able to demonstrate her ability to learn from his help rather than rely on it. There’s an important lesson about how you deal with mentors there, something that J.D. and Dr. Cox went through early in the series.

In fact, it was so important then that the storyline can’t help but transform into another stage in Dr. Cox and J.D.’s relationship, which makes it somewhat more interesting (in terms of tapping into eight seasons of history) but also makes it largely irrelevant to the show’s quest to make its new characters more compelling. The moment when Lucy learns that she can draw blood from someone other than J.D., following his method rather than relying on his presence, means more in terms of Dr. Cox putting aside his efforts to get the students to hate him in order to help facilitate Lucy’s journey. And we see it in those terms because the episode spent a whole lot of time with J.D. and Turk wasting time as bi-racial Hardy Boys searching for the source of a bad evaluation (Perry), playing into J.D.’s insecurities in a way that just isn’t entertaining. So when we finally get to the heart of the matter, demonstrating that J.D. is capable of sitting back and letting his students learn and that Dr. Cox is willing to accept that sometimes he needs to step forward even if with a disgruntled look on his face, it has absolutely nothing to do with Lucy in the grand scheme of things since said scheme is eight seasons old.

At the very least the show is allowing Denise and Drew to go off largely on their own, with Dr. Cox serving as a peanut gallery to push the story in particular directions, which is one of the characters’ strong suits. But even here, as much as Muhney is doing some solid work as Drew, this was all about Denise, the character we knew going into this season. They’ve spent a lot of time softening the characters’ edges (although acknowledging her fatty period here), and while the new balance is working (her moment of realization as to when they were in a real relationship felt like a good fit with the character) it isn’t doing anything all that interesting. It’s just decent, like it’s happening because the show needs to create stories more than because the actions make any logical sense. Sunny’s return didn’t feel logical from a character perspective, it felt logical because we knew the actress would probably be brought back at some point – the organic qualities of this world just don’t exist anymore.

I wrote a piece comparing the show to Avatar on Sunday, and while I’ll admit that was probably a bit of a stretch I think Scrubs is having problems deciding what perspective to take on its universe. If this really is J.D.’s last episode, I like that they didn’t make it all about him, but at the same time the way the story was structure pretty much did make it all about him in the end. It just seems like sitting in the space in between nostalgia and progress is resulting in a show that is neither old nor new, neither stale nor fresh. It’s just “there,” and while I prefer it to Scrubs as its most wacky and bizarre it’s not doing much to draw me into this new (yet old) universe.

Cultural Observations

• I like Ken Jenkins, but Dr. Kelso needs to go – the character serves no purpose, and as a viagara-popping sex addict it’s just plain sad.
• Cole continues to be wasted – I thought he was better last week, but having he and Lucy in a relationship seems like a justification for the character to be around rather than, you know, an actual relationship. We just haven’t seen enough of these characters for them to feel like they “fit” where they are.
• The wordplay was quite solid in some places here (I in particular liked Denise and Drew on their shared passion for sex, other people’s pain and the  hatred of art), but Scrubs was always about more than that, so a few good lines of dialogue isn’t enough.

Family Guy Season 5 Episode 5 Whistle While Your Wife Works

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Family Guy Season 4 Episode 5 The Cleveland-Loretta Quagmire

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]]> http://levi826.wordpress.com/2009/12/15/episode-5/ Tue, 15 Dec 2009 04:46:20 +0000 slayer826 http://levi826.wordpress.com/2009/12/15/episode-5/

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Daa Daa Daa Episode 5 (English Subbed)

Miyu’s Awful Cuisine

Wanya and Ruu go to Momonland, leaving Miyu and Kanata home together. This makes Miyu nervous. They both go to the store to buy dinner. Kanata admits that he loves pumpkin, so Miyu insists that she cooks pumpkin dinner for him. There was only one problem, she never cooked pumpkin before. So, they both make a pumpkin dinner together. After dinner, a mysterious astronaut had arrived at Kanata’s house. It turned out to be Miyu’s mom.

(Source: Wikipedia)

Part 1:

Part 2:

Part 3:

enjoy.

Family Guy Season 1 Episode 5 A Hero Sits Next Door

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]]> http://watchserials.wordpress.com/2009/12/08/lost-season-3-episode-5-the-cost-of-living/ Tue, 08 Dec 2009 17:58:13 +0000 watchserials http://watchserials.wordpress.com/2009/12/08/lost-season-3-episode-5-the-cost-of-living/

Lost Season 3 Episode 5 The Cost Of Living

Part 1

Part 2

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Lost Season 2 Episode 5 And Found

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]]> http://cultural-learnings.com/2009/12/05/dollhouse-the-public-eye-the-left-hand/ Sat, 05 Dec 2009 08:07:06 +0000 Myles http://cultural-learnings.com/2009/12/05/dollhouse-the-public-eye-the-left-hand/

“The Public Eye” / “The Left Hand”

December 4th, 2009

“Everybody’s got a past – it’s the future [viewers] care about.”

Writing about Dollhouse is like riding a bike – the show has never suffered from a lack of ideas, making even its weaker episodes (once it got ahold of its identity) fascinating to discuss. However, there’s something inherently unsatisfying, in theory, about getting back onto that bicycle when you know that you’re about to run out of road, and in a very short period of time this bike is going to be absolutely worthless to you. So much of what I do here at Cultural Learnings is about contextualizing episodes in the past, present and future of any particular series, and in the world of Dollhouse that future has become a swift cancellation which could come as soon as early next week should the ratings from tonight’s two-hour block of episodes be so disastrous that FOX is willing to risk the wrath of fans as opposed to the wrath of advertisers and replace the show with reruns.

And yet, there is something about where this show finds itself mid-way through its second season that I find far more compelling than I should. I know this show is going to end, and yet there is something about the show’s view of the future that has turned its futility into an asset of sorts. It’s almost as if we’ve already reached the end of the road, but instead of a sheer drop the show is offering a lengthy kill on which we can simply coast down the hill with our hands off the handlebars feeling the wind in our face and taking those last moments to think about what was, what is, and what will (or would) be. It’s almost as if cancellation has freed Dollhouse from certain expectations, and what we get from this point forward is about what we take from the material rather than what the material necessarily says in and of itself.

As such, “The Public Eye” and “The Left Hand” are both really great hours of television not only because they’re well-executed in terms of basic plot and character, but also because through the wonders of a DVD bonus feature we as an audience are perfectly situated to understand the ramifications of what is going on here at levels that go beyond the immediate to a future that we might never be able to see but that we are able to vividly imagine in ways that allow the show to survive beyond the certainty of its fate.

Senator Daniel Perrin felt like a strange character to introduce into this universe back in October when we first met the man. He seemed like a waste of Alexis Denisof, an effort to set up an external threat to the Dollhouse in a way that seemed like a distraction. As such, it’s not too surprising that “The Public Eye” fundamentally deconstructs any notion of Perrin’s externality, revealing that he a unique sort of doll. In the process, the show manages to take the concept of the Dollhouse and apply it quite savvily into the world of politics. It’s as if Perrin is a third son, passed over for the first son and ignored when compared to the second son, left to waste away his existence as a 30-something frat boy until someone realizes that third son or not his name has potential. And as opposed to hiring a speech writer, an image consultant, and perhaps a big-money P.R. firm, the Rossum Corporation simply eliminates some attributes and adds others, creating a super-politician who can help clear the way for their master plan.

Dollhouse is often as its best when it takes things which happen in the real world (like, say, prostitution) and effectively turns the dial up to 11, shifting the purpose of the engagements in such a way as to challenge our preconceptions. Many politicians (including, most famously, George W. Bush) were built from the ground up by a political war machine, and in some instances were placed there by corporations. In the world of Dollhouse, though, that corporation is doing this not out of corporate greed but out of twisted self-preservation, understanding the immoral underpinnings (heck, pinnings (does this make sense? I don’t know, but it’s fun to say. Pinnings!) for that matter) of their actions and working to clear the way for them to continue heightening their power. When our intrepid protectors of a moderately less corrupt image of this process at the Los Angeles Dollhouse get into Daniel Perrin’s head, they discover that Rossum had plans to create a President – plans that have been altered by their actions, but that could just as easily continue to change this world in the future.

And yet, for some characters this idea of a future is almost impossible to imagine. Bennett Gulverson is, as is the case with nearly every character that Summer Glau plays, beyond any sense of real understanding. I’m still not entirely sure what she is: is she some sort of weird doll/human hybrid (hence why she wasn’t affected by Topher’s disrupter), or is she someone who was meant to be a doll but who lost her arm and thus lost her ability to “do her best” as part of the program, and who worked independent of programming to develop the skills necessary to help those who are what she can never be. Either way, the point is that this is a character who is stuck in the past, who spends each and every day trying to focus on the present long enough to do her job but whose job is treating and preparing those who are living the life she was supposed to live and that at least some part of her wanted. The moment where she realizes that Topher finds her pretty isn’t just a ploy, in my eyes: yes, she’s playing him as much as he’s playing her, but just as he is legitimately smitten with her she is legitimately overcome with emotion at the idea that he would consider her to be a doll because of what that represents in her twisted memories of the past.

Echo, in turn, is forced to live the past through her own present, losing the use of her left arm and struggling to figure out where Echo fits in with Caroline (her own past) and her future, which is far more indeterminate than the show’s. Because this show isn’t about simple characters, there’s no sense that closure is ever an option here: to “close” Echo’s character, you would need to resolve every bit of Caroline’s identity, every shred of identity inherent in Echo’s wiped state (which we know to be more sentient than any other), and every bit of what role she is eventually supposed to play in this grand conspiracy. For Perrin, his end goal is shockingly clear, a prime directive. Echo, meanwhile, is not wired for any one particular goal, which means that in a wiped state she’s trying to find her own purpose despite having no idea where to begin. Echo wandering around in the world is not so much dangerous for her physical self (as we saw in “The Public Eye,” provocation is capable of bringing out memories from previous engagements as a result of her glitching of sorts) as it is for her mental self, exposed to a world that will do very little to help the problems going around in her head.

A lot of “The Left Hand” is built around a clever device, as Topher (in order to be in both Washington and L.A. at the same time) imprints Victor with, well, Topher. The gag has its moments, most of which come from Enver Gjokaj playing the mimic yet again (between this and Reed Diamond, Gjokaj was built for this role), but it also helps to emphasize (albeit in a comic fashion) the sort of snowball effect of this technology. In his rivalry of sorts with the legendary Bennett Gulverson (who has also heard of him), you realize that this is like any other scientific field: one piece of technology (in this case Alpha’s remote wipe technology) turns into a useable device by one technician, while the other one finds a way to turn it into something else entirely. It creates a chain reaction effect which results in legitimate tension (Topher punching Bennett out was a highlight) and also a constant reminder that some day in the future, this technology is going to be mean the end of the world as we know it, and when that happens Topher Brink is going to be a complete and total wreck. In this episode, Topher enlists his own help in order to complete the task, but more minds only takes things that one step too far, where the technology goes from an emergency aid to disrupt the Actives to a device which can attack any architecture and even alter it from afar.

It’s a moment that refers to a future we have seen, a future that through “Epitaph One” has been hanging over this entire season. The idea that the series finale will be a sequel to that story of the survivors of an apocalypse stumbling upon the Dollhouse years after it has helped engineer the end of humanity as we know it is exciting not because I expect that we’re going to get substantial answers but rather because I want to see more. That one glimpse has created new complexities to everything we’re seeing, taking story elements which could feel like they’re moving too fast and making them feel like mere drops in the bucket. It’s a future that constantly asks us to reconsider the present, and here had my mind spinning from the very beginning. Both episodes played around with our expectations, slowly unveiling that what seemed like one thing is in fact another, but in some ways the entire show has become that: it is a show about how bad things are going to be, and yet where all of the characters but one believe that this is all about a sense of progress and the great future ahead. To some, the actives are being protected from lives that could have seen them killed or sitting in a jail cell; to others, the actives are purely being exploited, left with the architecture in place for them to eventually lose their identities all over again when imprinting over the air becomes a blight on society.

The one person who stands against it (actively – I think Boyd and Echo are on the same page, just not as active (ugh) on the front) is Paul Ballard, who could have saved Madeline from her fate of lying in Bennett’s chair if only he could have bought into the party line and firmly believed that Madeline was making a mistake going through with her plan to testify against the Dollhouse. But Ballard has convinced himself that he’s working the Dollhouse from the inside, working with Boyd and Echo in an effort to take it down from the inside. Now, the episodes clearly started to separate Adelle from the other Dollhouses (including the always great Ray Wise in Washington) and from Rossum (the similarly great Keith Carradine), but at this point Ballard can’t trust anyone, and even if our group in L.A. is the lesser of the evils they are nonetheless complicit in these acts. And as a result, Ballard is forced to believe what he says: if he wants the dolls to go free, he needs to be willing to accept the decisions they make, as trying to force her to make a different decision (even one inherently smarter for her future than the one Rossum wants her to make) is turning into one of them.

The two episodes really drive home the point that we are in the same position: we know enough about where this goes to feel icky about some of what happens in L.A., but we are also able to see in a character like Bennett (played with such a perfect level of crazy from the always dependable Glau) the true endgame here. Topher may border on the annoying on occasion, but he is involved in this because science fascinates him and because it’s what he knows how to do. Bennett uses the same technology to gain revenge, and whereas L.A. operates the Dollhouse as morally as possible within its inherently immoral premise it’s clear that Washington has somewhat of its own rules. And that Rossum has its own ideas entirely. And that we know just enough about all of this to see a situation like the one depicted in these two episodes and look beyond its cultural relevance and its fine writing/acting and see a future that the show will never be able to fully construct but that it has mapped out just enough to keep us filling in the gaps at 3am when we should be getting sleep instead.

I’m going to miss that bike.

Cultural Observations

• I enjoy the idea that each individual Dollhouse has taken on elements of its location: from what we’ve seen, Los Angeles is interested in a sense of almost romance and fantasy, whereas what we heard of the engagements at the Washington dollhouse (like the long-term engagement with the closested congressman, and Perrin) seem to have that sense of subterfuge and political corruption inherent in them. It makes sense that it would be Washington that coordinates the Perrin effort, and one thing I will miss about the future is the idea of visiting other Dollhouses and seeing what they would have to offer.
• I find my tolerance for crazy Topher is entirely dependent on who is on the receiving end of the crazy. When it was his awkward interactions with Bennett, or even conversations with himself on that subject, it worked. And then it was Boyd standing there not sure how to respond to VictorTopher, it was brilliant. It worked less when the show was just letting the crazy sit there with no purpose, which was scarce enough for the storyline to work for me. “Glasses on a Chain FTW” was just fantastic, although Glau was fighting with fire with “Your skin is like a pig.”
• I probably won’t be able to review these episodes as easily together in the future, as not every two-hour set of episodes will probably act as a literal two-parter (these might as well have been considered “The Public Hand, Parts 1 and 2,” which throws us back to Jaime Weinman’s argument from the other day). I might end up just choosing the best episode to “review” in those instances, but we’ll see.

“The Son”

December 2nd, 2009

The last time someone died on Friday Night Lights, the show took what is unanimously considered its largest misstep. This time around, the show has delivered perhaps one of its most effective episodes yet.

This is, of course, not to suggest that anyone is surprised that the death of a potential rapist is in any way comparable to the scenario we see in “The Son,” but it demonstrates that death is still an enormously powerful thing within this show’s universe despite Landry’s murderous ways. The show has always been about the way its characters respond to the adversity of crisis or in some instances the adversity bestowed upon them by the simple reality of their lives, and here grief becomes a necessary component of that universe.

And since Sepinwall, Poniewozik and Phipps already posted detailed thoughts about the episode, and because critics have been hyping it for a few weeks now and thus everyone know it’s pretty great, what will follow will be less than comprehensive but nonetheless extensive, as I do have some quasi-complaints (scandal) about shortcuts this particular story takes.

The one thing that sort of bugs me about “The Son” is the way the Taylors become a pseudo-family for Matt Saracen. Note that I don’t have any problem with the Taylors taking this role in his life: Eric has been more of a father to Matt than his actual father in recent years, and Tami Taylor has never quite left a motherly guidance counsellor/quasi-mother-in-law position with a player like Matt. The problem is that there was an exchange of duties that was done entirely off-screen, a scene that doesn’t seem to exist in the context of the episode but would actually be a substantial part of this grieving process.

I’m speaking, perhaps too obtusely, about Kim Dickens’ Shelby Saracen, a character that has a less complicated relationship with Matt’s father than Matt does (having wiped her hands of him while accepting the consequence of wiping her hands of Matt) and who for the most part never gets a single scene where we understand how she feels about her son (their son) going through this pain. And I feel like we needed a scene of Shelby explaining why she isn’t more involved here, why she is going to spend her time helping LuAnn while Matt deals with all of the arrangements. I needed to see them get into a fight over it, or to have Shelby tell Matt that she can’t deal with any of it, or to have LuAnn demand that Shelby have no involvement with the proceedings.

And yet, for the most part, the show chose to depict the Saracen household as inherently stable, Shelby making popcorn for the kids when Landry and Julie stop by with a movie and doing LuAnn’s hair before the funeral. I understand why the show does this, as it wants to emphasize that Matt is adrift in his struggle between grieving over a lost father and hating the man and the fact that he was never able to say it to his face. And I love the scenes where Tami and Eric become part of Matt journey, Tami setting a slimy funeral home operator straight regarding Matt’s financial position and Eric walking him home following a complex evening of alcohol-fueled eulogizing on the football field and viewing his father’s charred remains.

I just felt as if we needed a scene of where Shelby stood on this matter, understanding that she has taken a role in Matt’s life that goes beyond taking care of his grandmother so that he can take a job and live something of a normal life with Julie. The show has just sort of presumed she was there for much of the season, and while it’s clear that she was never an actual mother to him, part of me believes that in this moment more than any other she would have had a story to tell, and no one in their right mind would question whether the great Kim Dickens would be able to convey that story. Perhaps we’re going to get the story in the weeks to come, but part of me feels like it will be too late, and that the real potential for the character to fit into this story was here in her son’s moment of need and in her own complicated relationship with Henry Saracen.

Of course, this is only a 44-minute television show, and more problematically it’s a show where Matt’s journey is nearly at an end (he’s around for only three more episodes total, which from what I’ve heard are not all consecutive). As a result, the focus remains on his character and his relationship with people like his football buddies, with people like the Taylors, and with his deceased father who he knows, for a fact, isn’t funny. And Zack Gilford is so bloody fantastic doing all of it, especially everything from his football field eulogy to his eventual compromise (searching through his memories for one that tries to capture the fine line between impatience and anger that defined his father’s existence and could remain open to interpretation), so it’s not like I’m here complaining that one missed scene hampered the episode’s effectiveness.

However, what always worked so well about Smash’s exit was the role his mother played in it. I miss Smash’s Mom almost as much as I miss Smash, primarily because she was always an important part of his life despite know what she couldn’t be the only part of it. She allowed Eric to take a substantial role in her son’s life because she knew he needed a father figure, and while she wasn’t about to take charity she was going to help her son realize his dreams with the help of his coach and friend. What I needed here was a scene to show that Shelby has given up on the role of being Mother, and that the scene where the Taylor take both LuAnn and Matt to the Funeral Home didn’t involve Shelby because she had to work, or because she also needed a break. And if we had gotten that scene, I feel as if the episode would have felt more complete in terms of Matt’s position in life as opposed to his position within the show.

It’s ultimately a reminder that we’re not watching the same show we were watching last season, in terms of the series’ priorities. We open with the East Dillon Lions, who have no relationship whatsoever with Matt Saracen, and we spend considerable parts of the episode watching how Becky (performing in the Young Miss Texas pageant), Luke (dealing with J.D. McDick) and Vince (who, fittingly for Michael B. Jordan, is in the West Texas version of The Wire) are fitting into this universe. And while I thought the Becky storyline continues to accomplish very little (and the combination of daddy issues and her obsession with Tim are proving too rote for such a good show), I liked seeing Luke stand up for himself slowly but surely with J.D. (and eventually running into Becky at just the right time to sell their eventual relationship), and watching as Vince balances learning how to steal cars with speaking to young football players about being a role model is definitely a step forward for the character.

There’s just points where you want to be able to toss them aside for a moment and remind ourselves that Matt Saracen is almost gone from this show’s narrative, and to spend time at a beauty pageant feels inherently false when there was considerably more story to tell within Matt’s world. It probably seems like I’m unfairly picking on the episode, which was unquestionably one of the most emotional and effective the show has ever done, but I do feel as if there were some missed opportunities here that were perhaps necessarily missed in order to maintain momentum for the show’s other side. There’s going to be a Season 5 of this show, and Matt Saracen isn’t going to be a part of it, and sometimes that becomes problematically clear (even if it’s probably for the best in the end).

Cultural Observations

• Thank you to whoever decided to put Gracie’s hair into pigtails: that child will now be 75% less mortified when looking back on her acting days from her adult years.
• I thought the chain of events in the Luke story was perfectly depicted: of course J.D. would want to pretend as if nothing happened, and of course J.D. would be the kind of kid to do drive-by paintball shootings. It was just the right level of douche for Luke to step up and realize he needs new friends, and even thought it was a bit convenient (considering she had just been rejected by Tim) the excuse to have Matt Lauria shirtless for his meeting with Becky helped solidify what was effectively their meet cute.
• Speaking of J.D., the scene of J.D. and his father showing up at the door with a basket from the Boosters was honestly so perfect I didn’t know what to do with myself. Matt Saracen literally wanted to kill the messenger, and who can blame him? That Joe McCoy’s arrogance extends so far as to fail to realize that he (and his son of all people) are not the right medium for that message (better conveyed through a non-affiliated third party) is completely believable, but also inherently terrifying. Loved the way Gilford played the scene.
• I could have sworn Eric called Landry by his real name earlier in the season, so what was up with returning to Lance here?
• I understand that a lack of chairs (logical in a small town) would result in women sitting and men standing, but it created odd centrality to characters like Becky and Mindy that made for a strange visual.

Entourage Season 3 Episode 5 Crash and Burn

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Ab sofort ist der Download Link für unseren Fansub für die Episode 5 von Kiddy Girl-and verfügbar.

Den Link findet Ihr wie immer auf der dementsprechenden Projekt-Page.

Bitte Seeded diese Folge wieder ordentlich, da ich net immer im Netz bin, danke

Ich wünsche euch viel Spaß beim leechen.

Entourage Season 1 Episode 5 The Script and the Sherpa

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]]> http://tsukikaze.wordpress.com/2009/11/28/release-kiddy-girl-and-episode-5/ Sat, 28 Nov 2009 17:56:55 +0000 tsukikaze http://tsukikaze.wordpress.com/2009/11/28/release-kiddy-girl-and-episode-5/

Grusel, Monster, Terror

Heute wirds ganz schön gruselig 

Wir haben heute  Samstag, das heisst das es heute  ein Release von Kiddy Girl-and gibt, und zwar die Episode 5: Der Geist der GOTT.

Ich wünsche euch viel Spaß beim leechen.

Wie immer gibt es diese Folge zuerst als DDL und in ein paar Tagen wird der torrent nachgereicht.

Den dementsprechenden Dowload Link findet Ihr auf der betreffenden Projekt Seite.

Dexter Season 2 Episode 5 The Dark Defender

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]]> http://watchserials.wordpress.com/2009/11/27/desperate-housewives-season-4-episode-5-art-isn%e2%80%99t-easy/ Fri, 27 Nov 2009 21:36:06 +0000 watchserials http://watchserials.wordpress.com/2009/11/27/desperate-housewives-season-4-episode-5-art-isn%e2%80%99t-easy/

Desperate Housewives Season 4 Episode 5 Art Isn’t Easy

Part 1

Part 2

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Desperate Housewives Season 3 Episode 5 Nice She Ain’t

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]]> http://watchserials.wordpress.com/2009/11/20/californication-season-3-episode-5-slow-happy-boys/ Fri, 20 Nov 2009 13:16:43 +0000 watchserials http://watchserials.wordpress.com/2009/11/20/californication-season-3-episode-5-slow-happy-boys/

Californication Season 3 Episode 5 Slow Happy Boys

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]]> http://moviehour.wordpress.com/2009/11/16/watch-gossip-girl-season-1-episode5-dare-devil/ Mon, 16 Nov 2009 01:54:00 +0000 moviehour http://moviehour.wordpress.com/2009/11/16/watch-gossip-girl-season-1-episode5-dare-devil/

Watch Gossip Girl Season 1 Episode5: Dare Devil

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Have You Seen Heroes: Season 4 Episode 5 – Chapter Four 'Hysterical Blindness'?

Episode Synopsis:

Samuel prepares for new additions to his family, while Lydia warns him of the consequences. Claire discovers that her roommate Gretchen may have a hidden agenda. Meanwhile, Peter finds an unexpected way to connect with Emma, who would prefer to stay distant. Elsewhere, a different side of Sylar emerges as he desperately tries to remember the person he used to be.

So what do you think of this episode?

If you missed it, you can watch it here.

Have You Seen Heroes: Season 3 Episode 5 – Chapter Five 'Angels and Monsters'?

Episode Synopsis:

Claire attempts to destroy her first target, Stephen Canfield. Hiro attempts to become friends with Daphne.

So what do you think of this episode?

If you missed it, you can watch it here.

Have You Seen Heroes: Season 2 Episode 5 – Chapter Five 'Fight or Flight'?

Episode Synopsis:

Afraid of losing the love he thinks he’s found, Peter denies his past and doesn’t look in the box while an unknown woman tries to track him down. Parkman and Nathan are led to Philadelphia to track down Matt’s father, unknowingly being led into a trap where Nathan stumbles into the city that blew up after all. Mohindar takes Molly to the Company in search of help for her, just as Nikki shows up, while another hero begins to discover her powers in Texas.

So what do you think of this episode?

If you missed it, you can watch it here.

Have You Seen Heroes: Season 1 Episode 5 – Chapter Five 'Hiros'?

Episode Synopsis:

Niki is questioned by police about her fugitive husband’s whereabouts; Matt’s relationship with his wife, Janice, benefits from his mind-reading abilities; Claire divulges her secret to her father; Hiro has a violent run-in with Las Vegas high rollers; Peter receives a life-changing message; and Mohinder contemplates leaving New York—and his father’s research—behind.

So what do you think of this episode?

If you missed it, you can watch it here.